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

  • zero dB – A Pompa Girou (Austin Ato Remix)

    Old friend of the blog, Colin Bailey–most commonly known as Austin Ato, but previously best known to Palms Out partygoers as Drums of Death–recently did a great revamp of a seminal Latin broken beat tune by zero dB that came out on Ninjatune in 2006, arguably the tail end of that label’s golden era. Bailey keeps intact the spirit of the original, including the left-handed piano line that leads its rhythm, but he beefs up the bottom end and sharpens its edges, bringing the tune into more modern and accessible dancefloor territory.

    Out now for streaming all over the place on Tru Thoughts — or grab it on bandcamp.

    zero dB – “A Pompa Girou (Austin Ato Remix)” (bc)

    Also, for good measure, here’s a phenomenal cut from Bailey’s Sensitive Techno for Today’s Shut-ins, a record that Colin put out about six months into lockdown that flew a bit under the radar–undeservedly–and I keep meaning to post about it. Check that one on bandcamp on LA-based label Fantastic Voyage.

    Austin Ato – “Utal Viola” (bc)

  • So Durand – Lies II

    More fwd-thinking jungle from Ottawa-based So Durand. “Lies II” is a reimagining of one of the tracks from his stellar This Unruly Kingdom release, which I covered earlier in the year. This new version takes what was previously a sludgy codeine trip of an instrumental hiphop track full of warm yellow bulbs, and keys it way way up, substituting all the dope with uppers and throwing it into a strobe filled warehouse night. Roughhouse yet refined jungle for peak time.

    It’s out now on Irish label Choki Biki. Grab it on their bandcamp or stream it to your heart’s content.

    So Durand – “Lies II” (bc)

    Also, while I was on paternity leave, So Durand put out a maxi with a couple of hi-NRG jungle crossovers, and I’d be remiss not to share this one. Grab it on his bandcamp.

    So Durand – “MISSME DUB” (ft. Sacha Foster) (bc)

  • Waleed – Se Rompen

    A pair of beauties here from DC-born, London-based, Iraqi-Puerto Rican-originated Waleed. He’s only released these two tracks thus far, but they’ve received immense support from the likes of Four Tet, Dan Snaith, Floating Points, and Ben UFO, attention that ultimately also quickly secured him a deal with the venerable German label City Slang (European/sometimes home for the likes of Caribou, José Gonzalez, Yo La Tengo, Gold Panda, Calexico, etc).

    Not much more information about Waleed has yet surfaced to provide much context for his music, but it shares plenty with the work of its high profile supporters, none of whom are slouches, to say the least. Both songs have a nice heft to their shuffle, and plenty of intricate detail. A comparison to Burial is unfortunately inescapable here given the post-garage swing in those drums, but where the godfather tends towards the icy, rainy, and cold, Waleed manages to imbue his music with a good deal more optimism, humidity, and sweat. Both of these songs still have enough emotional weight to tug the heartstrings, but Waleed does a great job of steering clear of the sap, which is hard to say for many others in the genre.

    Despite the ever-crowded field, and the relative simplicity of these songs, it’s really no wonder he’s gotten a different level of attention compared to others exploring this sound. It’s natural, easygoing, and loose music that still sounds perfectly intentional and professional.

    There are still copies of the 12″ available, and I can kind of imagine the first pressing might become a bit of a collectors item, so grab a copy on bandcamp. (Or stream away, as you do). And definitely check the video for the b-side, “Sueños”, animated by Matt Portner.

    Waleed – “Se Rompen” (bc)

    Waleed – “Sueños” (bc)

  • Mailbox: Wittyboy – My Fear

    Growing up is scary. When you’re a kid, you probably have one of two generally misguided perspectives on getting older. (a) It’ll get easier to just be alive, and I’ll finally be self-determined, so I’ll be more able to do what I want. (b) I’ll be bored, and boring, stuck in a normie life forever, so I better let my light burn bright (or out) while I have the chance.

