• Holy Trinity Organ at the Ottobeuren Monastery
• Woehl Organ at Studio Acusticum in Piteå
• Giorgio Questa's mechanical pipe organ

The feeling is taking the bus home at 4am after a motive. It's a cold February night. Streetlights reflect in puddles on the tarmac. Passing car radios drop in detuned basslines and jumpy drums. Zoner, drifter, whatever you want to call it. London has a really specific pulse to it.

To me, the link between UK Drill and Ambient music feels under-explored. You hear some of the instrumentals M1 and them lot were making and they really have this gorgeous, undulating, hypnotic quality to them. A similar sound is being pushed these days in the US with Shed Theory and Surf Gang but to me it sounds most at home back here over these deeper rhythms.

There's a certain fear of complacency when you stay in the same place for so long. It's a big world out there, and it's easy to imagine lots of nice lives that could be led. Just because you can go back, doesn't mean it will be the same. At the end of the day, there's always somewhere else to go.

My good friend (and good poet) Hanifah wrote some verse for these transitory moments on the album. She's one of the kindest people I know and I'm grateful for the lending of her perspective when arranging the narrative of this music.

My favourite little Easter egg with this track is that the original video I sampled for the bus noises has the person filming thanking the bus driver. This makes me proud to be British.

Banger. The bounce is within you. RIP SOPHIE.

This is the oldest track on the album and has evolved over two years with pretty much just the bassline surviving. You've just gotta get up and move to this one.

The intro makes me nostalgic for those old UK rap videos you'd watch on YouTube back in the day. The channel would always add a little intro with a beat to the video. You're gonna have to picture my logo on the screen when you listen to that.

The vital heart of the album. I wanted to arrange this like a Young Fathers track, with a pulsing rhythm at the start that slowly opens up into some gorgeous melodic stuff. This is the hug, the feeling of contentment after a night out dancing. You are that you are. I had to hum the melody into my phone on a train as I was working on this so that it wouldn't escape me.

Shoutout to my incredibly talented uncle for gifting me a kalimba he made - it's not the exact one on this track, but that's the same instrument behind the sound opening up throughout. It is a beautiful thing.

Buried in this sound of this one is a sample of a jam session in Shepton Mallet. I love this town so much. I have never felt more of a pull to live somewhere, there's so many incredible people and communities in gorgeous gorgeous Somerset. Everybody you meet seems to have this amazing creative life. Huge shoutout to Ollie Austin (this is a good time to mention Gracie as well) and everyone involved in the Shepton Midsummer Festival, I had the time of my life. The amount of talent there was just ridiculous. Lee Westwood played his own stuff.

The same piano phrase plays throughout the entire track, just an 8 count loop. It was fun to explore all the different routes the percussion and bass could then take to keep things moving.

That's a real wheelup on the album version of this track. Special shoutout to Salmaan for introducing me to Audio Arcade and putting me onto my first ever live show. More on them in the next section. I've been performing live more this year and it's given me a fresh appreciation for making music, the community around it, and listening to what other people are creating. The shared love and history that goes into everyone's sound is so powerful and inspiring. I am truly grateful to be a part of it.

This was also my first tune to get a radio spin - many thanks to Jonjo with Reprezent.

I actually don't have much to say about the track itself, despite it being the longest and most complex on the album. Everything just came together in a way that made sense and ended up embodying the overall sound of the album, with the distorted leads and Latin rhythms in the back half. I'm calling that style Dub Salsa™.

Engaging with dance and live performance has strengthened my relationship with music. It's always been about bringing people, sounds, history, culture together, and every new way of connecting to a track adds an extra perspective.

We've got guest vocals from VɅMP on this one (put your hands up!). The RAREGOD crew are fucking awesome. The music scene in London is unparalleled. You should cop FREE.GME VOL.1 and HYPERGRAPHIA I on Bandcamp right now.

This is a very deconstructed version of a very famous salsa song. It's manic and wet and pulsing and confused and hurt and restless. Most of this was arranged at 4 in the morning.

There's a strangely Genovese vein running through the album; I've never been.

There's a deceptively heavy amount of distortion in the palette of this one. Tiny sounds are amplified and looped through filters to create this swirling, emergent pattern. The core movement of the bassline is then played off of this; it doesn't repeat itself once over 4 minutes. Thank you J Dilla.

I've largely moved away from this style of hip-hop, both in the music I'm listening to and the music I'm making. If you look back at my previous releases it was pretty much all I was putting out. It's not to say I don't still love it - at the same time, it's distinctly American and recently I've been feeling more connected to my own city and country. Still, the influence runs through me.

This was the first track I made when the idea for the album had first appeared. I was listening to a lot of Latin and Caribbean music at the time, reflecting on my relationship with my city, and all in the cold British winter. London is a special, diverse place, and you've got all these different sonic and cultural pulls around you. I don't think this sound would exist anywhere else.

Humbly I think this is my best produced track to date. There's lots of fun play with rhythm and the samples all come together very cohesively to create this real jazzy, bass-heavy sound.

Of all the styles I've tried, Salsa Caleña is resonating with me the most. The heaviness of the cowbell in the music and the bounce of the footwork is soooo fun. Special mention to Cali Rhythm by Sami for introducing me and creating a great community for this in London.

Colombia has been affected by recent earthquakes and any support is appreciated - you can donate to those in need here.

• Where were you?
• What were you reading?
• What were you listening to?
• Who were you talking to?
• Who were you listening to?

The motif used on all 3 of these tracks came out of how I would perform the closing track live, looping through the controller and playing with a filter to draw out an intro.

The theme of dread and building anxiety ended up flowing through the album and these are the moments that it is brought back to attention. What happens with that anxiety can vary - sometimes you look around and realise it's smaller than you thought. Sometimes you distract yourself. Sometimes it keeps building and has nowhere to go. Sometimes you give it your attention and sit with the discomfort.

This was written almost entirely in Budapest Airport waiting for a delayed flight.