Review: A big Juno bear hug goes to the folks from Tresor for releasing a string of sublime re-issues this year. The latest is Drexciya's seminal Harnessed The Storm long player, generally a much darker affair than Neptune's Lair, which itself was reissued earlier this year. It is hallmarked by longer, more exploratory tracks, full of sinister twists and turns. The stormy electro thunder of "Digital Tsunami" is perhaps the standout moment here, closely followed by the subterranean squelch of "Soul Of The Sea". "Dr Blowfins Black Storm Stabilizing Spheres" has an eerie crackle that predates the current vogue for dark atmospheric techno by nearly a decade, while the robotic key melody on "Song Of The Green Whale" marks it as the LP's most playful moment. Highly recommended for electro and techno purists alike.
Review: Given that he took his DJ/production pseudonym from the name of a 19th century Romanian writer of folk stories, it's no surprise that Petre Insperescu's chosen form of techno is shuffling, atmospheric and classically-minded. Sitting somewhere between Luciano, Ricardo Villalobos and Nicholas Jaar, his sparse but well-rounded productions are simultaneously pleasingly calming and genuinely energetic, full of curious touches (a twinkling, distant piano here, a cut-glass string trio there) and gentle exploration. Gathered together and mixed into a seamless whole, as on this first mix for Fabric, they offer an intriguing journey that should appeal to all those who love their techno subdued and atmospheric.
Vatican Shadow - "Church Of All Images" (Regis version)
Fiedel - "Andreas" (bonus beats)
Cub - "Cu2" (Ust Funk mix)
Mary Velo - "Detune"
Jpls - "Basis"
Rrose - "Wedge"
O - "Syvays"
Rrose - "Wedge"
Function - "Modifier"
Carl Craig - "Darkness"
Markus Suckut - "Hunt"
Samuel Kerridge - "Waiting For Love" (part 1)
Untold - "Motion The Dance"
Surgeon - "As You Breathe Here Now"
Mark Ernestus - "Mark Ernestus meets BBC"
Plastikman - "Plasticine"
Trevino - "Uptight"
Vcmg - "Spock" (Regis remix)
Planetary Assault System - "Flat Tire"
Factory Floor - "16-2-16-9-20-1-14-9-7"
James Ruskin - "Into A Circle"
SS/S - "Sicario De Dios: Siglo 2"
Laurent Garnier - "At Night"
Function - "Voiceprint" (reprise)
Review: Despite the nebulous Sandwell District label ceasing operations at the end of 2011, the name has lived on as a performance based entity with Female and Silent Servant leaving it to be fronted by Karl 'Regis' O'Connor and Sumner. Thus the latter two step forth to man the figurative decks for this stunning induction into the Fabric mix series. Productions from the pair feature heavily, with several tracks from Function's recent Incubation brushing up alongside several of Regis' recent remixes for Blackest Ever Black and VCMG, while Sandwell alumni Silent Servant and Rrose also feature in the form of "A Path Eternal" and "Wedge" respectively. There are also a few surprises in the form of Untold's "Motion The Dance" and Factory Floor's "16-2-16-9-20-1-14-9-7?, which are joined by experimental fare from Boyd Rice and Samuel Kerridge. A must for fans of Sandwell District.
Polished Chrome (feat Gary Numan - The Friend Part 1)
No Regrets (feat Aleen - The Friend Part 2)
Review: While he forged his reputation on fearlessly mechanical, no-holds-barred techno, Chris Liebing's occasional albums have tended to take a more widescreen approach. For example, his last solo set, 2003's "Evolution", jogged between spoken word, ambient, techno and left-of-centre breakbeat. He's taken a similarly eclectic approach 15 years later with "Slow Burn", a full-length low on rip-snorting club fare but high on atmospheric electronica, hypnotic chuggers, woozy ambient, early '80s cold wave influences, nods to early industrial music and a clutch of impressive collaborations (Gary Numan, who pops up on "Polished Chrome", being the most eye-catching guest). For the most part, this approach pays dividends, with the intoxicating "Trilogy", becalmed "So Then" and John Carpenter influenced "Ghosts of Tomorrow" standing out.
