the heavy pulse of sound systems synchronizes with the precision of musique concrète and the reconstructed memory of a masked folk dance of the swiss mountains. techno, drum n bass and dub are echoed within this sonic processional, where samples are pulled apart and recycled, cut at the beginning and end, then linked together.
tresque takes his name from an open-chain circle dance from medieval southern europe. under the musical moniker d’incise he has played on numerous solo and collaborative projects with cyril bondi, designing quiet, intensive listening experiences with various combinations of software, recordings from vinyl or in the field, modified objects, percussion and harmonium. as tresque the delicate minimalism he’s known for takes shape within driving grooves. airy, spacious, amplified noise from his collection of samples is sliced and tethered to weightier, physical beats. a tension forms between uplift and downfall, hypnotically oscillating between structural textures and collective dance.

following his acclaimed north bend album of 2015, chris roman, known as 214, is back on shipwrec with the third in their series of single sided odysseys. a haze of bass descends for -i see what you did there-, a clipped drizzle of percussion falls before thick acid bars tremble into position. echoes, reverb and decay merge, groan and bend as the preconceptions of ambient, electro and techno are pulled apart. in one breath dense and complex, the next grooving and future funk dipped. an epic example of 214 s talent. single sided 12- with a silkscreen printed b side. limited to 250 copies on transparant vinyl.

during their european tour earlier this year, canadian duo jokers of the scene stopped over for a couple of days at club bizarre studio in northern france. the two pair of producers locked up and came up with betaville and breakwater, two killer lo-fi and spaced out tracks. betaville is a fuzzy dream that will make you dance in slow motion with your head in the clouds. boasting a strong melodic and nostalgic feel, it unfolds its warm analog synth pads, old school sequences and drum machine to psychedelic effect. imagine boards of canada wanting to make you dance. even slower is breakwater, a dirtier, chunkier track that ditches the softness of betaville in favour of a more in your face bass line and all together rougher attitude. it chugs along to old fashioned beat box claps and percussion and quirky synth melodies. lastly betaville gets the timothy j fairplay treatment of being violently pulled apart and chucked in all corners. reminiscent of early chemical brothers music, a heavy beat slaps over agressive drugged up analog sound effects while a repetitive, haunting melody screams on top and reverberated vocals whisper in your ears. scary.

for the past decade or so, polish musician michal jacaszek has been exploring a new, resolutely modern chapter in eastern europes long, storied love affair with classical music. his creations are painstakingly crafted collages of electronic textures and baroque instrumentation, harpsichords being swarmed by woolly static one minute and pulled apart by billowing wind the next. ambient music - if we can generalize unnecessarily for a second - is rarely so sonically challenging.

swiss artist and veteran producer ripperton contacted the esp institute out of the blue mid-2017 to share a gorgeous mix of self-produced material, a collection of pieces made without any agenda outside of representing the self, not geared toward the dancefloor or a specific environment but simply a bi-product of introspective exploration. we were floored, the mix was on constant repeat in our world for weeks, then was subsequently pulled apart into separate titles to form this beautiful double lp, ripperton’s debut with the label. the title sight seeing speaks of someone stepping outside their current reality to look in the mirror, as if to ground themselves and keep sight of who they are in a world of extreme highs and lows. inspired greatly by expansive landscapes and views from airplane windows (imagine your commute flying over the alps every weekend), ripperton describes this collection as postcards to himself, messages from his subconscious recorded on tape (both conceptually and literally), melancholy soundtracks to the mondays that follow weekend journeys. while musical genres tend to cycle through bandwagon moments, the esp institute strives to operate independently of these, and while sight seeing is undoubtably an ambient album, we’re simply proud to revel in the chance moment where an esteemed artist such as ripperton spreads his wings in a beautifully unexpected mode of expression.

this ep hosts 4 live versions of tracks from romare s sophomore album, love songs: part two, including come close to me (live session 1) a hazy, pulled-apart live edit of the single taken from his 2016 sophomore album love songs: part two.

for the past decade or so, polish musician michal jacaszek has been exploring a new, resolutely modern chapter in eastern europes long, storied love affair with classical music. his creations are painstakingly crafted collages of electronic textures and baroque instrumentation, harpsichords being swarmed by woolly static one minute and pulled apart by billowing wind the next. ambient music - if we can generalize unnecessarily for a second - is rarely so sonically challenging.
limited to 700 copies, including free download coupon.