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

  • boerd & Boko Yout – All My Life

    I was fourteen when Massive Attack’s Mezzanine was released, and like many, I bought it at first sight—for that album cover—despite not yet knowing what trip hop was. At that point in my life, I would typically go to my local Tower Records after school to try to find hiphop records I didn’t already have—it wasn’t usually a fruitful task. Even though the genre was fully ubiquitous by that point, mainstream outlets still did pretty terribly to hide their implicit (or explicit) bias against the genre. (And no need to pretend race and class weren’t a big part of that.) Similarly, despite being a huge store with plenty of room for experimentation, Tower wasn’t actively featuring many import records either. But I’m super thankful to whoever the Tower employee was who decided Mezzanine was a worthy record to put on a display rack — I doubt I’d have noticed it otherwise. Because of that discovery (and learning about the existence of Fat Beats a few weeks later), my tastes took a sharp left turn and my life was changed.

    This song by Swedes boerd and Boko Yout (Bård Ericson and Paul Adamah, respectively) is an unambiguous callback to the records of that era. I’m certainly not alone in recognizing trip hop’s quiet return to relevance, but I suspect I’m also not the only one who righteously continued listening to the genre throughout its colder years. It seems to me a sign of being well-adjusted to periodically make room for listening to the milestone records of one’s youth, if for no other reason than to put one’s teen angst in some perspective—and maybe to recognize where a more critical ear would have been deserved in the first instance.

    Boko Yout’s vocals here—particularly in the verses—can’t avoid some comparison to Daddy G’s gravely timbre, but boerd’s production doesn’t strike my ears as particularly close to the lineage of the genre’s more ubiquitous torchbearers, like Massive Attack or Portishead. Consistent with much of his earlier work, boerd’s beat is markedly less ominous or grim compared to those acts. It’s lighter; and that’s not a bad thing. The drums and use of scratching evoke something closer to the open breakbeat style of a Nightmares on Wax record. The walking bassline feels more like Morcheeba. And the pop sensibility of the songwriting and its key feels almost like something Sneaker Pimps would have written. These are all references to be plenty proud of too—trip hop wasn’t all utter darkness, it had its hopeful moments too.

    Unfortunately for all you iPod revivalists, this isn’t on bandcamp (yet), so for now you’ll need an LTE signal to stream this on your commute.

    boerd & Boko Yout – All My Life (sc)

  • nevereven – Cautionary Tale (To Those Who Will Listen)

    “Idaho” is make-believe. Commonly misattributed to the Shoshone or Nez Pearce, the word was the 1860 invention of a delegate of the Jefferson Territory, who proposed its use as the name of the state that eventually became known as Colorado. Instead, it was adopted as the name of a steamboat that transported the thousands of miners up the Columbia river and its tributaries to the gold mines that were springing up in the Clearwater area of what later became the state of Idaho. That Jefferson delegate intended the word to mean “gem of the mountains” — so its adoption by miners was fitting, and it’s probably also the reason Idaho is nicknamed the “Gem State.”

    The state isn’t well known for its music, but the way Lucy Dacus of boygenius tells it, Idahoans don’t want to be known for much, for fear that word gets out about just how beautiful the state is. Nonetheless, I can’t help but feel like there’s something bubbling up there. A few weeks ago I covered the immaculate dungeon synth of Boise’s Viscount and Brutus Greenshield, and that’s definitely the first time I’ve ever clocked any electronic music from the state, much less music so imaginative. So it feels like it can’t be a coincidence that I found another artist from the area releasing equally inventive ambient and experimental music.

    nevereven is Dylan Seibert, from Star, ID—a 5000-pop suburb of Boise. He’s a young artist who’s recently self-released his debut LP Cautionary Tale (To Those Who Will Listen). To take a clumsy stab at categorization, I might say the record sits somewhere in the universes of hauntology, hypnogogic pop, and vaporwave, but none of that quite captures the starkness of most of its songs. Seibert admits an interest in plunderphonics, so references to 0PN or sunsetcorp wouldn’t be altogether inaccurate. Lopatin often shines in his insistence on recontextualizing the goofy and saccharine, but on songs with absurdist titles like “A Honeybee That Poops Out Dinosaurs” or “Stumbling Upon A Chasm That Leads To The Fourth Circle Of Hell”, Seibert’s outlook on fatuous subject matter seems decidedly darker—and the product feels immediately vulnerable as a result. This isn’t to say that he doesn’t wear some of his influences on his sleeve, but this music still feels sincerely exploratory.

