3 years after Once Upon A Time , french producer Florian Muller returns on Goldmin with Leaving The Party : a wonderful recap of 10 years of accurate and rigorous musical creation where our man had the chance to patiently explore several fields, practice and include acoustic instruments to his electronic sets and release some great records. Florian has always been very discrete, like an outsider who never really belonged to "the party", yet his new story Leaving The Party depicts his musical evolution over the decade, marking and end of a era. It's a deeper affair and it surely couldn't fit on a single twelve-inch record. Florian is one of those rare artists, whose technical background is excellent yet his workflow is like a house of cards where things can quickly collapse if not settled down at the right instant. Florian's genuine compositions seem to hold a certain ability to let it go while another part of his focus is carefully staying on course, keeping a smart structure yet quite surprisingly creative tracks. This whole album reflects that tricky stability, like if every track was a complex puzzle where in the end, all contrasting parts, like ethereal heavily-panned vocal bits, lush chords and scattered samples are sorted together wonderfully. Like most of his previous releases, Florian took care to gather a selection of sumptuous dreamy tracks, where he brings that sort of acoustic, live-recorded tracks like Liquid Love , For A Great Guy and Rue Des Roses revealing scintillating notes which seem to visually appear throughout the tracks, with some of these more threatening and intimidating tracks like Vertical Mode , We See What She Wants or the hardly classifiable Silent Tears where Muller injects sounds you're not used to hear, together in the same track. Florian already gave us a glimpse of that slightly more mysterious part of his music through Deep Pavane and Weird Times on his previous Goldmin release, where he was already experimenting with these kind of mysteriously sensual vocal bits leaning towards uncanny and eerie synthesizer sounds. But today, our man is bringing this type of atmosphere to the next level. These typical and uncommon assemblages of sounds are haunting and reminiscent all over the album and sound like a personal sound signature. None of these tracks seem to belong to any genre of house or electronic music. Call it what you want, progressive-modern-jazz or leftfield-deep-house, Florian's music soars high and comes adrift in troubled waters. He truly is a master at avoiding easy and overused patterns and processes. It's like if he was making tracks like a typical collector, looking to incorporate rare and unconventional elements into his productions. Anyway, Florian might be leaving the party for now but he left some music playing and it's right here, on this seminal album.