    Neither is particularly accurate. For most, the just being alive part does get a little easier, but self-determination doesn’t usually truly mean the time or power to do what one wants, especially when time speeds up on an exponent. If you have a family, you probably won’t often be bored — though sadly you might seem boring — but at least for many, you’ll fucking treasure the moments when you get the chance to have a few normal boring hours. And sure, go ahead and let your light shine bright as a kid — I’m glad I did — but also leave yourself a little fuel for middle adulthood, because it can be legitimately exhausting to have babies and jobs and purpose, even as thrilling as all that can be.

    London-via-Leeds hailing Wittyboy burned bright early — do you remember those niche/bassline Craig David remixes he did back in 2007ish? I think he’s still doing that banger sound for the most part — and power to him for it — but like many of our age group (he’s about a year younger than me, according to wikipedia), he’s at the least supplementing his speed wubs with some more “grownup” (or maybe just mild) sounds, and offering listeners a touch of introspection. “My Fear” is a sweet and simple song that exists in a space somewhere between that post-garage sound that I hate describing but like listening to, and something a bit more akin to straightforward dancefloor pop. It’s really listenable stuff, and hats off to a wubgawd for showing his softer side. We all gotta take a breather sometimes as we approach our 40s.

    Wittyboy – “My Fear” (sc)

  • Uncanny Alliance – I Got My Education (Big Dope P & Feadz Remix)

    Previous-era Palms Out stalwarts Big Dope P and Feadz from Paris team up to remix this classic NYC house track by Uncanny Alliance, the duo composed of Brinsley Evans and E.V. Mystique. The original was a hit in the clubs of early-90s New York, but probably is better remembered for its bootleg by Louie Vega and Kenny Dope. This new 2022 version strays pretty far from the original and the early boots, with a shimmery touch of the French and a bunch of jukey fake-outs, but it definitely maintains some of that OG sass.

    It’s out now as part of Moveltraxx’s excellent comp Street Bangers Factory 20. Grab it on bandcamp, or stream it wherever.

    Uncanny Alliance – “I Got My Education” (Big Dope P & Feadz Remix) (sc)

  • 4am Kru – Pianos Raining Down

    True to its title, this one’s all a flurry of hoovers, breaks, and rave pianos from London’s 4am Kru, who I’ve covered in the past. “Pianos Raining Down” is also designed as a useful tool, starting at a moderately fast 165bpm, but slowing down during the first breakdown to 134bpm while still keeping the NRG high. By the by, that stab melody is sampled from a track by Yorkshire duo McDonald & Janetta, who are credited as collaborators. All fun here.

    4am Kru – “Pianos Raining Down” (sc)

  • Mailbox: Osutin – Another Planet

    Hard-as-nails electro meets g-tech from Osutin, real name Austin Crumpley. Osutin may hail from Phoenix, but this is the stuff that would make nearly any Michigander grimace and start moving their butt.

    Osutin’s Bass Go EP is out now on LA label, Teethy. Grab it on bandcamp, or stream it all over.

    Osutin – “Back to The” (sc)

    Osutin – “Another Planet” (sc)

    Osutin – “Twinz Dub” (sc)

  • Visual Velcro 16

    TIBASKO – “Traces” (sc)

    Juno Francis – “Labyrinth” (sc)

    The China Blue – “tonightfeelsdifferent” (sc)

  • Mailbox: Macro/micro – Things Will Never Be The Same Again

    Sharp, clenched, grand electronica from LA-based Tommy Simpson, aka Macro/micro. Simpson recently stopped work as an engineer for Trent Reznor and Atticus Ross, where he assisted on the last two NIN albums and their recent film work, including that excellent score for Watchmen.

    Simpson’s own work as Macro/micro definitely exists in a similar space as does that of Reznor and Ross, particularly in his use of tightly controlled distortion (see e.g., “Awe” and “He’ll Be With You Shortly”). But there’s also an evident generational divide. Despite its general darkness, this is not dour music, there’s plenty of optimism to be found here too (see e.g., the closer, “Gratitude” which is probably my choice from the record). As a much younger artist, Simpson seems more willing to open the blinds more often and let in some light.

    Check out the whole album, released this past July. It’s out now on bandcamp, and streaming everywhere else.

