I revived an old music blog from the early 2000s?
Maybe it’s been a foolish endeavor, and maybe I’m the only one who misses the blog ol’ days, but I’ve been giving it a shot. I’ve been working on restoring some of the old content, though much of it was lost. I’ve slowly been rebuilding the old remix sunday archives, and even posting the occasional new edition. And I’ve been writing again.
You can find all the label’s releases here, on bandcamp, or most anywhere you listen to music these days. I’ve still got copies of some of the old vinyl releases, and I recently released the first in a set of charitable cassette compilations to raise awareness about the continued [mis]use of broken windows policing methods.
Plus, I put together a playlists section with a handful of spotify lists that hopefully start to capture a [slightly] updated version of the moods we used to peddle. Give those a listen and a ❤ if you would be so kind. If you want to get in touch, just give me a holler.
– Haldan/Boody
Another one from PAPA Sound, the Swedish duo composed of Teddybears’ Patrik Arve and songwriter Paulo Albo, who I wrote about last month. This edit is some nice minimalist dancehall-tech featuring vocalist-turned-chef Jamkid.
The original cut of “Mannen” and the edit featured here are both available for streaming, and should hopefully be available for purchase on the duo’s bandcamp soon.
PAPA Sound & Jamkid – “Mannan” (Skull Edit) (sc)
image/ Månen (the moon) as seen in Stockholm in 1900.
Dreamy breakbeats at jungle speeds from Dallas-based Human Centerpiece. Float away on those pads until you get to site of an Eyes Wide Shut-style ritual sacrifice. Then just go with it.
The song is available for streaming all over, and also on bandcamp as part of Human Centerpiece’s upcoming full length, Surreal Estate.
Human Centerpiece – “My Sacrifice” (sc)
And if you enjoy emotive breakbeats, check out our Xtasy Breakbeats playlist — or if you really like new jungle sounds, check out our jungle playlist.
DVRST – “Close Eyes” (sc)
LDN Monos – “First Exit” (sc)
Milk, a Toronto-based newcomer, recently sent over this song she did with the ever-engaging Jimmy Edgar. Admittedly melodramatic, Milk croons sweetly over this Edgar beat in fabulous fashion. Apparently written to memorialize “a budding relationship, commitment issues, and a lil dash of mental illness”, Milk asks repeatedly on the hook: “Is this my demise? Is this how I die?” — if this is how death sounds, then I’m kinda comforted.
The song is out now for streaming on Spotify, and everywhere else, and is available for pay-what-you-wish purchase on Milk’s bandcamp.
Milk & Jimmy Edgar – “What We Are” (sc)
Robot:86 describes himself as “an inhabitant of a desolate planet where war has been raging since the beginning of time.” London isn’t exactly totally desolate, but there’s no doubt that Albion certainly was the site of near-constant war until the end of the second World War, so allegorically Robot:86 isn’t far off.
Hyper Rewind is Robot:86’s latest maxi-single — and spans from the excellent blown-out filter jungle of “Battle With Hypermind” to the icy minimalist electro of “Rewind the DJ”. Quite deft textural genre exploration on these two, worthy of notice.
Hyper Rewind is now streaming, and is available to purchase on bandcamp. There’s also a Diggers Factory campaign to press vinyl, so get in your pre-order now to make that a reality.
Robot:86 – “Battle With Hypermind” (bc)
Robot:86 – “Rewind the DJ” (bc)
PS. if you’re looking for more modern jungle, we’ve got a playlist for that. And if you’re looking for more electro, we’ve got one for that too.
“Take Me Back There” is an energetic cut of rave meets jungle meets hyperactive jackin’ piano house from Ottawa’s So Durand. With all those references packed into one song, it’s hard to believe you won’t be taken back there somehow listening to this. The song appears on So Durand’s newest EP, This Unruly Kingdom, which is similarly varied, though generally rooted in an effective use of breakbeats at jungle tempos. It’s solidly forward-looking stuff, while still referencing of the past enough to feel nicely familiar.
This Unruly Kingdom is out now on the excellent Dublin-based Choki Biki, and is available for streaming on bandcamp. I’ve also included my other favorite from the record for good measure, which is a little headier, and features the sound of children playing — which is like a button that, when pressed, makes any song feel instantly cozier (Boards of Canada knew this trick well).
