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.
Celestial dembow from 1tbsp (real name Maxwell Byrne aka Golden Vessel). This has that satisfying balance of serenity and energy that would make it great for rolling (or just dancing) on a beach as dusk sets in. This is from 1tbsp’s upcoming Megacity1000 album, and is available now on bandcamp and for streaming; but he’s also kindly allowed me share with you the mp3 below.
Next up is this bouncy hi-NRG UKG number from Danish producer SAGE D. (apparently a new pseudonym, but not sure what the old one was). Love the distortion level on the percussion here—flirting with the edge of over-distortion can really add extra life to a song. No bandcamp here, but available for streaming. Grab the mp3 below (or head to soundcloud if you’d like the WAV). There are a bunch of other strong tracks there for free download.
Last up, but definitely not least, is this sublime track from Aaron Horn, whose Crate Classics project I posted about a couple of weeks ago. From his upcoming album All the Love Within, this is somewhere between footwork and jungle, but in the gentlest of ways, all anchored by a Horn’s delicate vocal refrain. No bandcamp for this, but Horn generously provided the mp3 below, and you can also catch this for streaming.
Sugary, airy jungle/liquid from Sydney duo Possible People (producers Pinz and Tulett). This is my kind of easy listening, I could listen to this sort of thing in the foreground or background all day long. This is part of Possible People’s upcoming sophomore release Drop In, out on April 26th on Sydney label Extra Spicy, but in the meantime the artist have given me permission to share the mp3 below. Preorder the record on bandcamp or find it for streaming once it’s out.
Sharp left turn now to this gnarled, humid, sex anthem for club goblins, from LA’s Tony Pops. This is all sweat, sex, and leather. There’s even an interpolation of the “Thong Song” in there, which can almost never be a bad thing. No bandcamp for this, but Tony has been generous enough to let me share the mp3 below. You can also find it for streaming all over.
Last but not least is yet another top-notch track from Big Dope P, who rarely delivers anything I dislike. I’ve covered a couple of the other prerelease singles for his upcoming sophomore album Toto La Castagne, but this might be my favorite so far. Low-key by Doppie’s standards, and featuring vocals from Spanish artist BFlecha, it sounds like a mellow late-80s freestyle B-side for wooing the uptown girls. Few compliments could be greater coming from me. Preorder the album on bandcamp and get this and the other prerelease singles right away. The album’s out May 10th.
Scandinavian/Baltic theme to today’s roundup post. First up is this piece from Helsinki-based Jonas Verwijnen from his debut EP1. The record is a personal one, and an attempt to navigate the complexities of human interaction as someone living with autism spectrum disorder. Really beautiful stuff. No bandcamp for this, but it’s available for streaming all over.
Jonas Verwijnen – “This Is Going Down The Wrong Path” (sc)
Next up is a striking cut of broken techno from Seal Pup, about whom I know next to nothing, except that they’re Latvian, based in Riga. This is from their debut EP First Swim, which is fittingly ocean themed, intended to illustrate the chaos and brutality of the open sea. Strong first showing here. Seal Pup has generously allowed me to share the mp3 of my pick from the record below, but grab the whole thing on bandcamp or stream it all over.
Finally, another monster of a track from Norway’s Dr. Sepi, who I’ve posted about a couple of times now. Its title and hook may be a vague shout-out to Daft Punk, but there’s nothing French Touch about this. The track is all claws out Scandinavian mongrel carioca on PCP. Out now on bandcamp and for streaming, but Dr. Sepi has kindly provided the mp3 below for dance floor annihilation.
Two excellent submissions from Dutch producer Eauki (real name Merijn Bergé). “Nectarine” is a perfect sun ray of a 2-step track; all melting icicles and evaporative cloud generation; just right on one of the first warm days of the year up here where I am. “Kinda Lovin” is a brief but contemplative hit of minimalist breakbeat; a song for preparing to make the hard choice to leave while remaining filled with affection for whatever or whomever you’re leaving. No bandcamp for these, unfortunately, but Bergé has been kind enough to let me share with you the mp3s, in case you want to play these out or include them in a mix; they’re also both available for streaming.
Next up, a glowing and playful piece of emotive house music from Leeds-based Stuart Thomas, aka Mountain Range. This lands somewhere between the warm plasticity of folks like Tom VR or Two Shell, and the naturalistic, blooming quality of a a mid-era Bonobo or Hebden record. Quality stuff. No bandcamp for some reason, so no luck for any DJs out there, but streamers be streaming.