    Macro/micro – Things Will Never Be The Same Again (bc)

  • Mailbox: apob – having more fun v1

    I’m slowly returning from paternity leave, and this kind of ditty from LA-based apob speaks well to my current mood. Having a little baby who smiles constantly and squeals in delight 100x/day makes it hard to have anything but fun, even though my wife and I are both wildly exhausted.

    The sound of “having more fun v1” is true to its name, for sure, but it’s still got an artery of subtle seriousness running through it — maybe it’s that Twin Peaks-y secondary bass line. This song is the first solo release from apob, real name Aaron O’Brien, but he’s produced and written for some interesting names these past couple of years, including Dora Jar, Aiden Bissett, and JELEEL!. One to watch, this one.

    Not on bandcamp, but streaming all over, including on spotify.

    apob – “having more fun v1” (sc)

  • DJ Phil, DJ Spinn, DJ Manny – No Love

    No words necessary for these legends. Except to say Teklife deserves all the love.

    Out now as part of Teklife’s On Life Vol. 3 compilation, out now on bandcamp and streaming everywhere else.

    DJ Phil, DJ Spinn, DJ Manny – “No Love” (sc)

  • Visual Velcro 15

    Brent Faiyaz – “PRICE OF FAME”

    Jacopo Vana – “Hold It”
    Thodén – “This Codified Drift”

  • Remix Sunday 161

    If men could get pregnant, abortion would be a sacrament.
    – (attributed to) Florynce Kennedy

    Remix Sunday 161 Zipped Up. (131mb zip)

    Opus III – “It’s A Fine Day” (Burt Fox Remix)

    Tripletrain – “Try To Believe” (DJ Bark Lee Mix)

    Belanova – “Rosa Pastel” (LAO Bootleg)

    FKA twigs – “holy terrain” (Kai Whiston 3AM Fix)

    Lamont & Grim Sickers – “Shots” (Doctor Jeep 160 Edit)

    Mark Snow – “X Files Theme” (DJ Flawlez Remix)

    DJ Zinc – “Super Sharp Shooter” (Zinc’s Short Sharp Edit)

    DJ Kool – “Let Me Clear My Throat” (Magic Flowers 2021 Remix)

    Drake & Beyoncé – “Can I” (Royal-T Bootleg)

    Brent Faiyaz – “Fuck The World” (Huna Edit)

    Jeremih & Shlohmo – “Bo Peep (Do U Right)” (Rare Mp3s Edit)

    Nirvana – “Something In The Way” (Kiavi Remake)

    image/ Ismael Herrero

  • Mailbox: Cando – Sting in the Tail

    Cando is a Bristol-based production duo composed of Chad Leotaud and Owen Roberts. Roberts comes from the world of commercial pop and dance, working as a songwriter for the likes of BTS; Leotaud was raised in part in Trinidad, with a background in dancehall and early 2000s DMZ-era dubstep. The track these two sent over recently, “Sting in the Tail”, is the b-side from their most recent two-tracker, and crosses percussive dancehall stylings with touches of both that first-wave dubstep sound and some mainstream sheen. I’ve also included an older track, “Bleak Dub”, from 2019, which sits more firmly in Deep Medi territory, and burns nice and slow. Ones to watch.

    Both tracks are available for streaming, or on the duo’s bandcamp.

    Cando – “Sting in the Tail” (sc)

    Cando – “Bleak Dub” (bc)

  • Mailbox: Lyrah – Sorry CVS

    in response to the healthcare system feeling so criminal, my mom joked that we should just start stealing things. we went to cvs later that day, and I may or may not have stolen a pack of peanut m&ms for her.

    “Sorry CVS” was written by Lyrah and her brother, shortly after his diagnosis with stage 4 cancer. It’s a song about a criminal and unjust healthcare system devoid of humanity, replaced instead with insensate cynicism. If a system like this bills itself as compassionate, but happily denies care to those unable to pay, what form of twisted ethics should ever protect that system from theft? Besides, CVS is the kind of place that’s just begging to be stolen from. Sending love to everyone out there unable to get adequate or appropriate care, and all of those forced to navigate a labyrinthine Medicaid system.

