De Lux x Jason Bentley


“De Lux have concocted the perfect mix of disco, post-punk and funk"

"New Summers" by De Lux - originally from their latest album Do You Need A Release? gets a reconstruction by Jason Bentley

Jason Bentley is a Los Angeles based DJ and Grammy nominated record Producer.   During his tenure as Music Director of acclaimed SoCal radio station KCRW, Jason consistently supported De Lux as host of the daily music program Morning Becomes Eclectic and ongoing Saturday night mix show Metropolis.  

“I love the band” remarked Jason “and after hearing “New Summers” I became obsessed with the idea of a different song arrangement - not so much a remix - but rearranging existing elements. The song already has all this smoldering Disco energy, and I wanted to bring that out more and shape it so the song hit differently. I reached out to the band with the idea, and thankfully the guys let me pull apart the original multi-tracks and create the version I was hearing in my head."

Listen to Do You Need A Release? here.

Leland Whitty x Glass Moon

Leland Whitty of BADBADNOTGOOD shares “Glass Moon,” the second offering from his forthcoming debut solo album Anyhow due December 9th. Arriving with visuals directed by Raven Shields and Colin Medley, the cinematic jazz number magnifies Whitty’s sonic journey and further showcases his multidimensional talent as a performer, composer, and director. The new single follows “Awake,” which Glide Magazine described as having “unforgettable melodies and masterful song structure” and has been celebrated by BBC Radio 1's Benji B, BBC Radio 6's Mary Anne Hobbs, Tom Ravenscroft and Gilles Peterson, and Totally Wired's Kev Beadle. 

The 7 tracks of Anyhow use Whitty's do-it-yourself approach to composition, production and multi-instrumental performances, which include guitar, synthesizer, woodwinds, and strings, to create a narrative found in jazz improvisations that draw from photographic or cinematic sources rather than a specific story. BADBADNOTGOOD’s Alex and Chester were guests on the album, alongside other friends and notably Whitty’s older brother, Lowell – which Whitty credits as being a central musical inspiration in his life. This is the first time they had the chance to fully work together. Whitty built the album from small excerpts rather than a more rigid intellectual compositional technique. He would envision the whole scope of a song, asking friends to contribute shifting the rhythm and energy of each track.

Listen to "Glass Moon" and pre-order/save Anyhow. 

See more at Line of Best Fit.

See tour dates below w/ BADBADNOTGOOD. 

11/30/22 - Zurich, CH @ X-Tra

12/02/22 - Utrecht, NL @ Ronda

12/03/22 - Brussels, BE @ Ancienne Belgique

12/06/22 - London, UK @ Brixton Academy

12/07/22 - Paris, FR @ Le Trianon

12/09/22 - Birmingham, UK @ O2 Institute

12/10/22 - Manchester, UK @ Albert Hall

12/11/22 - Bristol, UK @ Academy 1

12/13/22 - Glasgow, UK @ QMU


Maria Chiara Argirò x Byron The Aquarius

Following the release of her critically acclaimed new album Forest City, Maria Chiara Argirò (pronounced ma-REE-ah key-AH-rah r-gee-ROW)
 announces a remix package of some of the album's highlights. First up is the reworking of "Clouds" by Atlanta's electronic funk wizard Byron the Aquarius who has given the ethereal vocal track a dancefloor treatment showcasing their love of classic Chicago & Detroit House.

Byron the Aquarius has worked with the likes of Jeff Mills, Kyle Hall & Theo Parrish's Sound Signature label.

After quietly weaving her way around the UK jazz, classical and electronic worlds Maria has cemented herself as a key player in the capital’s multi-national jazz scene. Maria has released a few solo and collaborative records (Flow was The Guardian’s jazz album of the month and nominated as album of the year in the Jazz Revelations Awards), but on her latest album Forest City it feels like the turning of a page as she liberates herself from the structures of jazz.

On Forest City, Maria found a glistening thread between these movements: where jazz meets Kelly Lee Owens, Jon Hopkins and Radiohead. It’s a concept record, about the “duality of nature and city”, where organic sounds and textures seem to flow above the urban sprawl.

Stay tuned for more Forest City remixes and brand new material from Maria Chiara Argirò.

And check out Forest City among the great records you may have missed earlier this year according to Pitchfork.

Tim Hill x Clock's Never Wrong
Listening to Tim Hill’s new album, Giant—a rugged, tasteful batch of cowboy tunes and Americana ballads that feel forged out of the embers of a desert campfire—you might assume that he’s been working on a ranch his whole life. You’d be half right: Hill is indeed a rancher, working in the Orange County, California, area of Silverado, but he’s actually a relative novice when it comes to tasks like tending to horses and driving a tractor. He only just got the job since the pandemic started, inspired on something of a whim: “I always kind of thought I could work on a ranch,” Hill says. “So I just looked around for some jobs and they had an opening.”
Hill shares a new video for third album single "The Clock's Never Wrong" directed by Matthew Correia (Allah-las). Tim explains, "We thought it would be fitting to shoot a ‘day in the life’ kinda thing. The ranch has been instrumental in getting back to a simpler and more rewarding way of navigating my place in the world. Scenes of horseshoes clanking on an anvil and dumping manure are the kinds of things I like to see and do nowadays. It wasn’t our intention at the beginning, but the shots through LA give a sense of a man not particularly fitting into his surroundings."
Video director Correia adds, “Tim and I tend to pick it up right where we last left it. A catch phrase from some old western, a line from some broken ballad. We know each other by these familiar monologues so when when the cameras come out we both know what to do without saying much.”

 Jimmy Edgar has just shared his new album LIQUIDS HEAVEN. On a surface level, it is a starburst of avant-garde fusion, collecting a diverse cast of eccentric geniuses and re-configuring them into a psychedelic canvas of future R&B, euphoric bass, mutant tear-the-club-up rap, foundation-splintering noise, and gossamer soul. But as with all his work, there is a deeper and subversive intent. 

LIQUIDS HEAVEN’s early gestation spawned from Edgar’s explorations of “material” in the digital world, and is part of his broader ambition to change belief and intention in the digital realm – a pseudo-invisible way to summon novel realities by infusing his ultra-sleek aesthetic into transformative conceptual art. LIQUIDS HEAVEN is the ultimate culmination of the idea of “phases of matter.”

LIQUIDS HEAVEN is not merely a technicolor dream of ethereal abstractions, however. It bangs as hard as anything to ever bump from a subwoofer. But for all the high energy propulsion, there is a counter-balance of melancholic beauty, and in a career of fascinating left-turns, it would be more surprising if LIQUIDS HEAVEN wasn’t surprising. The genius of it is that for all its cerebral intent, it remains replete with raw and visceral emotion. Out of sadness comes courage. Water, liquid, and light evaporate, become transparent, disappear peacefully. Nothing less than the sound and look of liquid are transmuted into powerful new sculptures – which are best experienced at a high volume on the far side of the sky.

Signed to Warp Records as a teenage electronic music prodigy, Edgar has recorded for the world’s most respected imprints (Warp, K7, Hotflush and his own New Reality Now). Raised in Detroit, with stints in Berlin, Atlanta, Los Angeles, and New York, his list of close collaborators includes Hudson Mohawke, Danny Brown, SOPHIE, DAWN, Mykki Blanco, Vince Staples, and Machinedrum (as one half of their duo J-E-T-S).

Read more about the project on FADER.




3 - DREAMS 1000000 (FT MILK) 







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