Released Mar 2021

At a glacial sixty-five BPM in five-B, Sanders and the Orchestra dissolve the room into after-hours stillness.

A 125-BPM D minor vortex of peak-time melancholy that proves Meyer's hypnotic touch belongs on Bedrock.

A slow-motion orchestral sigh at 76 BPM, where Floating Points’ electronics and Sanders’ breath converge in near-silence.

Talabot reroutes Cruz’s earthy pulse into a humid 130-BPM hypnosis where percussion breathes like it was played by hand.

I would throw this feral, chrome-plated electro at peak-time pressure and watch the room ignite.

Parrish locks a heavy, soulful 115-bpm groove into Bb minor hypnosis, letting the room breathe before the pressure drops.

I keep coming back to the way its 122 BPM groove settles into the room—warm, unhurried deep house in a shaded 1A key that prefers the opening hour.

Pure voltage UK sound design wired for peak-time sweat, every frequency precision-tooled for the floor.

Hypnotic bass pressure and sharp sound design collide at 136 BPM for a heady, late-night trip.

I’d call this 140-BPM post-grime warfare: maximum energy, sideways bass, and a grin you can’t trust.

Precision-tooled breaks meet sub-heavy dub pressure at 133 BPM, carving out a shadowy pocket for the leftfield floor.

Taut, neon-slicked electro-grime that snaps at 140 BPM with surgical precision and zero patience for the dancefloor.

A familiar ghost rides a steady 128 BPM machine, functional and unambiguous on the floor.

Searing Detroit electro forged for 4am paranoia, its twitching synths and metallic dread cutting clean through the smoke.