Paperclip People - "Country Boy Goes Dub" (Marcel Dettmann remix)
Norman Nodge - "BB 1.0"
Francois X - "Rising"
Marcel Dettmann - "Lightworks" (Phase remix)
Lockertmatik - "M Lock 4"
Wincent Kunth - "Carlre"
Joey Anderson - "Repulsive" (Marcel Dettmann edit)
Marcelus - "Flash"
Vril - "Torus XXXII"
Review: When it comes to DJing there aren't many names as trusted as Marcel Dettmann to provide the essential mix, be it in CD or podcast format. To date he's curated the second installment of Ostgut's in-house Berghain mix series and the Conducted mix for Belgian label Music Man. So it's about time Fabric invited the Berghain resident to participate in their own mix series, with this 77th edition providing a selection mostly based on unreleased MDR demo tracks that Dettmann's been utilising in his sets for years. The result is a good primer for what to expect from his label in the future, with Answer Code Request, Norman Nodge, Ilian Taper Dario Zenker and French producer Marcelus amongst the high-profile names contributing unreleased productions.
Review: Zak Khutoresky AKA DVS1 famously doesn't do many mixes. It's perhaps unsurprising, then, that he apparently initially struggled to know how to approach this contribution to Fabric's now legendary mix series. Really, he shouldn't have worried. The finished mix - completed using three turntables and a mixer - is something of a gem; an all-action techno assault on the senses with Khutoresky whipping through 29 tracks in less than 80 minutes. Impressively, every track is an unreleased exclusive, with some 16 of these forthcoming on the DJ/producer's HUSH and Mistress labels. In many ways, it's a near perfect package for those who enjoy Khutoresky's muscular style; certainly, the inclusion of so many unheard gems makes the first listen a genuine voyage of discovery.
Beatrice Dillon & Rupert Clervaux - "The Same River Twice"
M:I:5 - "Masstab 1:5/11"
Jan Jelinek - "Tendency"
Dresvn - "Untitled B1"
Objekt - "The Stitch-Up"
Two Full Minds - "No Smoke"
Photek - "T'Raenon"
Don't DJ - "Pornoire"
Flanger - "Spinner"
Carl Craig - "A Wonderful Life" (Epic mix)
Call Super - "Acephale I"
Call Super - "Acephale II"
Marco Bernardi - "Demonia"
Jega - "ZX82"
Shanti Celeste - "Strung Up"
Bitstream - "Incubator"
Bruce - "Sweat"
Convextion - "Niche"
Karen Gwyer - "Hippie Fracca"
Thomas Ankersmit & Valerio Tricoli - "Plague #7"
Walter Brown - "Keep On Walkin'"
Yves Tumor - "The Feeling When You Walk Away"
Max Loderbauer - "Giant Hug"
Speng Bond - "Cutbacks"
Review: Soon, Fabric's impeccable mix series will reach its 100th installment - an impressive achievement in anyone's book. This 92nd volume comes from rising star Call Super, who joins the dots between all manner of tasty house and techno treats - some left-of-centre and quirky, others simply wonky and picturesque - over the course of 80 hugely entertaining minutes. According to the producer, it's designed for the break of dawn, rather than peak-time, a fact reflected in the presence of dreamy, loose, fuzzy and melodious tracks from the likes of Carl Craig, Speng Bond, Max Loderbauer, Shanti Celeste and Dresvn.
Jesper Dahlback & Mark O'Sullivan - "When I Was Young"
Midland - "First Tube"
Review: Midland apparently spent much of his years fantasizing about one day playing at superclub Fabric, so it's perhaps fitting that the globe-trotting producer has finally been given a chance to contribute to the club's long-running mix series. Beginning with the woozy, off-kilter electronica of Georgia's "Pey Woman" and ending with his own "First Tube", the mix sees Midland effortlessly join the dots between breakbeat-driven house, skewed analogue techno, hypnotic leftfield tech-house, warm and fuzzy ambient house, quirky broken techno shufflers, throbbing electro and lots more besides. What's perhaps most impressive - aside from the quality and subtle variety of music on show - is the DJ/producer's willingness to flip the script and allow for lengthy beat-less intros, confirming his belief that mixes should be about more than a simple linear journey.
