Among the artists we were regretful not to have worked more with, Matthew Burton surely had a seat. The British composer was actually part of the first goldmin digital release as he brought 2 remixes to it, back in 2012, including one in collaboration with his wife Kate Rathod. Meanwhile, both Matthews music and Goldmin have been growing separately but we were keeping an eye and an ear on what the man was putting out. Perhaps more than any other, 2017s Vielen Donk Ep, the last record of the man to this date was a huge crush. Such a perfect melting pot of influences and sounds is not common at all, and knowing that they're used from the early days of electronic music, it's not so often that you hear synthesizer chords harmonies that sound like nothing you have heard before. Same applies to his drums, not a single part of Burton's track sounds like a formality but rather like a full medium of expression. Combinations of dusky ethereal sounds topping gritty and nervous mid frequencies layers, all floating over thoroughfly and flawlessly mastered drum chains; Enough to satisfy and impress any Detroit techno lover or producer, as well as any Warp records head, as Matthew's music, even if it labeled as minimal-tech or dub-house and lands in the same recordstore cases as hundreds of soulless formatted dj tools, is way beyond this classification and way beyond this genre's rules and standards. All of that is to say that what this man does is music that stands the test of time, electronic music that is equally rewarding whether you play it in a djset, in the car, or at home with a lot of attention. That is probably what characterizes all the greatest electronic music, from Kraftwerk to Chain Reaction. 2017 is not too close though and we were wondering why Matthew had not put anything out since that time. Guess how we were excited when he said that he had many unreleased tracks to let us hear! We were ven more excited and surprised when we realized that the music was up to expectations, and that there was far enough to make one or two albums out of them. It is very possible that the fact that Matthew wasn't restricted by any requirements to fit a label's expectations for a twelve-inch or a remix, has been a huge benefit. As a matter of fact, during these 4 years, Matthew has been making music for himself and it's truly appreciable these days. In a way, these tracks were definitely album ones and we thought of it at the very first listen. Not only because of the amount of beatless tracks, the overall bpm of the demo nor the general ambient-like atmosphere, but also because these tracks were instantly sounding like parts of an ensemble, that could and would find the right tension and balance by being placed together and in the right order on album longplay format. Only on this basis is it possible to determine that right order and, as a label, there probably is nothing as thrilling as doing so. "Alpine View", the first album somehow corresponds to a descriptive attempt of high altitude as Matthew has been able to experience it in Swiss alps, while "Sellafield" could be regarded as the sealevel one, as the artist is also amazed by the landscapes around the city of Matlock in Derbyshire where he lives, a nice town in England's countryside surrounded by national parks. Or maybe it's the opposite and reverse occurs. In any even, "Alpine View" and "Sellafield" are 2 separate albums which resolutely stand each for itself, 2 ensembles out of assembled parts and 2 parts of a bigger ensemble, which are probably connected in more than one way.