So Durand – “Take Me Back There” (sc)
So Durand – “Disons Que” (sc)
PS. if you’re looking for more pianos over breaks, we’ve got a playlist just for that.
Past Palms is an artist from Richmond, VA. Each song from Ambient Music for Watering Plants focuses on one typical tropical houseplant, in hopes of capturing the simple serenity of watering that life “while living in a gray, nature-less city”, as the artist describes their project.
An ode to Eno’s Music For Airports, the substitute subject matter here could perhaps not be more fitting for the typical modern millennial’s adjusted outlook. Where boomers had the optimism to look to the skies, and the naive privilege to imagine themselves as post-colonial explorers, we are a generation generally more resigned to preserving a sense of peace in our own spaces. Where boomers once imagined themselves as the realists, concerned by a belief their children lacked boundaries, it turned out we were the ones more aware of our own limits and willing to live without some of the global excess our parents took for granted.
Of course there are countless exceptions to these rules, but I can’t help but think about the heaps of trending instagram images featuring cozy plant-filled and sun-drenched studio apartments–and the millions of millennials navelgazing into their phones instead of out the window of a plane. And while Eno was concerned that we should ensure airports were more pleasant places to be, we all accept most of modern life just isn’t, and instead hope for a little slice of that pleasance at home.
The whole record is beautiful, and is available today–on Earth day–to stream, or on bandcamp. I’m probably partial to “Philodendron” — but then again, I love the sweetheart plant that hangs from my bathroom ceiling.
I got this in the mail recently from BLCKEBY (real name Marco Diamubeni), a producer hailing from Italy by way of RDC. “Columbo” relies heavily on a line sampled from “Hold Up” by famed French rap group 113, who you might remember from their pioneering track “Tonton Du Bled”. BLCKEBY takes a healthy slice of the acapella from “Hold Up” and flips it nice and dark, with some skittering percussion and what sounds like the occasional sneaker screech. Nice and simple take, but very effective.
“Columbo” is available for streaming on Spotify and the like, but hasn’t made it to bandcamp quite yet.
BLKEBY – “Columbo” (sc)
Ivohé – “Termínelo” (sc)
Otis Wongsam – “Genjutsu” (sc)
Metavari – “Kings Die Like Other Men (Rediscovery)” (sc)
Softly softly
An arrogant man
Has made my nights darker than carob
Nancy Mounir is an Egyptian composer, part of Cairo’s new wave. This is from her debut album Nozhet El Nofous (translated to “Promenade of the Souls”), out June 3rd on Simsara Records. Using archival recordings of once-famed singers from Egypt at the turn of the 20th century, and seamlessly adding her own ambient arrangements, the album explores the tension between modernity and the warmth of familiarity. To hear a culturally sincere exploration of harmony against the backdrop of these traditionally monophonic styles is deeply refreshing, especially when it’s done without the slightest hint of novelty.
This song uses as its foundation a lost recording of late singer and kanun player Saleh Abdel Hay, and I suggest you fall down the rabbit hole and listen to more of his recordings after you preorder Mounir’s album. As lovely as Hay’s old recordings are, on “Khalif Khalif”, Mounir really succeeds in bringing out a rich sense of the harmonic current within the innate nostalgia of this old recording — and without overdoing it, or caricature of any kind. Really captivating stuff, this.
Nancy Mounir – “Khalif Khalif” (with Saleh Abdel Hay) (bc)
Two more absolute destroyers from Chicago-based KEEFE, who I covered a few weeks ago. While festival season begins untempered and the latest COVID upswing continues, I can’t help but feel like these two tracks still manage to give a new–and less hopeless–meaning to the notion of ‘plague rave’. I like to imagine myself dancing to stuff like this post-apocalypse, complete with new masking styles à la 18th century plague doctors. If that’s humanity’s inevitable future, at least we’ll have music like this to meet the mood.
Both tracks out now for streaming, or as part of Execution Pt. 1 on bandcamp.
KEEFE – “This Cross” (sc)
KEEFE – “Execution” (sc)
(And if you’re looking for more stuff like this, we’ve got another playlist for you.)
I managed to miss this incredible record last year, on the venerable Workshop imprint. Aaliyah must be somewhere in my subconscious; this is the second track I’ve posted this week that samples the angel. From Willow, who has yet to miss a beat.