Mountain Range – TwoTwoTwo (sc)
Finally, another two solid cuts of vibrant breakbeat sent over by Bosnian-born, Arizona-raised Lore. Warm, shimmering, escapist, club melancholia like this is the new bubblegum, I’d say. Nothing wrong with some weepy bubblegum. These are both from Lore’s debut four-track self-titled EP, which you can find on bandcamp or for streaming all over. The other two tracks definitely worth checking for too.
Crate Classics is Jamie Rodigan and Aaron Horn. Both have an impressive pedigree in the music industry (Horn is the son of producer Trevor Horn, Rodigan the song of radio DJ David Rodigan). Together, they’ve got a UK #1 under their belts, and they won a grammy for their co-production on Doja Cat’s “Woman.” This track, featuring crooning from Omar+, is a slice of tight breakbeats under a sample that I just can’t put my finger on. Like so many pop songs at this tempo in the wake of PinkPantheress, the track is less than 2 minutes long, but I guess that’s all you need to make a point these days (and to be fair, there is an extended mix available, which is just over 3 minutes). Rodigan and Horn have been kind enough to let me provide the mp3 here, but go support Crate Classics on bandcamp or on the streamers.
Glittery hyper-breakbeat from ♥ GOJII ♥, an artist from the States (not sure where exactly) pushing a warm, welcoming, and inclusive take on technicolor uptempo dance music. I generally gravitate towards the more melancholy or gloomy, but it’s really nice to have a musical burst of optimism every so often. This provides just that. Check for this on bandcamp (and explore the rest of their catalog) or find it on any of the streamers.
♥ GOJII ♥ – “All I Wanna Do” (sc)
Lovely moody bit of broken beat house from Midlands-based producer Fdluxx (real name Fouad Dehghan). Yavosh is roughly translated from Farsi or Turkish as “slow down.” The vocal sample that runs throughout the track repeats the phrase “take it slow,” which is always worth being reminded of, whether in dealing with genral stress and anxiety, completing a difficult task, or on the road. No bandcamp here, but Fdluxx has kindly provided the mp3 here, and it’s available on all the streamers.
A lovely roller from Andalusian artist Gazzi (real name Pablo Jimenez), featuring vocals from Nidia (who I can’t find on google). “El Pedío” (which translates to “the request”) is inspired by the pedío gitano, a Romani engagement ceremony; the song aims to encapsulate some of the thrill of commitment, with all the risk and uncertainty inherent in the choice to dedicate your life to another person. Lovely stuff here. No bandcamp, but Gazzi’s label was kind enough to provide the mp3 below—-also available for streaming all over.
Chilling and precise acid from Dutch producer Bastian Benjamin. It’s not hard to win me over with a nice use of the 303, but this is a particularly refined and natural riff on the intersections between acid, electro, and dub techno. This is out for streaming or on bandcamp, but the artist has generously provided the mp3 below. If you play this out (or just listen to it more than a few times), please consider buying the track.
Wonderfully gentle, bubbly, and soulful 2-step on this track from Brazilian producer Rafa Mura, aka Shimizu. This is only his second release under this name, but it’s a gem. I imagine great things to come from Mura, this feels like the product of effortless talent. No bandcamp for this, unfortunately, so I’m not sure what to suggest if you’re a DJ who wants to play this out, but you can stream it as much as you’d like.
If you’ve been reading this blog with any regularity over the past 6 months, you’ve probably encountered one of my references to this breed of quasi-breakcore jungle-inspired internet music that I’ve hastily been describing as online jungle (as distinct from internetcore/webcore which seems much too broad a term to adequately capture this stuff). The breakcore-adjacent gaming-influenced microgenre seems to be proliferating quickly, not least because of the growth of the dreamstation discord, which also maintains dreamstation.fm and its live radio feed. To be fair, folks on dreamstation just seem to call this breakcore, without qualification, but I’m old and come from a time when breakcore was a lot more abrasive than most of the stuff I’m hearing coming from the dreamstation users. Plus, the dreamstation radio feed goes as far as playing house music sometimes, which isn’t a knock, but does detract from its authority re: the term breakcore.