    Lyrah – “Sorry CVS” (sc)

  • Monolithic – Tailspin

    More blissed out breakbeat house from Monolithic and Queens-based label Mechanical, both of whom I covered a little while back. Monolithic describes the song as the sound of those times when you’re forced to act calm in the face of a situation that’s getting out of control. No doubt this is cool, calm, and collected stuff — just as fit for a late 90s roll as it would be for today at the beach.

    The single is out now for streaming, or on bandcamp.

    Monolithic – “Tailspin” (bc)

  • Mailbox: Digital Artifact – A Quantum Entanglement of the Mind

    I’ve been spending a lot of time thinking about the divisions of the autonomic nervous system, particularly the parasympathetic and enteric, and the ways in which the branches of the trigeminal nerve may be affected by changes in the rate and consistency of peristalsis. Could it be that the chronic migraines I’ve experienced since I was a teenager might be affected by finding a way to change the pace of peristalsis and/or attaining better conscious control over general parasympathetic function? No easy answers to questions like these.

    Digital Artifact is an artist who clearly spends time trying to feel out the answers to difficult questions. Not only because he’s a computer engineering student, an experience which I can only imagine bears with it a fair share of challenges, but also through his music, which is distinctly explorative. Most of his music is iterative–as in, it’s made by applying the same set of rules a number of different times, and recording the outcome. That’s a heady endeavor, no doubt, but all of it manages to maintain touch with an emotional nerve. These are explorations worth following along with.

    I’ve selected a couple of songs for you here, but he’s got a wealth of material available to stream on his soundcloud and spotify profiles, so I really recommend going there, hitting shuffle, and letting the material take you where it may.

    Digital Artifact – “A Quantum Entanglement of the Mind” (Iteration One)

    Digital Artifact – “A Hollow Blue Cube In The Sand” (Iteration Two)

    Digital Artifact – “An Involuntary Hallucination” (Iteration One)

  • Moderat – DOOM HYPE

    I rinsed Moderat‘s 2009 self titled album to death. I was traveling constantly at the time, and it just fit perfectly in my head and headphones. The songwriting on that record always felt a bit dominated by Modeselektor, but just with the sort of careful percussive refinement of an Apparat track. I wasn’t mad at that at the time, but it never felt quite like the act had it’=s own distinct sound.

    The trio’s recently released new record, MORE D4TA, on the other hand feels like something else entirely. It’s not a Modeselektor record, it’s not an Apparat record. Sure, plenty of the typical technique of all three producers remain (thankfully), but the songwriting is a departure, and the influences feel broader. Case in point, the sound palette of the song I’ve included below seems less 2010s Berlin, and more 1980s Manchester.

    Moderat – “DOOM HYPE” (sc)

    MORE D4TA is out now for streaming or on bandcamp.

  • Tano – Clockworx

    tano clockworx

    Two perfectly forward cuts of leftfield bass from Brooklyn-based Tano, from his recently released five tracker on his own In Armatura imprint.

    Did you know that a clock works in much the same way that a synthesizer does? It depends on an energy source controlling an oscillator that marks intervals. In the case of a synth, those intervals become the relationship between notes on a scale; in a clock, the intervals are equal temporal units–seconds. I recently learned this, and it feels appropriate to share in the context of this record, since “Clockworx” is my pick of the bunch. Pure and distinct grime references in that lead line, carefully refined breakbeats, it feels like a timeless and timely record (I’m full of bad puns, get at me). Also check “Step Into Vesuvio” — a tight bit of percussive broken beat techno. But really, the whole EP is extremely strong, and should not be slept on.

    In Armatura 003 is out now for streaming or on bandcamp.

    Tano – “Clockworx” (bc)

    Tano – “Step Into Vesuvio” (sc)

  • Thodén – This Codified Drift

    It was then, floating in the passivity of induced consumption, in which it became clear that this functional mechanism of time was but a codified drift. With our particular indifference to an imposed rationality, all semblance of alterity had been lost

    Music–especially electronic music–is usually a feeling exercise. It’s for dancing, for crying, for running.