    Maybe adventure is what best captures the Idaho sound, if there is such a thing (I’m deciding there is, even if lacking any union). It’s probably reductive to say that 35 million beautiful acres of public land must inspire quests, even imaginary ones; or that little to no attention or scene-iness must reduce the pressure on artists to conform to a specific aesthetic. But I just can’t shake the sense that acts like nevereven are seeking out only what feels right and not presupposing the result. This spirit of exploration is almost literally captured by the foghorns and time-stretched accordions of the album’s closing track, “Voyager’s Lament”, but its implication is inescapable throughout the record.

    Maybe it’s best to forget everything I’ve said about a nascent Idaho scene and let the Idahoans to themselves. Any way you cut it though, this record is a gem.

    nevereven – “A Honeybee That Poops Out Dinosaurs” (bc)

    nevereven – “Idle Soul and the Tale of the Crying Machine” (bc)

    nevereven – “Stumbling Upon A Chasm That Leads to the Fourth Circle of Hell”

    nevereven – “Voyager’s Lament” (bc)

  • Visual Velcro 25

    Hatis Noit – “Jomon” (bc)

    Rubio – “Llorar” (sc)

    Max Cooper – “In Threes” (bc)

  • Mailbox: Qwazdyn – Lamp


    It’s the second time this week I’m covering an artist from New Zealand. This time it’s a young producer named Qwazdyn who I don’t know much else about except that they’re 18 years old. The first track they sent has some of the same loose everyday gloom I described the other day, but this time in the deceiving form of a mellow little dub roller. I’ve never been to NZ, but maybe this kind of gloom isn’t an uncommon emotional mode there? I always imagine it lush and framed by exceptional landscapes, but I expect as westernized as it is, it’s probably plenty ripe for the same afflictions as anywhere else. The other track is much more ominous — still essentially rooted in dub and 2-step, but with a lead that says the world isn’t just sick and tired, it’s fucking dying.

    Both of these are available on bandcamp pay-what-you-wish, or on streaming services.

    Qwazdyn – Lamp (sc)

    Qwazdyn – Kownk (sc)

  • Mailbox: Nimbe – Truce (Nodal Edge Remix)

    London-based producer Nodal Edge (real name Antoine Follea) recently sent me this crisp treatment of label mate Nimbe‘s latest single. The single title probably doesn’t refer to the ongoing atrocities in Isreal/Palestine, but the sentiment is applicable. More than ever, we need to be promoting the concept of truce, all over.

    This is out now on One Horse Town records, grab it on bandcamp, or stream it all over.

    Nimbe – “Truce” (Nodal Edge Remix) (sc)

  • Mailbox: flip for garth – Tortoise

    Sometimes the right kind of gloom can really be charming. I like when a song isn’t too overtly drenched in melancholia, but still has enough drowsiness and dread to let you in close to the artist and whatever they may be struggling with. I can get into the full-on drama of vibrant sorrow or heartbreak, but I don’t think that’s where most people actually spend most of their emotional time—we only have enough fuel for that much intensity of emotion sometimes. For most people, even those of us with mournful or depressive streaks, the applicable feels level isn’t usually at a ten, it’s more a six. I count myself lucky to be one of those people, because I’ve known too many bright stars who burned out too quickly because they felt all of their feelings so much.

    These songs from Wellington, NZ’s flip for garth capture that more everyday dread and gloom. This isn’t necessarily the music of heartrending pain or uncontrollable love, but rather the more everyday human versions of those feelings—the versions of those feelings that persist and that usually still make it possible for us to get up in the morning and go to work or cook for our families. I really appreciate the sincerity of expressing the versions of sadness and woe that feel compatible with real life.

    Both of these songs are from flip for garth’s 2023 record Automosphere. Grab it on bandcamp for whatever you wish to pay, or find it on all the usual streamers.

    flip for garth – “Tortoise” (sc)

    flip for garth – “Gentle Breeze” (sc)

  • Magic Flowers – Beef

    Springy A$AP-sampling house number from Moldovan duo Magic Flowers, who I included on Remix Sunday 161 and 158. These guys have impressive command of this strain of broad-appeal house music, and manage to churn out edit after pop edit without ever getting too saccharine or sappy. If they can keep this up, I expect them to eventually hit the right note and get some sort of mainstream breakthrough; they just have a really accessible and soulful sound, but never seem to sink too far into the muddy waters of deep house. I’m also including a slinky edit they did of that Saweetie and H.E.R. tune from a couple of years ago.