One artist pursuing this style (though I’m not actually sure they’re active on dreamstation) is Cheap Love Hotel, based in Japan. Ripe with plenty of discord-friendly gaming humor and detail (again I’m old, but this still reminds me a lot of IRC channels or AOL chatrooms), and based in-principle on hollow bass stabs, and jungle-style breakbeat and sample manipulation, Cheap Love Hotel’s debut album sexting w my besty is real fun. The album fits in with the work of other artists in the genre, for sure, but is also generally more whimsical and idiosyncratic, often favoring hiphop sampling techniques and chopped jazz riffs instead of more serious melancholia and giant pads. This may partly be attributable to Japan’s rich raregroove and acid jazz scenes, but I can’t confirm that. In any case, the record is still squarely in online jungle territory, as far as I’m concerned, including because it embraces the shortform—of its sixteen songs, only one is over three minutes.
sexting with my besty is out now on all the streamers, or you can grab it on bandcamp. Cheap Love Hotel has also been generous enough to let me share with you the mp3s of three tracks from the album, including the title track, which is definitely my favorite from the record.
I’ve written about Colorado Springs-based producer cupsy before. Where their work in the past has been further into the frenetic side of breakcore, this piece they sent over recently is more tender and contemplative. Still high energy stuff though, which I think is cupsy’s bag (or cup, as the case may be). No bandcamp here, but you can find this on streamers, or grab the mp3 below.
I’ve also posted a Swimming Paul track before. The London-based French producer seems to have an effective promotion machine behind him—and he seems to have started to catch the wave of success that’s been elevating the post-Fred Again school of producers to great heights. It seems deserved though, his output of singles has been near-constant in the past year or two, and they’re always contemporary and effective tunes, if perhaps a touch straightforward. He doesn’t have a bandcamp, but all of his work is on the streamers, and his team was kind enough to let me provide the mp3 of this track for download below.
Ton Mise is a Nagano-based artist who sent over the title track from his newest EP, Moon Behind the Eyes, out on Chicago label Satellite Era. He describes the track as “quiet drum’n’bass, like being behind the moon” which feels accurate. It’s melodically sweet and pensive stuff, but framed in the context of well-balanced and skeletal DnB. The whole EP is really compelling, and worth checking out. Grab it on bandcamp or for streaming all over.
Tight, clustered, wobbly, 2-step undergirded by a ghostly hollow contrabass line on this strong submission from Sao Paolo-based Italian-Polish artist, Cesare vs Disorder (real name Cesare Marchese). Marchese’s been busy for the past couple of decades; you may have encountered him via his label Serialism or his consistent string of releases for other labels including the likes of BPitch Control, but he just released his first full length. Antidote runs the gamut from UK-inspired stuff like this and songs like “Brixton ’98”, to deeper and warmer club fare, all the way to the title track—which is essentially full-on acid jazz. There’s even a Brazilian sunkissed ode to Detroit electro in there too for good measure. The album features collaborations with the likes of Cristi Cons, San Proper, Rockey Washington, and an old personal favorite of mine, poet and emceee Mike Ladd. As varied as the album is, it’s nonetheless a fun and coherent listen front to back, and clearly a sincere and clear-eyed expression of Marchese’s musical personality, as fluid as it might be. Recommended.
You can grab the whole album on bandcamp, or you can stream it wherever. Marchese has also been kind enough to let me share the mp3 of the focus track, which is my favorite from the album.
Appropriately dark and somber post-dubstep from Ukrainian artist Cosmic Rain. Despite the atrocities of the more recent war in Palestine, the West needs to be careful not to lose sight of the extent of the bloodletting continuing in Ukraine. Only yesterday, Russia unleashed a massive missile strike on Kyiv and targeting energy infrastructure in other cities nearer the front. This war is not over, nor is it evenly fought, and at the very least we need to remember that—even as Western governments’ financial support for Ukraine falters. No bandcamp for Cosmic Rain, but you can stream this song all over, and he’s offered the mp3 for free download below.
Swiss artist Voicheck sent over this strange and lovely bit from their recent EP Atlatl, which intends to explore pre-historic themes through esoteric textural sound design and atypical rhythms. I recommend the whole record, it’s weird in the good way; a painless mind-bender. Unfortunately no bandcamp for some reason, but you can find the EP on any of the streamers, or listen to it on soundcloud.
Voicheck – Kuramoto (sc)
This last track, sent over by Sydney-based artist Self Tape, is nicely misdirectional. As it starts, it would have you believe it might well be lost in the growing flood of Fred Again and Bicep ripoff music, much of which is well produced but increasingly anonymous. But when the bassline drops, it’s clear Self Tape is willing to take some sonic risks—the bassline is distorted in such a way that it almost causes it to fall out of phase, but not quiiiite. The song ends up sitting precariously on the edge of sonoral disaster for the rest of its runtime, and that insecurity makes it way more interesting as a listener. I just wonder whether it works on a Funktion One, or if it might make people ill. DJs out there who want to find out, grab it on bandcamp. Others can find it for streaming wherever.
