Re-press! Ravishing, electronically-enhanced designer jazz - borrowing from concrète, avant-techno, and post-rock to create infinite interior landscapes that are uniquely nourishing and tactile and time-stopping. It’s part of a continuum of refined but emotive minimalist space-music / drumfunk that takes in In A Silent Way, Photek’s ‘KJZ’, early Tortoise, Major Force West, Isotope 217 and Villalobos’s The Au Harem D’Archimede. While it avoids overt darkness - this is a record suffused with daylight - Keszler does have a nose for noir, and at moments seems to channel the urbane crime-and-dissonance colourings of Komeda or '60s Morricone, all shadow and suggestion. At other times it feels like the best record that peak Mo’Wax or 2000 Black or Ninja Tune never put out - more spacious and detailed and delicate and subtly hard-hitting than even the baddest, most enlightened beatnut of that era could muster. The album it perhaps most closely resembles, texturally speaking, is Conjoint’s Earprints, but whereas that record commits the cardinal jazz sin - that is to be TOO JAZZY - Stadium holds something back, even its busiest Tony Williams-meets-Plaid rhythms pitched just the right side of noodlesome. ‘Lotus Awnings’ is the key track: with its haunting flute-loop and droning synths, lolling contrabass and stark, spiky piano motifs, it’s as if Keszler stripped Peverelist’s ‘Roll With The Punches’ to its absolute barest bones and then got John Tilbury and Dave Holland to improvise over the top. An absolute knockout.