Review: Let the sermon begin - Detroit techno legend and innovator Robert Hood steps up to deliver the latest installment of !k7's legendary DJ Kicks series and it's an edition well worthy of attention. The ordained minister leaves the minimal techno sound that he helped pioneer, for powerful, big room techno on this highly anticipated mix. Despite his famously linear approach, here he builds tension between tracks with suspenseful breakdowns throughout. Highlights include the direct impact of his own "Focus" and its factory floor stomp, his hypnotic rework of Landside's "Signs Of Change", the seething tension of Slam's "Remain" and the return of Space DJz' Ben Long who teams up with Belgian veteran Tom Hades on the sci-fi epic "The Knight Rider".
Review: Since Emeralds disbanded earlier in the decade, Steve Hauschildt has impressed with a serious of largely overlooked albums on Kranky that showcased his innate ability to craft distinctly melodic music that sits somewhere between IDM, slowly shifting ambient, droning soundscapes and more ethereal home listening techno. Dissolvi, his first album for Ghostly International, could well be his most accomplished solo work to date. While it explores similar sonic territory to previous full-length releases, the set is bolder, more atmospheric and, at times, intensely beautiful. While undoubtedly fresh, those with long memories will note audible nods to ambient and deep techno greats of the early 1990s, including Jonah Sharp (Spacetime Continuum), Pete Namlook and, most obviously, Boards of Canada. In a word: timeless.
Review: For the last decade, Submersion has served up a swathe of atmospheric, otherworldly albums that effortlessly blur the boundaries between sound design, dub techno, drone and ambient. The publicity-shy artist's latest effort for Andrea Porcu's ROHS! Imprint follows a similar blueprint, offering up a septet of beguiling, dub-wise soundscapes crafted partly from homemade field recordings (a detailed list, including the dates they were captured, is featured on the sleeve). It's a hugely intoxicating sound soup, similar in ethos to the likes of Stephen Hitchell's Variant and Intrusion projects, with a comparable level of sonic detail and druggy, early morning charm.
Hemisphere Dub - "Memorie De Racines" (feat Eder-B)
Ondarituale - "I Segreti Di Una Generazione Di Mezzo"
Rer Repeter - "Dehydration Sequence"
Rainforest - "Light Cascade"
Mystica Tribe - "The Bells"
Review: ROHS! Records' first Dub Affairs compilation won the hearts and minds of many dub techno devotees when it appeared back in 2015. This second volume follows a similar blueprint - think scratchy dub techno, drone-encrusted ambient dub and spacey, intergalactic compositions - and is every bit as essential as its predecessor. Highlights include the fluttering melody lines, ultra-deep sub bass and broken rhythms of Gulls' "Inside Way (Version)", the dreamy, slow and low shuffle of "Caligari's Dub" by Bademah, and the exotic, up-tempo dub-tronica of Ondarituale's vocal number "I Segreti Di Una Generazione Di Mezzo". Best of all, though, is arguably Mystica Tribe's "The Bells", a positively loved-up trip into global dub fusion.
Casual Violence - "Acceptance Of The Fact At Hand"
Victor Martinez - "Dav To Dub"
Fanon Flowers - "Invisible Life"
Grovskopa - "Haas"
Casual Violence - "Word & Form" (version II)
Grovskopa - "Atopic" (Lag remix)
Grovskopa - "Stinson"
Sect Outro 1
Review: "It's All For You" is a complement to the Sect vinyl catalogue, and a mark of respect to the CD in techno history. Artists known and new swell the ranks, representing the techno forms in the honorable Sect style. Beyond the usual, exceptionally high standard of quality from the Sect roster of artists so far, new artist productions on the first CD include Ben Gibson's "Clamour", a modern take on a Tokyo-style future cityscape, Jeroen Search's "Section A", a physical, forward thinking deep techno triumph and Voidloss' "In The Void" - techno the way it should be made for the 21st century. On CD 2, AnD's "Granular" offers traditional dub aesthetics and modern techno techniques taken to a wholly satisfying next level, while OCH's "Tears" manifest as a dark techno experience of rhythm-led lines of perfection. CV's "Acceptance Of The Fact At Hand" hones hues of colour in aural form, as a subtle vista is painted with strings of haunted beauty.
Review: As the Houndstooth roster becomes increasingly diversified with age, so Call Super remains the label's brightest star. Responsible for inaugurating the Fabric-housed operation, J R Seaton has subsequently gone on to deliver some of their best 12" offerings and the time feels right for the Berlin-based producer to show his hand at full length albums. In contrast to the techno-focused approach of his Call Super 12"s, Suzi Ecto finds Seaton expanding on his palette with 11 tracks that veer wonderfully between moments of electronic poignancy and more thrusting fare. Spend some time with Suzi Ecto and you'll find it to be one of this year's most rewarding listens with new favourites emerging with each cycle - "Raindance" is the current fave here at Juno HQ.