Dreamy 168bpm love-song-jungle meets elegant wordplay on this superbly produced track from UK emcee and producer Felts, who I know virtually nothing about. At the risk of embarrassing myself, I’ll take a guess as to what part of the country he’s from based on accent alone, and say Sussex(?). Felts’ previous work is mostly drill, and it’s all strong, but this track is a big upgrade and fits his pseudonym much better. No bandcamp here, but grab the mp3 below, and playlist this on all the streamers.
Felts – “Bunches” (mp3)
More vocals over jazzy breakbeats north of 160bpm, this time from Gothenberg-based art pop band SYND (Swedish for “sin”). It was just another dream that didn’t come true / but I don’t really mind, I’ve gotten used to it goes the song’s refrain. I get that—and not just from a place of feeling sorry for oneself; it’s just part of getting older to recognize that our eyes are bigger than our stomachs. Strong stuff here, definitely worth checking the rest of the band’s catalog. (And some of their old videos are really fun). No bandcamp for this, but the band has offered up the mp3 below — streamers, go stream it wherever you stream.
SYND – “Stella” (mp3)
Rounding out the dream theme today is a nice slice of melodic breakbeat house from Stuttgart-based collaborators Dejago and Dentso. All the usual ingredients of big room sad are here, but they’re all neatly assembled to be greater than the sum of the parts. The artists have generously provided the mp3 below, but you can also grab the EP on bandcamp, and it’s of course available on all the typical streaming outlets.
But when this volcano starts inside of you, can’t you stop it?
If it starts, there’s no stopping it, really.
Big in Borneo is Michael Pybus, an artist from London making serene and sincere electronica and dance music. The record he sent over is named from the drug Sertraline, an antidepressant branded in the United States as Zoloft. Pybus credits the drug with helping him overcome debilitating anxiety and allowing him to regain a creative foothold. I have very close loved ones who have benefitted enormously from the same drug, so I appreciate Pybus’s willingness to name it and make himself vulnerable by putting his experience with it on display. None of this should be taboo, so hats off to anyone willing to share their own experiences navigating mental illness and seeking to improve their health.
The music Pybus made inspired by Sertraline is graceful and sublime stuff, as if it was made in the midst of a long exhale, which in a way it may have been. My pick is “How it Feels” — a gentle, shimmering slice of 2-step that’s anchored by samples of kids in Belfast in the 1960s being interviewed about their feelings; asked to describe those overwhelming feelings like love. It’s such a sweet scene that gets set by those kids, and such a simple and essential demonstration of why it’s so vital to have a verbal outlet for your feelings. My nearly-two-year-old daughter is starting to be able to string more complicated sentences together now, and the satisfaction she feels when she can manage to express a big feeling is so palpable. She’s so proud (as am I), but she’s also so relieved. Those feelings gotta go somewhere, and almost never a better place but out.
In addition to two of the three tracks from Sertraline, I’m also posting another excellent track from Pybus’s previous EP, which is also well worth checking for. No bandcamp for any of these, unfortunately, but Pybus was kind enough to let me post the mp3s — for all the iPod warriors and those who might want to include them in a mix or set. They’re also available at the typical streaming outlets.
Epic exuberance from Oslo’s Future Daughter, a trio that has previously released on old Palms Out fav, Ben Aqua’s #FEELINGS label. This one is out on wonderfully named Oslo label Kropp uten Grenser (“Body without Borders”). I don’t mean to reduce a country and its music to its most clichéd characteristics, but listening to this, I can absolutely imagine myself standing at the edge of a cliff overlooking Aurlandsfjord ready to embrace life with both arms. Grab this on bandcamp now, and stay tuned for the upcoming LP Mythic Rues, out later this year.
Future Daughter – “Tronada” (sc)
Perfectly harmonious and blissful ambient explorations from Austin’s Six Missing (real name TJ Dumser), in collaboration with avant-garde clarinetist Ruby Lulham, aka Clariloops. Where the last song had me imagining myself in the most epic of settings, this song is where you go after descending the summit, cozy under a blanket in front of a fire with your people. Grab this on bandcamp, or stream it all over — and check Dumser’s bandcamp for another beautiful collaboration with Lulham.
