Despite being a prolific live artist and beat freak in his own right, Hi-@-O chose a compilation as the first project to bear his name on Klorophorm. All artists produced their works in dark rooms and states of positivity, editing tracks produced for self satisfaction over the past five years. In Pat D's case the tracks were completely fresh compositions. The first time our resident genius has seen fit to take on such a task and my gosh are we glad he made them. Not content with being a guitar and keyboard virtuoso guest on about half of Klorophorm's tracks, here Pat produces staccato beats which morph in to a regular pattern and back again on 'Ru2up' as a background to interwoven polyrhythmic bass and creeping keys to haunt and tickle the inner parts of your mind. On 'Porchlight', you can hear his melancholic yet uplifting jazz side, possibly learned during the 80s, but with another three decades of subtlety worked in to the track. Then on 'What Planet Are U From', his wierd and quirky techno spirit which always rears it's head at about the hour mark of any Adlib session. He is a one off and we're proud to present him in the raw here. Kid mercury lends us some of what we call 'The Gabe Stuff'. Inherently trippy, atmospheric electronics with a picture or scene in mind. Opening the album with a slice of 1995, much reminiscent of those early D.I.Y. tracks which came out of the Ibiza chill out scene via Nottingham, 'Sora' is a short intro. piece built on some lovely grainy keyboard strains and a simple slow beat to relax and take you out of your working mode. 'Urban Holographic' gets us familiar with Kid Mercury's unique take on downbeat music. Multi layered instrumentals and effect laden stereo spread production compliment the original track which was played as an improvised live piece along with Porl B, as is the case with 'Cumulonimbus', which is a stirring horn laden warning track evoking pictures of storm forces and the calm that follows. Also providing the outro, Kid Mercury shows us a lighter side on 'Brad Shrugs his Shoulders', whimsical yet breezy melody floats over the upbeat drum pattern giving us a nostalgic autumnal ending to this compilation. Label owner Porl B provides 4 tracks from the vaults, all recorded in 2010 and left aside to mature, then mastered for this compilation. Starting with 'FUK DISCO', which is a sub bassed house track engineered for large systems with plenty of woof. Looping up a roller boogie style drum beat and delaying the clap using pitch echos, this track has a post modern disco feel with it's twisted string effects and high frequency radio tuning. One for your DJ sets. 'Wasters' is the only vocal track on the album, and is a joyful and uplifting breakbeat track with jazzy electro bass lines and one lush Rhodes sample making a bed for Porl's usual live effects festival and megaphone MCing. Positivity abounds on this track. On 'Malz Day', there's a cracking 8 bar broken beat drum sequence with the MPC acting as a full band, through the magic of sample manipulation and midi instrumentation. 'FUK JAZZ' is Porl's interpretation of electro jazz. Starting with a 16 bar melee of drum hits which appear to represent someone in possession of a drum kit having a fit, the pattern makes sense with the introduction of the first string sample, transforming the jerky unrythmn in to something quite danceable. Then come the synth bass and all kinds of flipped up vocals and we've got a really working jazz track starting to form. the nail soup is completed by an ARP type synth line which continues throughout the track, providing a cheeky play out. Very unique, and still fresh as a daisy five years on. Last but not least, the compiler of this unforeseen album Hi-@-0 does what he does and provides us with his off-time, glitchy, analogue meets electro staccato beats and phrases. His three tracks with 'Searching', which in a microcosm, is what you can expect from a Hi-@-0 set. Much attack on the string hits, mixed with vocal samples and toy sounding techno noises to form a coherent phrase on which to place a jerky beat or a classic Hip-Hop Boom-Bap. In this case it's the jerky option. 'Breeze Block' goes for a subtle Boom-Bap over an instantly nostalgic string arrangement, and hard edged unpolished percussion squeezed out of a record, through the fingertips and in to a pattern via the MPC2000, completing this mid 90s style 'let's release a white label vinyl' type track. 'breeze block' starts off with some eastern delight from the Sahara, and continues with it's chimes and aural acknowledgement of the depths of masculine fantasy to make us imagine a sumptuous belly dance from the most erotic purveyor of the evening arts. This is us as individuals, making an album. It's thought provoking instrumental music for people who listen. We think you'll understand.