Zarko Komar aka Feloneezy winging in from Belgrade — by way of Hyperdub — with an EP of hypnotic psychedelia.
Four characteristically intimate, steppers blends of jungle and juke, unfurling into intervals of dub and jazz; axis as nexus, threaded with field recordings, startlingly dotted with song.
Check it out.

Geo Rip is John Jones (Dope Body, Nerftoss) with Aaron Leitko and Mike Petillo (Protect-U), making its vinyl debut. Broken samples and electronics improvised live to tape.
An auspicious, thrilling, varied first outing — daredevil, visceral, and fresh — in customarily gorgeous TTT livery, with top-notch sound.

Sparky, engaging, inventive kitchen wave — on a mission to connect with you, cheer you up, and make you dance — rolling into TTT by way of Incienso and Workshop.

Also check out Kiki’s online cooking programmes and get pickling.

In 1979, just after the release of Prati Bagnati Del Monte Analogo, Messina was asked to perform at the Teatro Quartiere in Milan.
‘Due to the limited availability of key technical features, ’ he recalls, ‘it would have been too complicated to perform Prati Bagnati, and therefore I opted for these three pieces instead. We had never actually tried them all together, so I thought about renting a recording studio the previous afternoon. In that way, we could rehearse in a suitable place and use the opportunity to record the music on tape.’
The music has an unadorned, almost improvisational feel, skewered by passages of arpeggiated, meditative piano. Its chords layered and unfurled in real time via a reel-to-reel tape machine, the track Reflex recalls Steve Reich’s mesmeric phase-shifting works of the 1960s.

Stone killer jazz funk by the All Girls Band, from New Orleans.
Like prime Blackbyrds, but young women doing it to it for a change, with a rocket launcher.

Raf Reza from Toronto and Ramjac Corporation from Irdial.
‘It begins with a bouncy, cut-up, Errorsmith-esque rhythm, with a recurring fright night melody. Rotten Mix is more traditional house, with dub FX and a nice DJ friendly outro. The final uptempo excursion is head-scrambling electro.
‘Swampy Dub on the flip really dismantles everything up to that point, with slo-mo drums and a kind of modern classical sound. The finale Rootless Dub removes all the tough drums, for an ambient decompression.’