by William Hancock.


downtempo electronica

Pan Electric – Step Out.

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He’s back! Matt Coldrick (Pan Electric, Green Nuns of the Revolution) has returned after a hiatus on the tail of Music For A Busy Head and his recent world music project, Quiet Earth. 

Liquid Sound Design presents Pan Electrics latest album Step Out.

Another downtempo masterpiece. Tight production, solid composition and inspiring creativity.

Features of note:

-the discordant, chaotic introduction before we drop into the sweeping plains of guitar and electronic beds.

-The honky tonk break at the end of Half World. Superb.

-Some inspiring and positive vocal samples in Rhythmn is a Sense.

-Deep dubby travel power in Rising Slowly, a phrase we’ve heard before! The power of this track builds nicely.

-Cant help feeling like Sweet As Rain reminds me of something.

-And a faster if not slightly chaotic danceable number with Shadow Hunters, a track that was remixed here to celebrate Pan Electrics first release 20 years ago on James Monro’s label Flying Rhino.

Stoked to hear more from this talented fellow through an album that delivers and was worth the wait. And a nice smattering of guitars to cap it off.

Release date 7th of December 2018 on Liquid Sound Design. 

Check out the promo video here:

Triskele Management. 

Design Folio – William Hancock.

Recent works for coming show next year. Pen and Ink. Meditations on Geometry.



Older work from past shows in the same vein. Above are extensions from this body of work.



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The above right stencil of paint on black paper was the brand logo used for 2008 show. It was used on all promotional material including advertising graphics in Art Almanac circulated internationally.

IMGP2780 22-36-56 This guitar was designed and constructed using exotic Tonewoods including Mahogany, Ebony, Rosewood and Spruce. Further detailed shots can be viewed at It was constructed while studying a Luthiers Course through Still playing great.

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Speakers made from coconut shells. The clapping sticks (idiophones) are made from Blackwood (Acacia Melanoxylon), a native Australian Tonewood cousin of the Hawaiian Koa used traditionally to make ukuleles. See here for a link to the kymatix.faithweb site with a transcript of the Koa article published in Australian Guitar Magazine.

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Skateboard designs. Ink and pen.

IMGP3213 This installation is the third in a series over many years. The first was made with papier mache and cardboard, the second were similar although painted with natural colour and used green shade-cloth for the leaves. This was aiming to be lit with the UV light underneath and a waterwave projector to give the palm dappled light and an illusion of glowing and moving. Also lit through the holes in the trunks. The design didn’t quite have the affect I was looking for so is considered a sketch for future developments in the series.

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A recent series of chilli shaped cushions designed for use as a tactile installation.


Food design. Slow cooked pulled-pork sliders with red cabbage coleslaw and bbq sauce on the left. An attempt at an old school Big Mac on the right complete with Mac sauce recipe found on you tube, direct from the original manufacturer.

IMG_0949coffeeIMG_2487 Shameless self-promotion of latte art. Theres something amazing about these designs that flow out of the jug. Every time I pour a coffee it never ceases to amaze me just how beautiful and individual they can be. A result of gravity, the coriolis effect and the baritsas motor skills.

IMG_2200 A design installation done purely for fun using offcuts from a recently installed front fence. Ink and Pen. This is the result of feeling frustrated with the mode of online study.

SCN_0012 An etching plate yet to be printed.

A collection of works from over the years that have been done more for fun than for professional application. Art and Design has been present in my life from a very young age and something I enjoy on a personal level, from a place of self-development and enjoyment. My upcoming show will be a body of work centred around the forst couple of shits in this series, developing into the use of coloured pen and ink and further geometric representations of fractilised design and meditations centred around the materialisation of Metatron’s Cube.

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New Downbeat Electronica DJ Mix by Will Hancock.

New Chill Mix featuring some of the tracks written up over the past few months.