Review: We never quite know what to expect from leftfield explorer Jon Hopkins, but we know it will be worth a listen. Immunity, his fourth solo album (he's recorded two others, one with Brian Eno and another with King Creosote), doesn't disappoint. Rooted in shuffling, forthright and occasionally off-kilter rhythms, it melds hazy, late night atmopsherics and subtle melodies with intense, droning chords, woozy electronics and all manner of inventive noises. It's a blend that repeatedly pays dividends, from the mournful pianos and jumpy rhythms of "Breathe This Air', to the crystalline, soundscape ambience of "Abandon Window", and glitchy wonkiness of "Form By Firelight".
Review: This year, Richie Hawtin has been in a nostalgic mood. With the Plus 8 label he co-founded reaching the grand old age of 25, he's been revisiting his youth and releasing a series of anonymous - but barely disguised - white label 12" singles that doff a cap to his most famous early projects, including FUSE, Circuit Breaker and Plastikman. Here he gathers those together, alongside other similarly minded tracks, on the surprise full length From My Mind To Yours. Largely focused on drum machine jack-tracks, acid, electro and no-nonsense techno, the two-disc set's 16 tracks feel like products of another time. Given the quality of Hawtin's work throughout the '90s, though, this is no bad thing.
Review: Given that Four Tet's recent 0181 LP was comprised of material from Kieran Hebden's archives, and last year's Pink was largely compiled of tracks from the previous 18 months of 12" releases, it seems fair to say that Beautiful Rewind is his first proper album since 2010's There Is Love In You, and as such, it arrives with some degree of expectation. The past few years have seen the producer engage increasingly with the dancefloor, and these rhythms are most definitely present across the LP, particularly in the jungle breaks of "Kool FM", pirate radio-influenced techno of "Buchla" and hesitant dubstep style rhythms of "Parallel Jalebi". For the most part however Beautiful Rewind is as varied as the likes of Rounds and There Is Love In You, with the minimalist kosmische of "Ba Teaches Yoga", analogue gurgles of "Crush" and dawn chorus sounds of closer "Your Body Feels" all as beautiful as his most enduring tracks.
Review: As usual, prolific dub techno producer Rod Modell has spent much of the last year collaborating with long-term studio buddy Stephen Hitchell under the Echospace alias. Even so, he's still somehow found time to ready another solo album for Soma (his fifth in total for the esteemed Glasgow imprint). This CD version is presented as a continuous audio journey, with tracks seamlessly segueing into each other to create a hazy and hypnotic sound soup. As you'd expect, it's a hugely atmospheric and attractive affair that dozily drifts between meditative ambience and texture-laden dub techno. Pleasingly, much of the material is more melodious and positive in feel than some of Modell's work, which can often tend towards the dense and claustrophobic.
Review: Ryan Hunn AKA Illum Sphere has impressively grown and matured as a producer since making his debut on Fat City back in 2009. His 2014 debut album, Ghosts of Then & Now, was something of a watershed moment, tempering his experimental, bass-heavy dancefloor compositions with a newfound love of cinematic sounds. Glass arguably moves further in the latter direction. While there are some nods towards his club-ready past - see the 4/4 shuffle of "Fall Into Water", or the moody electro bounce of "Fuel The Fire" - it's not the beats that dominate, but rather his evocative chord progressions and IDM style melodies. In fact, it's the more sanguine, ambient inspired cuts, of which there are numerous, that really stand out.
Review: ***B-STOCK: Box damaged, product unused & in perfect condition***
- Creasing to corner of sleeve
"It's like painting with button and sliders... Melting and dripping, seeping yourself liquid into the machinery." So said Darren Cunningham when discussing the creation of R.I.P, his long awaited follow up to Splazsh. It's a compelling image that works in practice too. R.I.P creates microcosmic sound worlds within each track: "Holy Water" for instance tumbles in on itself in a melange of shimmering sine wave droplets, while the pitch shifted waves of "Tree Of Knowledge" seem to inhale and exhale like a living being, crumpling inwards on itself to repeat the same motion ad infinitum. And although it uses much the same, occasionally abrasive sonic building blocks as Cunningham's been developing for many years, the pastoral tones of "Uriel's Black Harp" and the Alva Noto styles of "Jardin" make R.I.P a surprisingly graceful album. It may not be techno as many will know it, but Cunningham has never made techno in the traditional sense anyway - and it's clear on listening to R.I.P that he's only just beginning to realise the musical forms that have been swarming inside his brain for years.