    Find dozens of edits and flips of this quality level on their bandcamp, and find some slightly more cloaked versions of some of their stuff on streaming services.

    Magic Flowers – “Beef” (sc)

    Magic Flowers – “Angel” (sc)

  • Mailbox: Robin Meure – Solo

    Assiduous mid-tempo acid from Utrecht’s Robin Meure. It feels as if more and more of the acid I hear lately is rising to nosebleed tempos, probably to fit in with all the hi-NRG techno, gabber, and trance that’s en vogue. Not knocking it, but it’s nice to hear some are sticking to the basics, not overcomplicating a good thing, and giving the 303s a little room to breathe.

    These are both available on Meure’s latest EP, available on bandcamp, or wherever you do your streaming.

    Robin Meure – “Solo” (sc)

    Robin Meure – “Jack” (sc)

    PS. did you know we have an acid playlist? If you like acid, give it a follow.

    image/ NYT & phatmedia.co.uk

  • Visual Velcro 24

    Daphni – “Cloudy” (Kelbin Remix) (sc)

    Don Gog – “Q” (sc)

    Parable – “Pin Drops” (bc)

  • Remix Sunday 163

    Securing your desired username on a new app is the closest millennials and zoomers will get to owning land.
    – @notsofiacoppola

    Remix Sunday 163 Zipped Up. (118mb zip)

    Destiny’s Child – “Say My Name” (Clearcast Remix)

    Benga & Coki – “Night” (Mod Sens Funky Drum Edit)

    Sexxy Red x Roni Size – “SkeeYee” (Booty Carell ‘Brown Paper Bag’ Blend)

    Kinoteki – “The Line” (Kelbin Remix)

    Ice Spice & PinkPantheress – “Boy’s A Liar Pt.2” (Hyalyte Edit)

    Blaqstarr & Rye Rye – “Shake It To The Ground” (Lai Raw Bootleg)

    Jain – “Makeba” (Disaffected Edit)

    Skepta – “Nasty” (Pocket Edit)

    Rosalia – “Motomami” (PTMC Bootleg)

    Top Cat – “Request The Style” (Efan Dub)

    Soul II Soul – “Back To Life” (AL Dub)

    Intension – “Tragic Revolution” (Lennart Edit)

    Sylvain Leroux – “Main Gauche” (Misumena Remix)

    image/ Aleksandr Babarikin

  • Mailbox: Rex Kalibur – Sidequest LM

    Rex Kalibur (real name David M. Young) is an artist based in Joshua Tree, California, making downtempo inspired by the desert. Until I read that, if I had to pin an element to this music, it would have undoubtedly been water, not air. But maybe that’s just as fitting — the desert conceals its water, but it’s no less important. To the contrary, it’s all the more important in the desert, and every bit of it needs to be treasured, preserved, and reused as much as possible.

    Young is dedicated to connecting his music to nature; he releases each of his records on the first day of a given season. Both of the included songs are delicate short-form explorations of a respectively tidy melodic theme. The first one “Sidequest LM” is from Young’s latest record, Lopen (released this past winter solstice). Its title is perfectly apt; it really does sound like the music you might encounter during a sidequest in a game like Ecco the Dolphin or Fez, full of slightly uneasy beauty. The second is from his previous record, Diametric (released this past autumnal equinox), and it’s a burst of gentle romance, really sweet stuff.

    Find Rex Kalibur’s catalog on bandcamp, or for streaming.

    Rex Kalibur – “Sidequest LM” (sc)

    Rex Kalibur – “Love, Pt. I” (sc)

  • Mailbox: Sound of Fractures – Totes Emosh

    Appropriately tongue-in-cheek title for this lovely submission from North London’s Jamie Reddington, aka Sound of Fractures, whose previous single I covered last month. Reddington describes it as one of his favorites of his own songs because it feels “so [him]” including for its wonkiness and imperfection. It’s a tough thing as an artist to strike that balance of trying to perfect one’s work, but also leaving in enough of the idiosyncrasy to assure the listener knows it was made be a real life human with real life feelings. Reddington definitely keeps this human, but it’s also plenty polished. Just a lovely track, and yeah, totes emosh.