Miraculously, there are still a couple of copies of the 12″ left.
Willow – “Strawberry Moon” (sc)
Another slice of shuffling club from Malmö’s Slackin Beats, hot on the heels of his stellar previous single, which I wrote about a few weeks ago. This one features Stockholm-based Klara Zangerl, whose voice adds enough glitter to make this shimmer in that way only perfect Swedish pop does. It’s called “24/7 Dread”, but it’s leaving me far more elated than glum.
You can stream the track now everywhere, or grab it on bandcamp.
Slackin Beats – “24/7 Dread” ft. Klara Zangerl (sc)
Nice effective house music from Dutch producer Papi Gaba, who calls this “post-lofi house”. I’m not so sure I subscribe to the idea of adding ‘post’ to anything anymore, especially not a term that’s already got a qualifier. But whatever you want to call this, it’s really silky lovely stuff.
The song is now available to stream, or purchase on bandcamp. And if you’d like to hear more stuff like this, we’ve got a nice spotify playlist for just this sort of thing (whether you call it lofi or not).
Papi Gaba – “Fragile” (sc)
Three years after her debut LP, a new single from Berlin-based Argentinian artist Catnapp ahead of her Trust album release, out on Monkeytown on May 20. The press release for this seems to acknowledge that connections will inevitably be drawn to artists like 100gecs, etc., but attempts to cut through that noise a bit:
Trust does border on overload, but again, that’s by design. The LP arrives at a time when attention spans are short, interruptions are constant, multi-tasking has become routine and practically the entire history of music is now accessible at the push of the button.[…] Call it hyperpop if you must, but pop concentrate might be a more accurate term.
I agree with the sentiment; it’s hard to keep a listener’s attention these days, and especially hard to draw them in to a new full length for long enough to appreciate a narrative. But Trust makes a valiant attempt to achieve this kind of focus. Anchored by the pleasant contrasts inherent in Catnapp’s delicate voice and energetic delivery, the album strikes a balance between the sound of the new guard of hyphenate hyperpop-gabber-trance producers like Aamourocean and established progenitors of what might now fairly (though reductively) be called proto-hyperpop, Modeselektor (who feature on two songs on the album).
In a vacuum, I’d call this album (and its lead single) a great addition to the never-named Berlin electro-hop genre for which Modeselektor have been such emphatic and sincere torchbearers. But outside that vacuum, it’s certainly also fair to say this will appeal to a new generation of listeners who, perhaps without knowing the context, would lump this in with hyperpop, a genre that itself lacks any truly defined borders (and really that’s not a bad thing). Ultimately, what counts is not how distorted the 909 is, whether there are enough supersaws, or if a head is adorned with blue dyes versus fitted caps–rather it’s whether the music gets its listeners to respond. I’d say this definitely ought to.
Trust is available for preorder directly from Monkeytown. The lead single is streaming now, and is downloadable with preorders via bandcamp.
Catnapp – “time on me” (bc)
I kind of never thought I’d be writing about breakcore again, to be perfectly honest. But it’s hard not to win me over with well organized breakbeat chops and some satisfying pads. That’s just what New Zealand-based toadmilk delivers on this one. Plus, I give myself some license here, since notwithstanding the intricate-to-the-point-of-chaos arrangement of the amen throughout, this is probably closer to jungle than traditional brain-melting breakcore. Not that these things really matter — it’s just a cool song.
Unfortunately, this isn’t available for streaming on any of the major services, nor has toadmilk uploaded it to their bandcamp. So the only place to listen is right here (or on toadmilk’s soundcloud).
toadmilk – “not enough breaks” (sc)
Continuing today’s hazy R&B theme is Flowerpetal V –real name Toya Ejike– a producer, songwriter, and vocalist from Atlanta. They describe their songwriting as an interchange between “melody and prose, [d]iving into a solemn inner expanse.” This is fitting; on “Since”, Ejike’s semi-monotone plays gently with the dulcet self-reflective tone of the lead melody.
The song has a familiar quality, while simultaneously fulfilling the refrain’s promise and take[ing] me by surprise. This sense of obscured familiarity is emphasized in the bridge, where Ejike’s cadence subtly references Aaliyah when she told us I’m not just anybody. Similarly, Flowerpetal V is not just anybody, they’re an artist with some real perspective, and someone for whom we should all keep a keen ear out.