Review: Under the NHK yx Koyken alias, Japanese producer Kouhei Matsunaga has made some of the most arresting experimental techno of recent times. Here he lands on DFA following acclaimed releases on L.I.E.S, Computer Club and DFA. Interestingly, he's used this second full-length excursion to largely step away from the dancefloor - a couple of tough-as-teak outsider techno workouts aside - instead diving headfirst into the world of fuzzy electronic experimentation. As a result, the eight showcased cuts are even wonkier, weirder and more imaginative than his previous work, touching on drone, Autechre style IDM, PAN-style modular oddities and noise-laden industrial soundscapes. Expect to be challenged and entertained in equal measure.
Review: ***B-STOCK: Box damaged, product unused & in perfect condition***
- Creasing/small tear to corner of sleeve
Having previously been responsible for a number of themed compilations for Versatile Records, the Acid Arab crew has finally got round to delivering its' first album of original productions. Naturally, it continues their theme of blending North African and Middle Eastern sounds - be it vocals or instruments - with drum machine rhythms and vintage synthesizer sounds. This, though, is where the similarities to their previous work end. While there are a few house-influenced cuts dotted throughout (see the brilliant "Sayarat 303"), for the most part Musique De France veers further towards off-kilter electronic pop. Along the way, they doff a collective cap to new wave, punk-funk, and hazy indie-pop. While it may lack the crackling energy of their more dancefloor-minded productions, it's still a hugely enjoyable set.
Review: While Black Dog founder Ken Downie has rarely been one to talk candidly in the press, his current studio partners, Martin and Richard Dust, have been known to deliver angry missives on a variety of topics. It's perhaps unsurprising, then, that the trio's latest album- their first for nearly three years - appears to have been inspired by the current state of politics and the media. Full of knowing track titles, melancholic refrains, frustrated rhythms, dystopian soundscapes and angry motifs, the album's thought-provoking intent is rather overshadowed by the quality of the music on offer. You'll find bustling electro, end-of-days ambient, rushing cinematic techno, IDM and the kind of hard-to-pigeonhole fare that inspired then NME journalist Mixmaster Morris to come up with the now familiar "intelligent techno" tag.
Review: Berghain resident Patrick Graeser returns as part of the Ostgut Ton family, with his second full length opus. Much like his 2014 debut Code, Graeser has honed a hybrid musical approach that stands out in a world of uniform 4/4 techno - as heard over the years on MDR, Music Man and of course his own Answer Code Request imprint. Gens is a diverse yet cohesive affair, between the more straight-ahead tracks like "Knbn2", "Cicadae" or the particularly seething "Sphera" (which are breakbeat driven, bass-heavy and UK inspired), there are some mentalist IDM journeys ("Ab Intus/Audax") and even breathtaking ambient moments like "Orarum" and "Mora". Brilliant stuff.
Review: Kompakt staple Axel Willner returns to present his sixth full-length effort for Kompakt, following up 2016's rather brilliant LP The Follower. On his latest outing, Willner is said to have looked for inspiration outside of the studio, which opened up fresh perspectives on the creation of new music. Moreover, he has stated that in a current climate of hopelessness, the album provided a sense of relief and comfort to him - providing feel good moments that he did not want to end. Indeed, Infinite Moment is a much more introspective affair than previous releases, from the brooding/slow burning opener "Made Of Steel. Made Of Stone", the smoky and glacial dub techno of "Hear Your Voice" to more evocative moments as heard on "Divide Now" or the life-affirming feel of the title track - which closes the impressive release on an optimistic note.
Review: In the words of Axel Willner himself regarding his fifth studio album "The Follower is about old myths, finding utopia and how mankind repeatedly makes the same mistakes over and over". The title track is fairly stomping acid techno that hypnotises you with its loopy and sinister repetition until the snare drum and organ sets in around the five minute mark; transforming the track dramatically. There's also some stylish electro-pop noir in the form of "Pink Sun" while "Monte Verita" or "Soft Streams" have that classic Kompakt sound ie: ethereal and dreamy house journeys. We particularly enjoyed the droney shoegaze electronics of "Raise The Dead" and the 14 minute long closing epic "Reflecting Lights", an ambient house journey that even The Orb would be impressed by.