Six Missing & Clariloops – “Balloons” (sc)
Another gorgeous piece of delicate electronica from Birmingham-born Matthew Clugston, aka Mattr. I’ve covered Clugston a couple of times before, and his work becomes more refined with each release, this one sharpened nearly to a needle point. In addition to a knack for musical precision, he’s been doing some great animation work using SDXL and AnimatedDiff, most of which you can find on his instagram. This is out now on bandcamp and for streaming, but he’s also been generous to let me share with you all the mp3.
autom8 is an artist from Portland, OR, writing uncompromising hi-NRG jungle. Authentic jungle vibes from the Pacific Northwest—hard to imagine writing that phrase so casually in 1994. I don’t know a whole lot else about automat8, but they’re clearly a dyed-in-the-wool fan of the genre; so much so that they even chose for themselves the kind of pseudonym you might have seen scribbled on a dub plate cut at Music House 30 years ago.
A few years ago, during the first lock-down, I stumbled across the 1994 BBC documentary Jungle Fever. The film has its high points and low, but in addition to serving as a nice piece of an important historical record, it features some interviews with novelist Koushik Banerjea (then a lecturer at Goldsmiths). At one point in the film, in response to a question about criticism of jungle as glamorizing violence, he explains the following:
If it’s a reflection on the reality which an individual seeks to portray through his or her music, then I cannot see how it can be a negative thing. [Jungle artists] feed a mainstream, predominantly white fantasy about the lifestyles and the primary definers of Blackness in Britain; the way in which young black men are seen to be running wild. And if, by feeding into this fantasy, artists embracing the so-called gangster genre can make money, then that is deeply subversive.
Later in the film, Banerjea continues:
It goes back to my argument about the redefinition of Britishness. The sense of Britishness, the British nation, and British culture. For the first time, you’re probably seeing all of those things being redefined on Black terms. That in itself is a radical departure from what you’ve witnessed before.
I imagine it would be jarring for the originators in that film like Shy FX, Gunsmoke, MC Lenny, and UK Apachi, had they been given a window into the future to be able to witness the nature and breadth of jungle’s current popular resurgence. I corresponded a little with him after I saw the film, and while we didn’t discuss this directly, I suspect the Banerjea of 1994 might not have found it totally surprising had he been told that jungle would become fully international (or globalized) music with virtually none of the associations of “gangster music” remaining; that it would be sound-tracking American Grammy Award winners, and its building blocks used by some in a manner transcending even the pastiche. After all, this isn’t jungle’s first spell in the mainstream.
For as much as jungle was synonymous with Britishness, having indeed redefined those notions on Black terms much in the way that hip hop had a decade earlier for the US, it was itself already a product of a global imperial diaspora. As Simon Reynolds has noted, jungle may be best described stylistically as the convergence of UK rave and Jamaican dub, with its “spatialised production, bass quake pressure and battery of extreme sonic effects.” Perhaps as a genre born of globalization, it was nearly inevitable that it would be adopted and readopted by one generation after another, with little regard to geography, or eventually even to race and culture. It’s not unique in that way, obviously (see nearly any other genre of dance music, all owing their very existence to the hyper creativity of Black youth sharing sensibilities with their immediate neighbors in one city or another), but maybe it again serves as a reminder that nothing can be contained in the post-internet age, and maybe embracing that futility is the only way to ensure the originators of a genre at least get some flowers.
autom8 has generously provided a free download of one of their tracks, “Bad Selecta”. The song’s name may be a gentle acknowledgement that they are borrowing from a culture in which they weren’t around to participate, but of which they mean to be a diligent student.
Find all of autom8’s admiring tributes on bandcamp or on streaming platforms.
Foggy, legless, halftime electronica from London’s Casha Mour. This song feels to me like the last song you hear in your head after a long night of jovial drunkenness and playful flirtation, right before your head hits the pillow and you drift off with a smile. To me, it’s mostly an articulation of the inherent optimism of nights like that, and the way those loosest of friendly human interactions can stoke the heart embers. But there’s a touch of sorrow there too, as there often is in a night like that—for all the warmth of those nights, the platonic or superficial nature of those encounters and relationships is also often a reflection of the absence of intimacy.
Fittingly, this is from an EP named Dreamware, Casha Mour’s latest, out now on bandcamp, or for streaming. I’ve also included a gloomier, witchier tune of his from last year, the lead melody of which has been stuck in my head for days. No bandcamp for that one, unfortunately.
Refined hybrid club music from SlowRolla and NovTheKID that hits somewhere between jersey club, juke, and breakbeat, all filtered through the sieve of a buttery RnB croon. This is from the Hybrid Pulse compilation, the inaugural release on Sonora Destroy Records, a new label based in Bogotá. The whole record is really solid, and covers a ton of ground — truly a global effort. Grab it on bandcamp, or stream it all over.