Track List:

1. Heart Green Contentment – Matt Coldrick – Music* For A Busy Head. (Rogue Reptile Records).  2015. (Re-Release).

2. Nature Boy – Another Fine Day – A Good Place To Be. (Interchill). 2015

3. Losing My Mind – Honeyroot – Sound Echo Location. (One World Music). 2003

4. Floating World – Spatialize – Radial. 2015

5. Run – Sunmonx – In The Trees EP. (Interchill). 2015

6. Tide – Amanaska – Escape. (One World Music). 2014

7. Garuda – Pravana – Eastern Meditation. (Simon Lewis Music). 2009.

8. Embrace – Endorphin – Embrace. (Sony). 1998.

9. Low Sun – Chicane – Behind The Sun. (Xtravaganza Recordings).  2000.

A relaxing mix of mainly fresh, new tracks with a couple of golden oldies thrown in for a sweet finish and lingering aftertaste on the palate.

Check out some Experimental Downtempo Electronica and other DJ Mixes at

Spatialize – Radial and On The Edge Of Forever.

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“Double Release Hints At Triplets”.

Neil Butler self–released two albums at the same time in early December of 2014 under his Spatialize moniker. Enjoying the option of offering high quality 24bit FLAC downloads and the efficient, cost effective means of digital sales allowed Butler to let the two ‘birds’ fly together, allocating more of the budget to France based Hermetech Mastering. The high production quality is second only to the inspiring composition on both albums.

Radial and On The Edge Of Forever each come in at about 55 minutes. “Any longer than that [for electronic music] and you start to lose your concentration and the album just becomes background music”. It’s this type of meticulous attention to detail that is prevalent in the production of both his latest releases. After sifting through the unreleased material from the past couple of years “there was a core of tracks developing around a slightly different, darker, groove-based, electronica style”. “All-in-all I could see three albums emerging through the fog. Radial in a darker electronica style (and) On The Edge Of Forever in a psychill/global mood…”

Radial’s first two tracks sit comfortably in that groove-based niche. Driving progressive beats with cracking hats, and bridging synth melodies make for an exciting and inspiring introduction to the album. Later in the list we find a collaboration with Matt Hillier of Ishq.

On The Edge Of Forever seems to follow the same format. Two quick ones to start, dropping into several slow to ambient selections and a collaboration in the tail end, this time with Matt Heath aka. Krusseldorf.

The Downbeat Electronica genre has been defined by producers like Butler. So much so that this producer has gone on to define his own. Ambisonica. Downtempo, spacious, crisp, melodic and musical. These tracks are well composed and executed by someone who is obviously creatively talented and well educated in the art. A real pleasure to listen to. Both as individual tracks and as a progression through the albums. One can only hope that the hinted-about third album of the litter, Encrypted Transmissions is as good if not better. Apparently it is closer to the styles found on Radial. You little beauty.

Supercozi – Bioshifter.


“Cozi Gets Super To Shift Up With Bio-Body”.

Yukimi Yonezawa released her third full length album as Supercozi in early May, 2015 on Wakyo Records. Bioshifter spans the Electronica, Techno and Downtempo genres showing her talent and diversity as an artist. With releases in many genres and a reluctance to pigeon-hole her production styles or music to any particular one, Cozi seems to thrive through enjoying the many different sounds of Psy Chill, Dub, Glitch, Trip Hop, Ambient and Downbeat.

After dropping out of university to work in a record store whilst gigging on vocals and guitar, Cozi taught herself audio production using Mac and an Akai sampler. Around 1997 she had an epiphany with the new school tech, quit the band and started DJing in clubs and parties around Tokyo.

Looking at the downtempo tracks on Bioshifter we find; Nebula to Nebula feat. Martin Denev. A dreamy almost ambient electronic creation drenched in reverb and large expansive pads, expressed in a watery atmosphere. Owl in Me is slightly quicker with a percussive voicing, highlighted by hard-edged tech punctuations to give an almost trance feeling. A nice carry to the track and well- timed drops are a pleasure. D.I.V.E. feat. Reason bops along in a solid, funky bed with glitchy undertones and some washed out vocals. Auto-tuned samples worked into the tech-inspired sound give a timeless tune that could sit well in several different situations. Feels Like Yesterday feat. Sophie Barker embraces strings and a female vocal hook voiced in a gentle context, again with glitch undertones.

As a part of Zen Lemonade and with releases on Iboga, Flow, Dragonfly and her own label Hypoespresso, Supercozi is a well proven Bioshifter as she jumps between genres with natural ease.

Now available on Beatport, Itunes and Bandcamp.