Review: As you're probably by now aware, the latest Special Request album, "Bedroom Tapes", includes some of the earliest music recorded by Paul Woolford in his Leeds home during the mid-to-late 1990s. The tracks were recovered from cassettes the producer rediscovered during a recent house move. There's much to enjoy throughout, from the deep and melodious electro brilliance of opener "Panaflex Sunrise" and the IDM-influenced ambient techno sweetness of "Thermatropic", to the fizzing, stargazing brilliance of "Entropy" and the high-octane, sub-heavy dreaminess of "Double Rainbow", which like a lot of the album draws influence from the likes of B12, Autechre and Boards of Canada. Arguably best of all, though, is the epic techno workout "Xenospin", a slowly rising chunk of rushing Yorkshire futurism.
Dalhous - "He Was Human & Belonged With Humans" (Regis version)
Regis - "Blood Witness" (original 12" mix)
Vatican Shadow - "Church Of All Images" (Regis version)
Family Sex - "Manbait" (Regis version)
Regis - "Blinding Horses" (original 12" mix)
CUB - "C U 1" (original mix)
Regis - "Blood Witness" (Downwards extended version)
Tropic Of Cancer - "Plant Lilies At My Head" (alternate version)
Regis - "Blinding Horses" (Turin version)
Raime - "This Foundry" (Regis verison)
Regis - "Blinding Horses" (Stableboy version)
Review: The BEB boys have had this LP from Regis in the works for a while now, getting every coldwave freak from here to Timbuktu raving with excitement. Although this LP isn't made up wholly of new tracks, it is a fine compilation of the man's most important material post his purist techno days of the late 90's and early 2000's. Within, you'll find all of his most diverse and thought-provoking works, from the infamous remix of Raime's "This Foundry" to the gorgeous techno excursion that is the remix of "Loss" by Dalhous, a collection of works that span ambient, goth, techno and EBM. However, there a three new tunes: there's the excellent Nitzer Ebb-style remix of "Manbait" by Family Sex, the electrifying "CU1" by CUB, and the wavy, far-out trip that is "Plant Lillies At My Head" by Tropic Of Cancer. Yes, this is a bit special, so do the right thing.
Review: Mancunian legends Graham Massey and Andy Barker reunite for the first 808 State album in 17 years. They recorded the new opus "Transmission Suite" in the Granada studios (where they once performed live on television 30 years ago) and looked to their hometown's club scene as their main source of influence - along with the timeless aesthetic of Detroit which has always influenced their style. Across this collection of "sonic landscapes" (as described by Massey) you'll hear the booming acid electro of first single "Tokyo Tokyo" and "The Ludwig Question", through to off-kilter jams like "Westland", futurist house grooves of "Ujala" and a modern reboot of classic "Angol Argol".
Review: Just under two years after launching in a blaze of modular noise and out-there electronics, Athens-based label Pi Electronics has decided to set up a new offshoot, PEVA, to handle the organisation's first compilation, Variable. They say the idea is to bring together unheard tracks from label artists old and new, with additional contributions from lesser-known local artists and higher profile guest stars. The nine tracks are, by and large, forthright and intense, with highlights including the clanking, acid-flecked industrial techno of JK Flesh's "Chelmsley Wood", the buzz-saw guitars and motorik machine drums of 3.14's "GBNR17", the extreme techno filth of "Spinner" by DAS and the fuzzy, razor-sharp electro heaviness of Damcase's "INKL Rules".
Review: Having patched up their much-reported musical differences, Phil and Paul Hartnoll seem to have recaptured some of the studio magic that made Orbital such a fine outfit during their 1990s heyday. "Monsters Exist", their tenth studio album, contains some undeniably fine moments in their inimitable style - see the moody creepiness of "The Raid", the cinematic techno sweep of "Buried Deep Within", the post-apocalyptic grandeur of "The End is Nigh" and the ambient symphony "There Will Come a Time", featuring rave's favourite scientist, Professor Brian Cox - as well as a few festival-friendly future live favourites.