Puerto Rico’s Katan Roman blends NY rap, reggaeton, Sandungueo, and Funk Carioca on this absolute brutal bop. This deserves to be playing at deafening volumes from every Slingshot parked in front of a Borinqueño or Dominicano bodega in the Bronx. Asicalao. No bandcamp for this, unfortunately, but stream it all over, or grab it below.
Remix of Hatis Noit, the Japanese experimental voice artist on Erased Tapes whose wild video I featured a couple of months ago. Following excellent reworks by the likes of Matthew Herbert and William Basinski, this version is delivered by DJ Preservation, who’s produced for the likes of Yasiin Bey, Roc Marciano, DOOM, and RZA, GZA, and Raekwon. I also know him from Afu Ra’s “Dynamite” which might not be that well known to many, but was on heavy rotation at a formative moment in my life. For the remix, Preservation brought on billy woods and ELUCID, collectively known as Armand Hammer, one of the acts that’s been valiantly buttressing underground NY rap from constantly threatening tides. Grab this on bandcamp or stream it all over.
Hatis Noit – “Jomon” (Preservation Rework ft. Armand Hammer) (bc)
Desert esoterica from IDDO and OKADOSH. Hard to pin down these songs, but they feel to me like what Cristobal Tapia de Veer might create if he was a Burner and he accidentally took a hit from the wrong person in a chill out tent (gosh, maybe he actually is a Burner?). All the songs on the pair’s collaborative EP Erokanji, have that same sort of warbling dissonant sweetness that de Veer’s music captures, but here they feel like they’re behind some sort of veil—as if the DMT’s haze is making it impossible to quite zero in on a central motif. The whole record is quite lovely in its distinctiveness, so don’t take my tongue-in-cheek descriptions as anything but a somewhat reductive attempt to describe something for which I lack quite the right words. Just have a listen. My favorite is definitely the EP’s closer, “Momentum.”
Erokanji is available now on bandcamp, or for streaming, wherever you do that sort of thing. The image I’ve featured above isn’t actually the record’s cover art, but I would be remiss if I hadn’t featured some of IDDO’s portraiture, more of which you can find on his instagram.
Tongue-in-cheek outsider house from German Guetta Thunberg, who clearly doesn’t take themselves all too seriously. They describe themselves as “making the world a better place,” which I’m not sure is a reference to Greta or David, or both. But for all the irreverence of their name and presentation, the music’s definitely good. No bandcamp for this, so grab the mp3 below, or find it for streaming wherever.
Sharp and effective lofi house/UKG hybrid from So Only. I’m not sure where in the UK So Only is based, but perhaps Lancashire, as he’s been getting robust support from BBC North West, despite having only released a handful of songs so far (all of them quite good). Strong showing here though, a promising sign of what’s to come. No bandcamp, so grab the mp3, or stream it all over.
Simple but solid emotive breakbeat done the LA way, from newcomer Soki. This is definitely in the vein of what Shawn Reynaldo has been calling big room sad, which feels like a slightly derisive descriptor, but honestly it works. Mainstream melodramatic tears in the club for zoomers, what can you do? I like it. No bandcamp for this, but it’s available for streaming wherever you may prefer to do that.
Haven is a singer-songwriter from New York, and she’s current with I Write Music For Those Who’ve Never Been In Love, her second EP, following 2023’s Panacea and a string of singles before that. The record is unabashedly pop, but sits comfortably among the new class of pop and R&B artists choosing uptempo double time UK production styles over the weathered half-time quasi-trap stuff that’s been unavoidable for over a decade.
The lead single on I Write… is “Better Run”—a pearly two-step romper that evokes early Shygirl records. Vocally, Haven seems to be embracing her youth and femininity, with a lilting cadence that often sits near-falsetto. Lyrically, it seems at first as if Haven is treading familiar woman scorned territory, with a simple chorus in which she repeats simply “you got me missing you” and describes a lover who never really appreciated her (“you never liked me / never thought highly of my face”). But the second verse takes a darker turn, with Haven’s character revealed to be more vengeful than the song’s pink champagne mood would first have indicated. “Don’t run from what you’ve done / I hope your life turns into dust, pass me the knife, this is getting fun” Haven croons, with what one can only suspect is a twinkle in her eye.