Another Fine Day – Remix EP.


“Another Fine Remix EP from Another Fine Day”.

Now here’s an interesting spin on some new tunes. A few weeks ago Interchill released Tom Green’s new album A Good Place To Be under his moniker Another Fine Day. A few days ago Interchill released the Remix EP of that album. 5 tracks. 36 minutes. Well worth the look. Two of the track Spanish Blues and three of And Dream Of Seals.

Off the cuff the first tune is a ripper. Entitled Spanish Blues – Hibernation Remix this one has all the jazzy subtleties of the original. The keys, the cymbals and the delicacy coupled with a big bass synth locking in with the solid yet gentle bed of the beat. A few punctuations over the top with a grinding, dirty, textured sound and this instrumental/electronica masterpiece grooves away with the jazz contrasted beautifully with the electronic component to give a balance that is solid, toothy and downright funky. Hitting the mid-section we open into a section of pure electronica before cutting back over the top with the jazz elements of the piano. These two teams jostle back and forwards for the remainder of the game that ends in a friendly back-slapping draw of smiles and beers. The composition gives both the jazz and the electronica due process, recognition and executes it in a way only a true artist could pull off.

More of the same meaty electronic goodness in the second track, Spanish Blues – Greg Hunter Remix. Maintaining the integrity of the jazz elements and balancing the palate with deep, dark electronica. The grinding shadows give focus and clarity to the original. A slower beat count is welcomed.

Then we leave the Blues in Spain to Dream of some Seals…..

And Dream of Seals – Another Fine Day Chaos Theory Remix. The chaos comes into this one with a discordant cacophony of almost irrhythmic percussive-style background. And it seems to work musically. While not the sweetest sounds an ear can hear it certainly brings an interesting spin as the contrasting chimes float over the top.

The Alucidnation Remix of And Dream of Seals is indicative of the composer in his true style. Right at home in the ocean of sound, Alucidnation has embraced the watery feeling, kept the seals frolicking in the sunshine and even seems to be able to write the sunlight streaming through the water into an almost ambient feeling downtempo track.

And Dream of Seals – Ishq Remix. Each of these three seems to get slower and more spacious and this is one very chilled piece. With the addition of some haunting vocals and chanting, spacious atmospheric pads and a little caressing, the environment is conveyed to the listener in a way that reminds one of floating around a pool on a clear summers day.

Greens been writing music for years and after the last album, its very refreshing to see people with similar tastes working with some of his material. The release is nicely balanced with some darker electronic elements, ambient sections and mid-range downtempo all present.

Waypoint by Interchill.


“Coming of Age Chill-out Label Makes for 21 Strong Compilation”.

A very interesting compilation as far as downtempo electronica goes. Put together by Andrew Ross Collins this Interchill album is the 21st ‘various artist’ release from the Canadian based label.

The track selection textures contrast nicely together with a wide perspective of chillout. Nothing too different to keep them all flowing along the same line. Nothing too similar to bore the listener into a complacent sense of the norm’. Strong downtempo with electro-style inflections and an infusion of jazz-styling instruments and arrangements make for a delightful journey without even moving off the couch.

Hibernation pulls out a remix of Grouch’s ‘Indifference’ with a d-and-b/reggae edge, smatterings of psychedelic-electro and indigenous Australian percussive punctuations. Frederick Ohr and the boppy, almost waltz-laden introduction of ‘In Orbit’ lulls us into a childhood mindset before dropping through progressions of Asian-influenced strings and into a psychedelic bed of solid but not uncomfortable beats. ‘alucidnation’ makes an appearance with ambient synths and spacious strings over atmospherics in Prefer to Stay In. Kaya Project puts in an appearance with ‘Dust Devil’ (Hibernation Remix) dropping acoustic double-bass contrasted with dub-step-like punctuation. The jazz infusion for the album doesn’t stop there. Another Fine Day’s ‘Walk Tall (Throwback Dub)’ riffs jazz-laden keys over a bed of beats and bass. Varient Field’s ‘Dulcet Dalliance’ shows a crisp and lively stream of production with summer time melodies and samples leaving a fresh aftertaste. Yum.

