Electronic in Spatial Audio

AFFKT - THE BIG PICTURE (ALBUM) 

““The title 'The Big Picture' is about seeing things from a positive perspective, the album wants to be an optimistic pill although a big reflection of what I have been, what I lived and what I have become at this very moment. I feel in an age where I feel fine looking at the past as much as looking forward to the future.” (AFFKT)

Definitely inspiration strikes in a myriad of waves. New AFFKT’s album brings together all the best feelings and elements of the Spanish producer creativity into one cohesive release. New concepts and styles to deliver everyone some of the energy that needs to be released after a forced pause. 

Sonically speaking ‘The Big Picture’ is probably his most expansive and multifaceted electronic-driven album to date. AFFKT’s carefully constructed retro-futuristic electronica definitely suggests the quaint and unique forms of body music bringing ties with rock, pop and certainly more organic sounds. The musician is creating a new path, a new future by travelling to the past.  This new LP is redefining its own new genre somewhere between techno, indie dance, industrial and new wave inspirations. He perfectly manages to thrill us –in a very and innate sense- as well as taps into our very core. 

That said the songs of the new album hide unforgettable moments in the artist’s life. Let’s take the song ‘Bloom’ as an example. The melody is inspired by a song AFFKT’s mother used to play him when he was a child ('Eye in the Sky' by The Alan Parson Project). ‘Abre los ojos (feat. ELLE)’ which talks about dreams, borrows its title from the famous 1997 film by Alejandro Amenábar. ‘Ueli’ is a beautiful tribute to his grandmother who now passed away almost a year ago; another big mark of respect is ‘Adiós ayer (feat. Piek)’ on this occasion with the iconic Ibiza DJ José Padilla -who also passed away recently and who was undoubtedly a reference for AFFKT- in mind.

“For instance, the song entitled “End of the Road” is a kind short story written by me, but read by a robotic voice. It says: From the top of the mountain you can see the end of the road. Nothing looks the same from this point; the old fears are gone and everything seems to make more sense; the vision and sensations from up here is such it; it has undoubtedly been worthy. I definitely see my music as a really colourful open-minded combo of many different sounds that is an important dogma to me” AFFKT attests.

Unlike when composing an EP, AFFKT likes to build his albums in a cinematic way. By taking a sonic approach to telling stories. The artist is looking for a deeper, more descriptive way of working and describe feelings, moods, by using a different language. ‘The Big Picture’ can be enjoyed while dancing, as well as serving as emotional therapy.

‘The Big Picture’ album will be released exactly 4 years after the previous ground-breaking LP ‘Son of a Thousand Sounds’ on Sincopat. Interestingly, AFFKT’s debut album –‘Punto 0’- was also released with a difference of 4 years. This must somehow hide some runic secret and mean something. Something good! 

Tracklist

1. As Far As We Can Go
2. Abre los ojos feat. e11e
3. Calipso
4. Zambomba feat. Sutja Gutierrez
5. The Dream is Real
6. End of the Road
7. Bloom
8. Jandia
9. Nothing's Gonna Change My World
10. Let it Burn feat. Sutja Gutierrez
11. Torpedo
12. Ueli
13. Adios ayer feat. Piek

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Stream/Download: https://mobilee.lnk.to/TheBigPicture

The Big Picture

As Far As We Can Go

01 AFFKT - As Far As We Can Go

Buy → l-ky.me/eli

New York based percussionist and composer Eli Keszler is set to release his new album Icons on June 25 via LuckyMe. Icons is an immersive work in perpetual motion, evoking a glorious and dystopian western world. Known as a frequent collaborator to Oneohtrix Point Never, Laurel Halo, Kevin Beasley, and Rashad Becker, Keszler’s latest solo venture offers up a latticework of melodic percussion, drum set, and electro-acoustic instrumentation, built upon fragments of American abstraction, ancient scales, industrial percussion, and jazz-age film noir to achieve its feeling of imperial decay. Keszler’s instrumental performances are framed by panoramic recordings of New York City and the Odyssey Cave, along with other on-location audio from his global travels, defining an expansive music that takes on hyperreal forms difficult to describe outside of the loss and wonderment that defines our age.

“Icons is the music I made during a time where travel and trade were effectively suspended,” states Keszler. “I spent nights wandering around Manhattan collecting recordings of the empty and silent city where a car alarm was audible from blocks away, where the hum of the electrical grid and the clash of bicycle gears suddenly occupied a massive amount of space. I spent the entirety of that year in Manhattan, probably the longest I’ve stayed in one place in over a decade. The island was essentially shut down and running at an erratic pace. The speed of the city seemed to oscillate from intense speed - ambulances, protests, helicopters — to near stasis — a sort of beautiful, strange, serene stillness. I saw something strange and beautiful happening: power cracking and people changing. With Icons, I was working with these mythological tropes that are deteriorating and decaying before our eyes to create a music that finds beauty in our fragile and unstable reality.

Keszler has released music on Shelter Press, Empty Editions, ESP Disk and PAN. His 2018 album Stadium was awarded Boomkat’s Album Of The Year. Most recently, Keszler wrote the original score to Dasha Nekrasova’s feature The Scary of Sixty First (which made its recent premiere at Berlin Film Festival) and contributed to Daniel Lopatin's original score for Josh and Benny Safdie's Uncut Gems. Keszler’s music, installation, and visual work have appeared at the Whitney Museum, Lincoln Center, MIT List Center, Victoria & Albert Museum, Sculpture Center, The Kitchen, South London Gallery, Hessel Museum, Harvard's Carpenter Center for the Visual Arts, Luma-Foundation, Barbican, Walker Art Center, and MoMA PS1.

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Taken from 'CHOROPHOBIA', released September 05, 2025 on Ninja Tune imprint Technicolour: https://Weval.lnk.to/chorophobiaSo

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Close to you

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Skream & Benga - Good Things Come To Those Who Wait

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Servants of the Scourge (Type D) (Supercharged Symphonic Arrangement)

Born in Central Asia in 1990, Liam spent his early childhood in the Tien-Shan mountain range. He started playing the piano at the age of 6 and began to record and produce music on mixers and tape machines early on. With a background as a singer, songwriter and multi-instrumentalist he was more and more drawn to enhancing his technical skills in music production. After moving to Berlin, Liam set up his own studio at the renowned Funkhaus Berlin.

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