P SOL — Canvas

P-SOL – Canvas / Circles is a two-track 7-inch release on Brooklyn Lathe Cuts, catalogued as BLC005. Released in 2026, the record brings together two sample-driven deep house edits built around the unmistakable presence of James Brown, with P-SOL combining beatdown-house grooves, dusty funk references, jazzy instrumentation and warm, sun-soaked textures. The result is a compact but highly effective piece of modern vinyl culture: music rooted in soul, funk and hip-hop sampling, reshaped for the dancefloor through a contemporary deep-house framework. P-SOL is the Brooklyn-based project of producer, DJ and lathe-cut maker Patrick Sullivan. His work sits at the intersection of house, disco, funk and hip-hop, with a strong emphasis on sample-based production and physical vinyl releases. Rather than treating edits simply as archival exercises, P-SOL approaches familiar source material as raw material for new grooves, allowing the character of the original recordings to remain audible while changing their rhythmic context. His discography includes a growing sequence of 7-inch releases as well as longer-form projects, and Brooklyn Lathe Cuts has become a central outlet for this approach. The A-side, “Canvas”, immediately establishes the record's character. A slipped beatdown-house groove forms the rhythmic foundation, giving the track a loose, slightly behind-the-beat quality that contrasts with the precision of more rigid contemporary house production. Above it, effects-treated James Brown vocal samples rise through the arrangement, providing both the hook and much of the track's personality. The vocal is not presented as a conventional lead performance; instead, fragments are manipulated and integrated into the groove, allowing Brown's unmistakable presence to function as another rhythmic and textural element. The production around those samples is deliberately warm. Dreamy deep-house sonics sit alongside jazzy instrumentation and a distinctly sun-baked atmosphere, giving “Canvas” an easygoing quality without removing its dancefloor function. The groove has enough swing to make the track feel human and physical, while the processed vocal material creates movement above the drums. It is precisely this combination of relaxed rhythmic feel and recognizable soul character that makes the A-side effective: the track sounds familiar in its ingredients but contemporary in its construction. At just 3:17, “Canvas” is economical by club-track standards. Rather than extending a single idea across a long arrangement, P-SOL concentrates the essential elements into a concise edit. This is part of the appeal of the 7-inch format: the record communicates its idea quickly, leaving the groove, vocal fragments and instrumentation to do the work without unnecessary development. The result is equally suited to a DJ's short transition, a warm-up sequence or simply a home listening session focused on sample detail. The B-side, “Circles”, pushes the same aesthetic further into break-driven territory. Described as a languid, break-powered piece of shuffling deep house, it replaces some of the straightforward four-to-the-floor emphasis of “Canvas” with a more pronounced broken rhythm. The result is looser and more fluid, with the drums creating a rolling motion beneath another set of James Brown vocal fragments. “Circles” is arguably the more understated of the two tracks. Its rhythm has room to breathe, allowing the vocal samples and instrumental details to sit comfortably inside the arrangement rather than dominating it. The combination of breaks, shuffle and deep-house atmosphere gives the track a distinctly summery character, but the production remains grounded enough to work in a club context. It is the kind of record that can shift the mood of a set without demanding attention through a large breakdown or obvious peak-time moment. The pairing of the two tracks is therefore particularly effective. “Canvas” works through a slipped beatdown groove and dreamy house atmosphere, while “Circles” moves toward a more languid breakbeat feel. Both tracks share the same sample-based vocabulary and soulful source material, but their rhythmic identities are sufficiently different to make the 7-inch feel like a genuine two-sided release rather than a simple variation on one idea. There is also a strong connection between P-SOL's production practice and the physical format. Brooklyn Lathe Cuts is an edit- and remix-focused imprint, and P-SOL's releases frequently appear as small-format vinyl records that emphasize the relationship between DJ culture, sampling and the physical object. His Bandcamp catalogue identifies him specifically as a producer, DJ and lathe-cut maker based in Brooklyn, while several of his releases are explicitly presented as 7-inch lathe cuts. That background makes Canvas / Circles particularly attractive to collectors interested in contemporary edits and sample-based house music. The 7-inch format places the record firmly within the tradition of funk, soul, hip-hop and disco singles, while the production language belongs to modern underground house. It is a meeting point between record-digger culture and club-focused electronic music. For DJs, “Canvas” is the natural entry point: warm, vocal-led and rhythmically loose, it can work comfortably in soulful, deep or disco-influenced house sets. “Circles” offers a different tool, using broken drums and a shuffling groove to introduce more movement without becoming aggressive. Both tracks benefit from the tactile character of a 45rpm 7-inch and the immediate impact of recognizable vocal sampling. The James Brown connection is especially important. P-SOL does not attempt to disguise the source material; instead, the familiar vocal presence becomes part of the record's identity. The approach reflects the deeper history of house and hip-hop, where the creative transformation of existing recordings is often as important as the newly programmed rhythm surrounding them. Here, the contrast between Brown's raw soul energy and P-SOL's understated house production creates the central tension of the release. P-SOL – Canvas / Circles, BLC005, is consequently a concise but carefully constructed 7-inch for listeners who value groove, sampling and physical vinyl. “Canvas” delivers dreamy deep house, jazzy instrumentation and a slipped beatdown rhythm beneath processed James Brown vocals, while “Circles” takes the formula into more languid, break-powered and shuffling territory. Together they demonstrate P-SOL's ability to turn familiar soul material into contemporary club music without stripping away its warmth or character. For collectors of modern vinyl edits, deep house, disco-influenced house and sample-driven dance music, BLC005 is a compact example of why the 7-inch format remains so effective: two tracks, two grooves and a clear connection between the history of Black dance music and the contemporary underground vinyl scene.