    Most artists just want their art to make you feel something. I’ve always subscribed to the idea that the worst reaction art can evoke is indifference. As much as I hope my own music gives people good feelings, I’d ultimately much rather a song I write elicit a strong negative reaction like disgust rather than boredom or indifference. But some of my favorite music is also thinking music. Music can have tremendous activating effect on the occipital lobe and frontal cortex — it can conjure not just emotion, but also give us visions, trigger complex thought and academic inspiration.

    Thodén (real name Kris Rehfeld) is a Danish artist whose music has that desired substantial emotional effect, but is also full of visual stimulus. This may be by design– Rehfeld’s debut album, This Codified Drift was written during the first lockdown, at at time when we all had more time for thinking, and maybe a little less room or willingness to feel.

    The album doesn’t hit you over the head with meaning. It’s bursting with imagery, but it’s all cloaked — it’s left to the listener to decide what this music means. Listening to a song like “Hyperreal”, I find myself fantasizing about the patterns of wasps nests and the organization of anthills. “Gush” feels like the frustration of new lust; when you’re feeling intense magnetism, but trying to play it cool. “Signal on Baikal” is a swamp boat right after you turn off the airdrive fan and let it coast towards the mouth of a cave. All eight songs on the album are full of these kinds of feelings and imagery. But they all mean what you make of them, so go make them mean something.

    This Codified Drift is out now for streaming or on bandcamp, via French label Electroménager.

    Thodén – “Hyperreal” (bc)

    Thodén – “Gush” (bc)

    Thodén – “Signal On Baikal” (bc)

  • Mailbox: AAOM – Idle Hour

    Concrete and plasticine murmuring post-dubstep sounds from Mexico’s AAOM, real name Alfonso Otero. This is the kind of music that plays through drywall and out from the storm drains. Warm, but still full of shivers.

    Out now for streaming, but no bandcamp.

    AAOM – “Idle Hour” (sc)

  • Mailbox: RamonPang – Hold Me Under

    Twinkly brooding bass music from LA-based RamonPang. Consistent with the main lyric, the tension in this feels like being held underwater for a few seconds too long — just long enough for fight or flight to start setting in — until finally that tuned sub bass comes in with a great sigh of relief.

    Out now for streaming or on bandcamp.

    RamonPang – “Hold Me Under” (sc)

  • Mailbox: Full Monty – Aztec

    Full-bodied and progressive, this track from Dutch producer Full Monty bridges some of the gaps between dembow-tech and trance. It’s Nokia ringtones on holiday in Tenochtitlan. Solid stuff.

    Out now as part of Bleeps, Beats & Bass 3 celebrating 15 years of Dutch label Basserk. Stream it or grab the compilation on bandcamp.

    Full Monty – “Aztec” (sc)

  • Mailbox: Baalti – Aame

    Baalti is San Francisco-based duo Mihir Chauhan and Jaiveer Singh. They recently sent me a couple of songs from their 2021 self-titled record, and it’s perfect music for beginning the summer. Chauhan and Singh describe Baalti as an expression of their love of sample-based music, and a forum for recontextualizing the sounds they grew up hearing as kids. It does just that. Reimagining old Bengali disco and Gujarati funk records as straightforward organic house music, Baalti does well not to over-process these precious samples — if the ingredients are great, why mess with them too much?

    “Aame” turns Gujarati funk into effective modern house; “Kolkata ’78” flips a classic Rupa Biswas record into shuffling percussive disco-house. The whole EP is worth checking out, and will work as well on a dancefloor as it will soundtracking your next summer cookout. Available now for streaming, or on bandcamp.

    Baalti – “Aame” (sc)

    Baalti – “Kolkata ’78” (sc)

  • Visual Velcro 14

    Shygirl – “Firefly” (sc)

    Sebastian Müller – “Manor Farm / Finding Life”
    Sagans – “Coherence”

  • A Path Untold – Spiritus

    A Path Untold, real name Daniel Merrill, is an artist from a city in the foothills of the Sierra Nevadas.