“Since” is streaming now across the usual platforms, including on Spotify.
Flowerpetal V – “Since” (sc)
Following a theme today, more sludgy forward-thinking R&B for you on this cold Monday. Coquinati is a producer from Vicenza who’s spent several of the past years in Korea. He describes his music as inspired by the innovation and development rapidly swallowing poorer portions of large Asian cities like Seoul, and by the tension between the K-pop of Gangham and the underground movements of Itaewon. “Landing” features fellow Italian Noone, whose vocals are pleasantly obscured under a wash of distortion, and set atop a sea of pads and glitch.
You can stream “Landing” now, or grab it below.
Coquinati – “Landing” (ft. Noone) (mp3)
Matthew Santos, aka MA/SA, sent over these two songs from his latest 4-song release, MMXXII. Santos is LA-based, and a two-time grammy nominee for his songwriting work in the late aughts for Lupe Fiasco. Bleary-eyed, trudging hybrid-pop that sits in a similar lineage of dark R&B as does Shlohmo–particularly his work with How To Dress Well. Lovely stuff here; great for a sleepy Monday morning.
You can grab MMXXII on bandcamp, though unfortunately, the second song below seems to only be available for streaming (which you can do on Spotify, or wherever else you listen).
MA/SA – “Pedal To The Floor” (sc)
MA/SA – “In My Breath” (sc)
Bratislava-based Blame Your Genes sent over this bit of infectious 2-step house the other day. As far as I know, not explicitly titled in reference to the war ongoing on Slovakia’s doorstep, its title ought still remind us of the ruin that continues to be left by Russian fire.
It’s hard to find light these days, but I am a firm believer that this kind of horror calls not just for reflection on the atrocities being committed, but also for allowing ourselves moments of joy. Neither should be ignored. While I reflect on the continued suffering of the Ukrainian people, this song brings me some joy today.
You can support Blame Your Genes by grabbing this on bandcamp. And remember to continue to donate to relief efforts in Ukraine; the war is ongoing.
Blame Your Genes – “Ruins” (sc)
image/ Vadim Ghirda
Samoun – “Chakchouka” (sc)
Shari DeLorian – “Seven Swords” (sc)
Kadhja Bonet – “For You (Many Selves Version)” (sc)
I add so many good songs to all our Spotify playlists that I don’t end up having the time to properly feature on the blog, so I thought I’d start a simple new feature where I post a handful of recently playlisted songs. Many of these will probably end up as euphoric breakbeat appreciation posts, but honestly, have you met me?
There’s way more like this on our Xtasy Breakbeats for Emotive Nostalgia playlist. Give it a follow.
2 Bad Mice – “Gone Too Soon” (Sully Remix) (sc)
Solitary Dancer – “Will You Meet Me?” (sc)
ENiGMA Dubz – “Haven” (sc)
Brogan Bentley – “Hollow” (bc)
Bored Lord – “I Was Present for All of It” (yt)
Perfectly simple breakbeat-infused pop from London-based Lothian producer Barry Can’t Swim, who you might remember from his excellent Amor Fati last year on Shall Not Fade, or his prolific string of no fewer than eight singles in the past three years. Not bad for a guy who never learned to swim.
“God Is The Space Between Us” is the first single from More Content, out June 24th on Ninjatune sublabel Technicolour, which has had a really strong run since its inception, with releases from the likes of Octo Octa, UMFANG, Elkka, and DJ BORING, among others. The single features Taite Imogen, a lovely singer who I hadn’t heard of until now, but will happily keep an eye out for in the future, as I will continue to do for Barry Can’t Swim.
Pre-order More Content on bandcamp and get “God Is The Space Between Us” while you wait, or stream it anywhere and everywhere.
Barry Can’t Swim – “God Is The Space Between Us” (ft. Taite Imogen) (sc)
Some sharp-as-hell new school electro from Trondheim based Stefandré. Feel those tom fills.
Unfortunately not on streaming services, but you can grab the track for whatever you wish to pay (or for free) on Stefandré’s bandcamp.