At first blush, Haven comes off as an artist exploring largely straightforward pop, but with a little interrogation, it becomes clear she’s seeking to imbue her music with more than just the conventional female pop narratives, and trying to imagine herself in the shoes of characters with richer emotional lives. That creative modesty is worth attention. I look forward to hearing what she does next.
I Write Music For Those Who’ve Never Been In Love isn’t available on bandcamp, unfortunately, but you can stream it at all the usual outlets, which you can access here.
Haven – “Better Run” (sc)
(Expand)
This review was written in support of the artist’s promotional campaign.
Strong early showing from Leeds-based producer Fine. A cyclical piano motif and the distant sounds of a theme park undergird Molly Rymer’s lulling vocal on this first single from Fine’s debut record, Then, Now, Until due out in May. Pre-order the album on bandcamp, and grab the song below, or find it for streaming all over.
Fine – “Empty Space” (ft. Molly Rymer and Jonah Evans) (mp3)
This is the closing track on the latest record from Melbourne’s re:abel. I wrote about the previous single from this record a couple of months ago. Where that one was all deep red crushed velvet 2-step, “Otherside” is more cerulean fogged glass electronica. But no less evocative. No bandcamp for this unfortunately, but grab the mp3 below, and stream the EP at all the usual outlets.
Dublin’s XXXX In Stereo sent over this smoldering jungle roller, made in honor of Northern Ireland and Man U legendary winger George Best, who some call the best dribbler of all time (debatable obviously, but damn, he was no slouch). This is a free download, but support the artist on bandcamp, or stream this anywhere you do that sort of thing.
Aatocaster is LA-based Alex Lubeck. His latest release is this pair of bright rays of delicate electronica. According to the artist, both songs are about gratitude. “Pendant” tells of a talisman—either object, person, place, or being—that can be relied upon to save you in your moments of greatest need. However amorphous, it’s so important to have emotional and psychological backup, a support system of some sort, even if not in the form of friends and family. I shudder to think what would have happened to me in the past were it not for the support of my personal outlets, my favorite places, my people. “Exp” is meant to illustrate the result of that support — what one can then contribute to the world as a result of having survived it.
These songs are out now on bandcamp or for streaming, and will apparently be part of a larger release coming later this year.
Fluttery drum-n-pop from Malaysian artist Lunadira. The most obvious reference here is PinkPantheress, but this song also really brings to mind that Sassy 009 song I wrote about a couple of years ago, “Blue Racecar” — that’s a good reference coming from me; I constantly have that song stuck in my head. No bandcamp for this, but catch it on streaming.
Lunadira – “crying over nothing (wah wah)” (sc)
Tightly-knit drum patterns, staccato synth shimmers, and indecipherable vocal sample dust on this sharp percussion workout from Madrid’s frankydrama. I can see this going off on the right floor. Grab it on bandcamp or for streaming.
frankydrama – “Y.E.I.S.” (sc)
Icy North Sea-inspired breakbeat angst from Drive to Tears, about whom I don’t know much except that this is the third song he’s made public. But he’s open about the fact that he’s using his music as a direct outlet for his depression, which is more than respectable. Strong early showing. No bandcamp, so find it on streaming.
Celestial-scale breakbeats from British-Croatian Morwell, off of his newly released remix EP on which he reinterprets the tracks from his previous record from early last year, Resonance. In the case of “Loving You,” the dissonant rave stabs of the original are swapped out for cosmic piano chords, and vocals read from HP Lovecraft’s Beyond the Wall of Sleep, and the clobber of the break is dialed back (but just a smidgen). While these two versions exist in the same general orbit, the other remixes on the new record tend to be more severe departures from the originals upon which they’re based, often dipping dramatically in tempo or shifting genre altogether.
You can grab both the Resonance remixes or the originals on Morwell’s bandcamp, and while you’re there, check out his whole catalog. He’s impressively prolific; there’s tons of good stuff to get lost in. You can also find all of his stuff from streaming, if that’s more your speed.
Infectiously odd experimentation from New Zealand’s Havening. I’m telling you, they do it weird in NZ. I wrote about someof Havening’s compatriots last month—about how well those artists from NZ captured a sense of everyday dread and gloom, and that maybe that was part of the Kiwi condition, so to speak. But this track, and Havening’s other work, leads me to believe it may be more accurate to describe a willingness to embrace esoterica, and let the everyday weird in. This song is just as strange as those I posted from flip for garth and Qwazdyn, but most of the gloom is replaced by a sense of calm curiosity. There’s still an underlying current of mild dread in that arpeggiating synth line, but don’t we all wake up some mornings with a combination of resignation and optimism? I may dread one part of my upcoming day, and look forward to another.