    No bandcamp for this, so catch this streaming. Or/also, check Reddington’s super-cool Scenes project, which allows listeners to generate the official artwork for each of a series of six singles (this one’s the second). Give it a try and also get to listen to the next single in the series. You can also buy the downloads through the platform if you’d like. The whole thing is really nicely executed.

    Sounds of Fractures – “Totes Emosh” (sc)

  • Mailbox: Dr. Sepi – She’s a Killer

    Utterly effective genreless club tool from Norwegian Dr. Sepi. One part Sister Nancy, a pinch of ragga, a little carioca, a bunch of rave, and a lot of thump. All dancefloor.

    DJs, grab the mp3 for free below, but be sure to check the rest of Dr. Sepi’s catalog on bandcamp too.

    Dr. Sepi – “She’s a Killer” (mp3)

  • Mailbox: Mattr – Gaija

    More shimmering midtempo electronica from London-based Mattr (real name Matthew Clugston) who I covered about a year back. At the time, I postulated that Clugston’s prolific output in the years previous must have been a result of all the extra time afforded by lockdown. I need to admit now that assumption was almost certainly wrong. In the year since wrote that, Clugston has had no fewer than seven solo releases, and a handful of remixes (including an lovely official remix for Max Cooper) — the fella is just extremely productive. And the quality of the music is all really high.

    These two just came out on Clugston’s own imprint, Loft & Sound. Grab them on bandcamp, or stream them wherever.

    Mattr — “Gaija” (sc)

    Mattr — “Eno” (sc)

  • Amy Godsey – Regions of Resonance

    My cables are falling apart
    I don’t know why
    I didn’t do anything wrong

    I’ve written about Amy Godsey before–she’s an LA-based artist exploring a largely instrumental sort of gently tactile semi-ambient synth music. Where her newest record, Ananta (which I wrote about previously) attempts to reflect the freedom of nature in its chaos and complexity, her 2020 album Regions of Resonance is more concrete and cerebral. This is likely indicative of Godsey’s divergent circumstances at the times the albums were written. Ananta emerged while Godsey traversed the American wilderness in the aftermath of the death of her best friend. Regions of Resonance, on the other hand, is the work of someone toiling to survive in New York. My home town is glamorous and beautiful, no doubt, but it also has a way of forcing people into their heads and asking them to sharpen themselves to a fine point.

    The results are no less effective. Indeed, some listeners will connect more with songs as tightly and carefully wound as “Geenie in a Bootle” or “Eustatheia”—or as metallic and cement-like as the album’s title track—than they would the more loosely emotive and meandering fare of Ananta. I can’t help but picture Godsey writing some of these songs in her head as she sits on a crowded train commuting home later than she should have had to.

    None of this is to say that the album is morose or sullen. New York is a grind, but it’s also full of possibility. Godsey’s exasperated vocal lamentations on “A Cable Called Blue” encapsulate this tension well. Sure, New Yorkers may be trapped in internal struggle, and may feel like the City is unfairly casting its weight on them alone, but they’re often equally able to fall in love with each of its tiny unclaimed corners and feel like the whole town belongs only to them. For all it takes from us, the City inspires us to energize. The two-track sequence of distorted siren calls on “Honey” quickly leading into the electricity and determination of “Reverie” reflects this tension elegantly.

    Godsey evidently understood the city she spent eight years in, and I imagine that like many who leave it (myself included) she probably misses it a lot of the time. After stretching to meet its vibration, it becomes hard to ever feel quite as virile or fierce once you’ve left. But the evolution between Godsey’s two records also serves as evidence that New Yorkers (including long-term transplants like Godsey) may well better enjoy the opportunity to loosen their belts outside of the pressure cooker. And that relaxed enjoyment can also be the catalyst for greater openness and more honest self-expression.

    Amy Godsey – “Geenie in a Bootle” (bc)

    Amy Godsey – “A Cable Called Blue”

    Amy Godsey – “Eustatheia”

    Amy Godsey – “Regions of Resonance”

  • So Durand – Blue-Tek

    More genre-bending club destruction from Ottawan So Durand, who I’ve written about a couple of times previously. Hot on the heels of his inclusion on ec2a’s coveted second USB drop (already sold out sadly), “Blue-Tek” just dropped on So Durand’s bandcamp and for streaming. But grab it while you can — you never know how long this sort of ephemera will last.

    So Durand – “Blue-Tek”

  • Flex Blur – Hedopolis

    French juke meets rave on “Hedopolis” — a perfectly effective stabby DJ tool from Flex Blur and the fine folks at Moveltraxx. Grab this and the rest of Flex Blur’s Vitesse EP on bandcamp for use in a set, or stream it wherever.

