ESP Institute

[MIX] Lovefingers - Live inna LA Warehouse (Forget The Future - February 9th, 2025) by ESP Institute

Man Power left his Northern home and ran south of the border. This is his first offering for the ESP Institute. On side A, he proves that he truly is 'The Tourist', delivering what we’re already toting as our Summer anthem—a relentless hurricane drum pattern full of toms, timbales and splashes that lays the rhythmic foundation for his Pacific chords and euphoric melodies–an undeniable floor-filler that invites all to dance unencumbered by the constraints of “functional” club music. With side B’s 'Oye', Man Power rolls out a similarly vibrant combination of drums and rhythm, however he toughens up the aesthetic with a massive rolling acid bassline, only briefly letting up for a spot of layered marimbas and spriteful pads before culminating in an emotional finale. After spending a couple years churning out tracks for various labels around the world, Man Power has undoubtably shifted his narrative point-of-view and updated his sense of craft upon his induction to the ESP Institute. These two songs will throw a wrench in your holiday.

Man Power left his Northern home and ran south of the border. This is his first offering for the ESP Institute. On side A, he proves that he truly is 'The Tourist', delivering what we’re already toting as our Summer anthem—a relentless hurricane drum pattern full of toms, timbales and splashes that lays the rhythmic foundation for his Pacific chords and euphoric melodies–an undeniable floor-filler that invites all to dance unencumbered by the constraints of “functional” club music. With side B’s 'Oye', Man Power rolls out a similarly vibrant combination of drums and rhythm, however he toughens up the aesthetic with a massive rolling acid bassline, only briefly letting up for a spot of layered marimbas and spriteful pads before culminating in an emotional finale. After spending a couple years churning out tracks for various labels around the world, Man Power has undoubtably shifted his narrative point-of-view and updated his sense of craft upon his induction to the ESP Institute. These two songs will throw a wrench in your holiday.

Juan Ramos lives on planet Earth but channels voices from the aether. This is his first offering for the ESP Institute. On side A, 'Last Of The Natives' shows us just what we’re dealing with, a master manipulator of sound and consciousness. Juan culls the toughest kick drums and thickest latex bass slaps from a deep burial in our psyche and peppers them with alien chants and fleeting electronic flutes—a combustible sense of spontaneity that may at first appear chaotic but after fully immersed in Juan’s demented world, we find ourselves willfully under his control. On side B, 'Enemy Of Enemy Is Friend' also sets off from a disorienting place where a slow progression of acid, shakers and toms takes a good minute to allow us some footing around the groove. Once settled into his sophisticated rhythm, Juan opens the door to a glorious combination of chords, clanking guitars, shakers that scrub back and forth and the occasional smear of paranormal synth. We at the ESP Institute are enamored by Juan’s seemingly infinite skill for crafting mood and extracting optimism from darkness, but seriously, what color Speedo™ should she wear this summer?

Juan Ramos lives on planet Earth but channels voices from the aether. This is his first offering for the ESP Institute. On side A, 'Last Of The Natives' shows us just what we’re dealing with, a master manipulator of sound and consciousness. Juan culls the toughest kick drums and thickest latex bass slaps from a deep burial in our psyche and peppers them with alien chants and fleeting electronic flutes—a combustible sense of spontaneity that may at first appear chaotic but after fully immersed in Juan’s demented world, we find ourselves willfully under his control. On side B, 'Enemy Of Enemy Is Friend' also sets off from a disorienting place where a slow progression of acid, shakers and toms takes a good minute to allow us some footing around the groove. Once settled into his sophisticated rhythm, Juan opens the door to a glorious combination of chords, clanking guitars, shakers that scrub back and forth and the occasional smear of paranormal synth. We at the ESP Institute are enamored by Juan’s seemingly infinite skill for crafting mood and extracting optimism from darkness, but seriously, what color Speedo™ should she wear this summer?

Damien Lynch enjoys a countryside drive in the twilight hour. This is his second offering for the ESP Institute. On side A, 'Brunette' opens with a straight-ahead techno thump of hi-hats and a pulsating 16th-note bassline — a subtle playing field composed solely with a rare 1970’s Italian machine, the Godwin Drummaker 32, unearthed from the secret back room of a music shop in rural Ireland where it hid among wonderful vintage Russian synths and oddball electronics. This elegant track drips with warm and phasing pads, gentle staccato keys and beautifully simple arpeggios that blur every now and then—all affirming Damien’s less-is-more ideology. With side B’s 'Forced Relax', Damien continues to exercise his restraint, arranging his instruments in a band-like fashion, affording each player the sonic space to project their individual qualities whilst supporting an overall dialogue. There is a soft ebb and flow to every machine’s role, whether the swelling of the bass or the interplay of the percussive keys, and when these characters arrive in one place, the result is a tranquil euphoria. These two songs will accept you for who you truly are.

Damien Lynch enjoys a countryside drive in the twilight hour. This is his second offering for the ESP Institute. On side A, 'Brunette' opens with a straight-ahead techno thump of hi-hats and a pulsating 16th-note bassline — a subtle playing field composed solely with a rare 1970’s Italian machine, the Godwin Drummaker 32, unearthed from the secret back room of a music shop in rural Ireland where it hid among wonderful vintage Russian synths and oddball electronics. This elegant track drips with warm and phasing pads, gentle staccato keys and beautifully simple arpeggios that blur every now and then—all affirming Damien’s less-is-more ideology. With side B’s 'Forced Relax', Damien continues to exercise his restraint, arranging his instruments in a band-like fashion, affording each player the sonic space to project their individual qualities whilst supporting an overall dialogue. There is a soft ebb and flow to every machine’s role, whether the swelling of the bass or the interplay of the percussive keys, and when these characters arrive in one place, the result is a tranquil euphoria. These two songs will accept you for who you truly are.