Stefandré – Quiet Before the Storm (sc)
Empathy–not squishy self-serving conflict avoidance–is the hand-maiden, not the enemy, of reason and intellectual inquiry.
– Ta-Nehisi Coates
Remix Sunday 158 Zipped Up. (122mb zip)
Diamondstein – “2nd Floor Studio” (Jas Shaw’s 13th Floor Mix)
1.Cuz – “Akta Mannen” (Slackin Beats Edit)
Rema – “Dumebi” (Jeftuz Remix)
XTC – “Functions on the Low” (Pj Bridger Refix)
Amerie – “1 thing” (Yunzero Edit)
Kimara Lovelace – “Nobody But You” (Disaffected Bootleg)
Ann Marie – “Just Waiting For You” (AceMo Remix)
The Weeknd – “Shameless” (Magic Flowers Remix)
Ghost in the Shell – “機心” (T5UMUT5UMU Si-Fi Dancehall Version)
Maahlox Le Vibeur – “Ça Ne Rit Pas” (Chief Boima Funk Edit)
Lehmber Hussainpuri – “Das Ja” (DJ Sanj Remix)
Trina – “Fuck Love” (Sinjin Hawke Edit)
Alice Deejay – “Better Off Alone” (Proc Fiskal Deeper Into the Tranchea Mix)
image/ Robin Schwartz
I’m destined to live the dream for all my peeps who never made it.
“Keep It Real” is a solid AZ-sampling breakbeat workout from Chicago-based KEEFE. This is some of the hardest stuff I’ve posted since I restarted the blog, and I’m not mad at it. I’ve also included another one from his latest–grab the whole 4-song EP on bandcamp for $1 — it’s full of this kind of grit. And all the proceeds from the EP go to Chicago Hopes for Kids, so it’s kind of a no brainer.
KEEFE – “Keep It Real” (sc)
KEEFE – “Do I Think” (sc)
Clean shimmering steppiness from Tel-Aviv based Dawncall and Dresden-based Azaleh. Unfortunately, where I am, winter’s sticking round a while longer, but this kind of vibe makes the cold a touch easier to handle. Grab the song on bandcamp; plus there’s tons more A+ material from both of these producers on their respective soundclouds (I included an older one from Dawncall below).
Dawncall & Azaleh – “Momentum” (sc)
Dawncall – “Laykalar” (sc)
More of that sugary Swedish pop meets bouncy UKG that I can’t resist. This time from Russo-Swedes snackbox and EEVA. Hard not to swish around to these. No bandcamp, but find both of these tracks on spotify or wherever else you stream.
snackbox – “Without Feelings” (ft. EEVA) (sc)
snackbox – “Don’t You Know” (sc)
Camilla Myhre, aka Varnrable, is an Ethiopian-Norweigan producer and vocalist about to release Air Born, her debut long player on the excellent Danish label Escho — home of Smerz, Iceage, and sometimes home of old Palms Out favorites When Saints Go Machine.
“On Fire”, which also features Yangze–who co-wrote the lion’s share MØ’s latest album–is tense and patient. It’s an exercise in contrasts–easygoing and sweet vocal performances from both artists float atop a synth lead that is reminiscent of a chair screeching across a schoolhouse floor. Remarkably infectious stuff, notwithstanding its more anxious elements.
I’ve also included a great song that Varnrable contributed to 2020’s Kulør 006 compilation on Courtesy’s homonymous label.
Air Born is out on April 29th, is mastered by one of my all time favorites, DJ HVAD, and as if this wasn’t enough of a confluence of some of Denmark’s finest, also features another old favorite, Choir of Young Believers. You can preorder the album on bandcamp, or stream the two singles wherever you do that.
Varnrable – “On Fire” (ft. Yangze) (sc)
Varnrable – “Cold Bright Hard Light” (bc)
Samaki is a New Jersey-born, Atlanta-based producer and vocalist who’s been making deep and romantic hip hop for only the past three years, but you’d be forgiven for thinking he’s a veteran. I don’t know much about him, and he doesn’t have a big online presence yet, but he tells me he’s just trying to make music he would listen to. No soundcloud or bandcamp for him, so he’s given me permission to share two of his songs as mp3s, but you can also stream his stuff on spotify.
Samaki – “hartsfield” (mp3)
Samaki – “Reset” (mp3)