    Also check another from Flex Blur — this time some immaculately choppy house. While not at footwork tempos, the perseverance of those chopped organ patterns can only be a product of twice-fold Windy City reverence. This one’s out for free on January 4th on Serbian label Nu Kulture, as part of IV, the fourth in their free compilation series.

    Flex Blur – “Hedopolis” (sc)

    Flex Blur – “2T3M” (sc)

  • Demetae – Calculate

    Proper mechanical electro shuffle from Mancunian Demetae (real name Robert Woodward). “Calculate” is as icy as the city that birthed electro (Detroit averages -3.5C in January), and just as robotic (you know, robots make cars now). From Demetae’s latest Space​-​time Sleaze EP, out a couple of weeks ago.

    Grab Demetae’s 3-tracker on bandcamp on Sound du Jour. Or stream it all over.

    Demetae – “Calculate” (bc)

  • Mailbox: Graffick – Momentary

    More elemental barreling electronica from San Diego’s Graffick (aka Blaine Counter), who I wrote about a couple of months ago. Counter seems to have a real handle on the sound he’s pursuing as an artist, which is eniviable. It also means that if you like this, I suggest you keep an ear out for more from him in the future.

    No bandcamp for this, unfortunately, so seek this out on streamers instead.

    Graffick – “Momentary” (sc)

  • Mailbox: yung pope – MPTA (yung pope mix)

    Corporeal experimental pop from Spain’s yung pope. Bodies let us down sometimes, but gosh are they ever just infinite inspiration.

    Grab these on yung pope’s bandcamp. Or stream them at the usual places.

    yung pope – “MPTA” ft. Menend (yung pope mix) (bc)

    yung pope – “Parpageo” ft. Diphda (bc)

  • Viscount – Divine Points

    Viscount is a project by a man named Eric, based in Boise, Idaho. This is music most simply categorized as ambient music, but it’s not for the background. This is stuff most concerned with how palette and structure can tell an actual story; how modern music can exist in the context of myth.

    Do you recall the ‘dungeon synth’ micro genre that emerged in the 90s from Kosmische and Black Metal? Well while I wasn’t paying attention, the genre quietly flourished, and Eric seems to have been part of some of that over the past decade or so. Eric is half of Brutus Greenshield, whose records you ought to check out too. Their work is probably more easily identifiable as dungeon synth than Viscount’s solo material, but neither is by any means the kind of harpsichord-driven medieval cosplay that some 90s metal kids might remember when they hear that term.

    Viscount’s 2022 LP, Divine Points, is less overt in its stylistic references than the Brutus Greenshield material. There’s a subtle vein of pre-baroque dungeony-type aesthetic that gets revealed at times throughout the record, but largely this is not kitsch music whatsoever. To the extent those references do appear (and I’m not knocking them when they do), they feel like a sincere expression of Eric’s personal sensibilities.

    Viscount is a project that succeeds in crafting something sincerely escapist. I don’t throw around the term cinematic lightly, especially when I’m writing about ambient or ambient-adjacent music, but Divine Points really scratches the same itch for me that a good film would.

    Divine Points is available for whatever you’d like to pay on bandcamp, so no excuse not to go grab it there. Apparently new music is due in the spring.

    Viscount – “Cirrus” (bc)

    Viscount – “I Saw How the Planets Gathered” (bc)

  • Mailbox: shiro12 – Afterimage / 残像

    More of that dreamy online jungle/y2k breakcore I’ve written about a few times previously. This time from producer shiro12, who I don’t know much about except that they describe themselves as “home-bound.” I assume they’re located in Japan, but I’m not actually sure about that either. Again, as is the case with this strain of revivalism, what’s probably most important is that they’re online, and their music is too.

    No bandcamp, so stream away.

    shiro12 – “Afterimage / 残像” (sc)

    shiro12 – “カレイドスコープ” (sc)

  • Mailbox: Tarva – Hollow

    Excellent icy tension, stutter, and clatter on this steppy submission from Meanjin/Brisbane-based producer Tarva. This one was just released, but I’m also posting his last single from a couple of months ago, which is a touch warmer and more sentimental, but still plenty refined and cool.

    Neither of these are on bandcamp, unfortunately, but for those of you interested in including this in a set or mixtape, Tarva was kind enough to let me post the hi-res mp3 of “Hollow.” For the rest of you, find either track for streaming anywhere.