Wrapped up in some great visual detail from Shichigoro-Shingo, drawing inspiration from Japanese Manga illustrations into a blend of bio-mech composition, the album is indicative of the quality we have come to expect from the label. The digipak cd is distributed through Arabesque and available at

New Downbeat Electronica Album Review: Ghosts of the Earth by Gus Till.


“Underground Dance Stalwart Delivers Downbeat Degustation”.

Released in late September 2014, ‘Ghosts Of The Earth’ is a new album from downbeat artist Gus Till (Zen Lemonade). An interesting, highly-produced and well-mastered album GOTE takes the listener on a journey deep into the limbo worlds existing between downbeat and electronica.

With slower tracks Tomorrow Delta and Segue: Backward Steps Into the Future ruled by ambient sound-scapes fused with chillout, the album definitely has something for everyone looking in the slower worlds of the downbeat spectrum. At the other end of this cloudy lens sit faster tracks (110-120 BPM). The jazz-infused Sunstroke layered with vocal-tonings and hints of progressive psychedelia is notable, as is So Long Emergency, bopping along with catchy vocals and the sounds of nature creating a ‘walk in the park’ type atmosphere. The album title track Ghosts Of The Earth imbibes the listener with a libation of African chanting topped by electro-styled synth-stabs ruling over a distorted jazz-guitar chord structured jam. But by far the most outstanding track on this obviously well-assembled and composed album is Angel Fright. A solid, boppy, trance-grooved bed laid down by trance artist Rip Van Hippy allowing the repetitive, distorted guitar chords of Steve Hillage (System 7) and the now trademark synthesiser sections to float in a spacious and yet well compressed airspace. Heading into the deeper sections of the album this progressive, layered track takes us through the dance realm with its speed, rhythmn and melodies. Special mention to Japanese Saxophonist Chika Asamoto for sessioning beautifully on this album.

Based in Bali, Till allows himself a freedom of expression that comes with liberating oneself from the regulations of the sub-genres this album encapsulates. Very melodic, punctuated with a busy combination of pads and highlights and backed by a percussion section that could only come from the trance arena, this album does not disappoint. Ghosts of the Earth is well produced, nicely composed and expertly mastered allowing its masses of texture to shine through. This combined with the well-organised and mature delivery makes for a veritable feast in any sonic degustation session.

Max Chillroom – Downtempo Electronica Album Review.


“Downtempo Electronica Compilation Enjoys a Dubstep-infused Frizzante.”

Max Chillroom. A chillout electronica compilation, produced by Lloyd Barde of Backroads Music is out on the now defunct New Land Music record label.

Comprising of artists from countries including Israel, France, Sweden, Bulgaria and the west coast of the USA, this international compilation of downtempo electronica with a dub infusion is enjoyable, tasteful and delicate. Suiting the yoga-end of the spectrum the album, with a nicely arranged progression draws the listener through an array of sub-genres.

Hawaiian-based producer Bluetech makes an appearance with Kingdom of the Blind, showcasing dance-diva Alyssa Palmers vocal abilities (Afro-Jack, Steve Aoki). Sounds From the Ground (Elliot Morgan Jones and Nick Woolfson) make an appearance with their track Clover. Bopping smoothly with a slight break-beat style, complimented by a successful brass section from Crispy Horns. Warm synth-pads and interesting highlights make this a standout tune. Swedish outfit Kritikal Audio’s (Martin Skogehall and Robert Elster of Uppsala) downtempo appearance with Springbreaks is great. A progressive chillout tune from the UK based outfit, this uplifting piece with inspiring melody lines has hints of the dub-step sound smattered through the chug-a-lug style bed. Also of note is Bulgarian outfit Vataff Project, the brainchild of Victor Marinov. The group encompass an all senses show-style that includes visuals. Carpet Sounds gently dips from deep, synth-laden downtempo and into the more ambient styles with spacious soundscapes and delicate production. Shen (Noah Pred of Primordial Nature) with the dark almost spooky track called Descendant again draws on the dubstep inflection to punctuate the paragraph of sonic landscape we drift in.

Released in February 2007 this now somewhat outdated album is still worth a place in the collection. The selection and arrangement of tracks are enjoyable if not stand-out and make for solid background sounds or pleasant relaxation journey. At 75 minutes it makes itself worthwhile.

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