    Merrill’s music fits well within the artistic the legacy of those mountains — like the work of their greatest champion, Ansel Adams, this is monochromatic, stark, and naturally beautiful stuff, with just a touch of melodrama. Stylistically, there’s some commonality with Scandinavia’s distinct branch of broken beat dub techno, but it’s got a bit of the spirit of manifest destiny that makes it much more American. There’s gold in them hills, and this is made of it.

    Both songs are from A Path Untold’s latest long player, Sourcery, which is out now for streaming and on bandcamp. The whole album is gorgeous.

    A Path Untold – “Spiritus” (sc)

    A Path Untold – “Heart Matters” (sc)

  • Visual Velcro 13

    Sudan Archives – “Home Maker” (Edit) (bc)

    Hector John Guerra – “Quantum Success Coaching Academy” (sc)

    Free The Robots – “Kaduwa” ft. Teebs (sc)

  • Mailbox: The Fear Ratio – Spinning Globe

    Unexpected submission from the legendary techno label Tresor. This is not what you’d expect from Tresor — it is not techno, it’s glitch hop. But in context, this makes a lot of sense. First of all, The Fear Ratio is composed of UK techno heavyweights Mark Broom and James Ruskin, so it’s not surprising they’d have the attention of Tresor (Ruskin released two seminal albums on the label). And second, Tresor is not just a label — it’s club in Berlin that has been open in various incarnations and at various locations around the city since 1991. Berlin is not a city unfamiliar to this glitchy branch of hip hop — after all, the godfathers of this sound, Modeselektor, came up in the city, and have undoubtedly played plenty at Tresor. I’m just glad to see Tresor championing stuff like this.

    Featuring fellow Brit King Kashmere, “Spinning Globe” sounds a bit like what I imagine we might be hearing if Company Flow had never broken up and had instead moved across the pond at the turn of the century (and maybe El-P’s EPS-16 had been lost on the way, forcing him to start using a cracked version of Acid Pro and whatever thrift shop drum machines he could get his hands on). It’s sci-fi hip-hop for a new decade; and the production is sharp as nails.

    The song is the first single from the upcoming album Slinky out on June 24th. Pre-order the album now on bandcamp and get the first two singles straight away.

    The Fear Ratio – “Spinning Globe” (ft. King Kashmere) (sc)

  • Mailbox: 44 Ardent – nomoreheat

    I have a thing for melodies that have a naive quality to them. Maybe it’s the eternal teenager in me, but I love when a song manages to capture the feeling of early teenage melancholia through the use of a sort-of miniaturized and humble melodic loop. This song, sent over by Australian producer 44 Ardent, does just that. Mellow modern house rhythms right for a ride to the forest on a spring day, “nomoreheat” relies largely on this kind of sweet child-like and comforting melody–to great effect.

    Out now for streaming, but unfortunately no bandcamp.

    44 Ardent – “nomoreheat” (sc)

  • Mailbox: Justin Martin – Let’s

    Back in the earlier days of Palms Out, we were emphatic champions of a breed of house music that was coming out of the Bay Area. It seems quaint to say now given the ubiquity of what became known as the Dirtybird sound, but at the time, it was cutting edge stuff. Claude VonStroke was the torchbearer, and pockets of the sound sprung up all over, including in the UK (where artists often framed themselves more as an evolution of the fidget sound). But behind VonStroke, Justin Martin and his brother Christian were probably the most visible names of the pack.

    I lost touch with that scene as the blog wound down in the early 2010s, but I’ve come to find that Justin Martin never let up, eventually starting his own What To Do imprint, and realizing impressive levels of main room success. His work got deeper, as is demonstrated on the track his label sent over recently, but it’s still got that characteristic Bay Area mixture of sharp percussion and big bottom end. The track comes with a nice remix pack, including the ace 2-step version below by British phenom lau.ra. But definitely check the whole pack, it also includes a really lovely mellow breakbeat rendition by Tom Jarney and one from old Palms Out favorite DJ Sliink, among others.

    Justin Martin – “Let’s” (ft. Claire George) (bc)

    Justin Martin – “Let’s” (ft. Claire George) (lau.ra Remix) (bc)

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