    Tarva – “Hollow” (mp3)

    Tarva – “Close My Eyes” (sc)

  • Mailbox: Pozibelle – Wait

    Strange when you can tell just by listening to an artist where they’re from. I could tell right away Pozibelle was from NYC, and not necessarily because she’s doing music particularly stylistically emblematic of my hometown. Something about it though just feels like the city. Dreamy breakbeat house that’s simple in the most effective way; perfect for a warm up or come down set, or just waiting for the train.

    This is the first single from the upcoming Nightlike EP, to be released on January 18th on cassette and digital. Until then, you can grab this on bandcamp as a single or as part of the pre-order.

    Also, check the rest of Pozibelle’s catalog on bandcamp, she’s got some real gems.

    Pozibelle – “Wait” (sc)

  • Mailbox: Moosa x Nis Murphy – Step Back

    Gorgeous bit of contemplative left-field R&B from Moosa and Nis Murphy, both based in India. This is all about the concessions we each have to make to live life on earth, and the irony that most progress and individual growth is non-linear. Don’t expect to reach those goals in the new year without a few detours!

    This is the first single from an upcoming album the pair are preparing for release in 2024. No bandcamp yet, but it’ll be out on Nis Murphy’s Mayaa imprint when the album is released. For now, find this for streaming.

    Moosa x Nis Murphy – “Step Back” (sc)

  • Mailbox: Swimming Paul – The Way It Goes

    Merry Christmas to all who celebrate. I count myself really lucky that my whole family is wonderful, so holidays like this really do feel enriching. But for those of you who don’t have families, or for whom time with family is fraught, just remember that’s just the way it goes on days like this. Today, try to make the most of what you do have, and then spend tomorrow and next week thinking about what you’d like to build in the new year, either practically or emotionally.

    <3 to you all!

    Swimming Paul – “The Way It Goes” (sc)

  • Tiga & Hudson Mohawke – BUYBUYSELL

    All I can picture is Tiga as a red-faced 80s Wall Street executive screaming the words to this into an oversized Zack Morris phone, and HudMo on the other end of the line as a sweaty young floor trader rushing back and forth, avoiding an army of other traders on the exchange floor, trying desperately to execute the trade.

    From the already(?) under-appreciated collaborative album L’Ecstasy. Grab it on bandcamp or stream it or whatever.

    Tiga & Hudson Mohawke – “BUYBUYSELL” (sc)

    Tiga & Hudson Mohawke – “Silence Of Love” ft. Jesse Boykins III (sc)

  • Mailbox: PTMC – Infrared System

    Forward-thinking electro from Boorloo/Perth-based PTMC (real name Peter McAvan). “Infrared System” strikes a nice balance between clattering percussion and 30,000ft atmosphere. It’s the B-side of a new two-tracker he just released on Midnight Elevator, a label that’s worth paying attention to (it’s also run by PTMC). Midnight Elevator only started releasing in 2020 and seems exclusively focused on artists from the Boorloo area. Building community like that is always commendable and important, but it’s impressive that as a curator PTMC has nonetheless been able to keep the label’s stylistic range narrow enough to give it a distinct sound. I suggest checking out the rest of the catalog.

    I’ve also included two tracks from PTMC’s last record, which came out on Midnight Elevator earlier in the year, also really worth checking.

    Grab “Infrared System” on bandcamp, or stream it wherever you do your stream shopping.

    PTMC – “Infrared System” (sc)

    PTMC – “Mutant Hardcore” (sc)

    PTMC – “Music For Clubb Kids” (sc)

  • Visual Velcro 23

    A.dixen – In Safety (sc)

    Evening Ocean – Believe In Good Things (sc)

    SUBFICTION – “weird glitches ‘n’ different shakes” (medley)

  • Mailbox: re:abel – Concentrate

    Sultry 2-step from Melbourne’s re:abel (real name Ryan Gasparini). This is music to soundtrack the night you realize your heart is no longer broken. Music that says, fuck it, what do I have to lose?

    I can’t concentrate today, so it’s helpful to have someone whispering in my ear insisting I do. This is from re:abel’s upcoming EP on Mammal Sounds.

    No bandcamp for this, unfortunately, but it’s out now for streaming everywhere. Thankfully, re:abel was also kind enough to grant permission for me to host the mp3, for any DJs eager to play this out. Grab it below.

    re:abel – “Concentrate” (mp3)

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