I’m not sure if there’s more direct meaning intended here. ‘Gorp’ is a funny word, and that may be the extent of it, or maybe Havening is referencing the act of eating greedily, or an affinity for trail mix. Either way, I like this song.
You can find this for streaming anywhere you do that sort of thing, or support the artist by grabbing a copy on bandcamp.
First up is Syglit, an artist from Russia about whom I know just about nothing else, but both tracks on their new record are sublime exercises in mood and glitch. Find them streaming all over, or grab them on bandcamp.
Syglit – “you_re late” (sc)
Syglit – “source .env” (sc)
Next is the new single from Iranian artist Pari Eskandari. I posted the video for Eskandari’s previous single a couple of months ago, which was a vivid exploration of the struggle of women in Iran, made in-part as a tribute to Mahsa Amini. This new song is equally compelling, and was produced by Eskandari, together with Tricky and Peter Kirn, and released on Tricky’s False Idols imprint. Find it for streaming, or on bandcamp.
Pari Eskandari – “Drehmoment” (sc)
The last one is from another artist I know little about: London’s Omar Moon. This is from a charming beat tape that you can find on all the streamers, but unfortunately not on bandcamp. Thankfully, Moon okayed me sharing with you all the mp3, which you can download below. Lovely stuff, this.
I’ve got so much good stuff coming in all the time, and I don’t always have the bandwidth to cover as much as I’d like. So, in the interest of not letting too many gems fall through the cracks, I’ll occasionally be collecting a handful of recent contributions into a new From the Mailbox feature.
Wonderfully idiosyncratic club music from Perth’s Nikolas Thompson. I love when a song feels totally built for purpose, like it was produced by a DJ just to fill a specific hole in their set. Grab the mp3 so it can serve that purpose for you too. Thompson seems full of personality, zeal, and good ideas, so I’d keep an ear out for more from him.
Next, it’s more dancefloor frenzy from Norway’s Dr. Sepi. This time it’s breakneck triplet carioca syncopation meets 170bpm breakbeat fury. DJ’s: grab the mp3 for free below (and don’t miss that last one I posted too).
More unabashedly vulnerable dance music from North London’s Sound of Fractures (aka Jamie Reddington), who I’ve covered a couple of times now. This is the third single from Reddington’s interactive album Scenes, a project that encourages listeners to contribute their own memories and rewards them by generating unique album art for the next song in the series based on their contribution (plus one of the submissions becomes the official artwork). Participate in the project, and in so doing get to have a listen to the next single.
The Scenes project is also emblematic of Reddington’s approach. I’ve been following him on socials the past few months, and the guy is clearly working hard to try to create something special — leaving no stone unturned. I know he has young children, as I do, so I’m extra impressed by what he’s managing to accomplish. He’s seemingly using even the most peripheral of moments to generate content that may inch him forward. I can’t always say the same for myself, but his determination is almost as inspiring as the music itself.
Find this song, along with previous Sound of Fractures material, on all the streaming services, or support the artist and grab this one on bandcamp.
Glittery and tense breakup pop from Oslo’s Maud, real name Kristine Hoff. The gist here is straightforward, but familiar to many: it’s after a painful breakup and you’d rather never see that other person again (or at least you need some real distance for a minute), but you keep running into them, either actually, virtually, or at least mentally.
This is from Maud’s upcoming full-length The Love That Remains, which you can pre-order on bandcamp. It’s out February 16th. You can also find this for streaming all over.
Filter house meets g-tech from Baltimore’s club queen, TT The Artist, together with Noisia’s Thys and Big Dope P himself. Doppie and Moveltraxx continue their neverending quest to remain the most productive ass shakers east of the Atlantic.
Taken from the upcoming SBF26 compilation, out 2/26. Preorder on bandcamp, or find it for streaming wherever.
More of that internetcore-adjacent online jungle I was onabouta couple of months ago. This time it’s this very playstation roller from miiinty, who I know nothing about except that they’re [maybe] from the UK. Besides the song’s bloodshot title, the only indication of miiinty’s inspiration is the following statement: “born to uwu forced to thug it out tbh.” Like any good loading screen song, this song’s appeal is immediate and it remains engaging throughout, in a way that could probably go on forever before you’d notice the game had frozen.
Not on bandcamp, but you can find it for streaming anywhere you’d think to look.
miiinty – “playing spyro on a ps2 emulator gave me a hit of dopamine!!!” (sc)
