Tys
Flutter

Sorang, the debut album of Yalta native Wulffius, represents his work over the last eight years. The playful creature on the cover, Stone Eater, is based on childhood sketches of the producer's father. The album's name alludes to the first collection of his father's poems, which took its name from a short story by Konstantin Paustovsky, a master of nature writing in Russian prose. Sorang is the name of the south wind that "blows once in centuries," and you can hear its unique warmth in these tracks. There is a sense of wholeness here, a palpable style and atmosphere that permeates the individual pieces.Wulffius creates what he refers to as "B-sides": something too strange to be danceable, with "complex ease" and rhythmical variety. The music has a charming serenity and beauty thanks to Wulffius' intuitive approach, which is childlike and whimsical in the best possible sense. By the way, Paustovsky wrote Sorang in an hour and a half at a speed writing competition. You can hear a similar spontaneity here, but make no mistake, this is the work of a master that has been crafted over a period of years. It all comes from experience.

There's plenty to set the pulse racing within this new set of remixes of tracks from Seb Wildblood's superb album "Sketches Of Transition", which dropped on All My Thoughts earlier in the year. Our pick of the bunch is the superb Suzanne Kraft remix of "Amelia", which wraps glistening '80s guitar sounds and fretless bass notes around a chugging, arpeggio-driven groove, though many may gravitate towards the tight but undeniably groovy and melodious Jenifa Mayanja deep house version of "Small Talk". Elsewhere, Ciel re-imagines "Bahn" as an intoxicating chunk of bleep-laden broken electronica/Balearic fusion, while object blue impressively chops up "Sketches" into a sludgy, mind-altering style.

On their self-titled debut album Etienne Jaumet and Fabrizio Rat, both trained pianists, re-invent their favourite instrument to make us hear it in a totally new way. While the former creates unusual sounds thanks to the rhythmic machines that accompany his piano, the latter uses this classical and romantic instrument par excellence to explore the techno sphere."The basic idea of our duo is to confront the harmonic richness of the piano and the synthesizer through rhythm. To explore our interactions through live music. To develop new atmospheres thanks to the evocative power of unusual sounds. Somewhere between ambient and sound experimentation…'

New Omar S album featuring John F.M, Rick Wilhilte, Norm Talley and O B Ignitt. Omar-S always does things his own way and always hits hard, this time doubling up on that title with some of his tighest and brightest productions for - oooh - a good few weeks at least.This is wall-to-wall good shit, House bangers stripped bare, loads of space, endless hooks - basically undeniably deadly gear, especially on 'Mell'like Boom Boom In'dair!' with its completely fucking riotous hybrid of a squashed acid line and bounced snares, something like Wordy Rappinghood if it were re-worked by MMM and Theo Parrish.yasss.

Tripped out and experimental dub from Ireland, starring the elusive songwriter with a captivating voice - Sarah Gleeson. Produced by Dan Taliras, founder of Echobus Records, who has been recording and championing reggae from his Dublin studio for over a decade.

2015 album Shedding Skin is the manifestation of a new challenge of fresh thinking and a brave confident stride into previously uncharted waters. Ten songs that embrace, unite and narrate observations that are designed to sit beside each other through bright peaks and dark shallows. Unlike his previous albums, Shedding Skin was recorded with a traditional live set up with what has become his touring band; Joe Newman on guitar, bass player John Calvert and John Blease on drums. The self-produced album also features guest vocals from Nadine Shah, Etta Bond, Melanie De Biasio, Lucy Rose and Maxïmo Park's Paul Smith, amounting in a collection that sets a new precedent as his very best work yet.