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.
Nice effective house music from Dutch producer Papi Gaba, who calls this “post-lofi house”. I’m not so sure I subscribe to the idea of adding ‘post’ to anything anymore, especially not a term that’s already got a qualifier. But whatever you want to call this, it’s really silky lovely stuff.
The song is now available to stream, or purchase on bandcamp. And if you’d like to hear more stuff like this, we’ve got a nice spotify playlist for just this sort of thing (whether you call it lofi or not).
Three years after her debut LP, a new single from Berlin-based Argentinian artist Catnapp ahead of her Trust album release, out on Monkeytown on May 20. The press release for this seems to acknowledge that connections will inevitably be drawn to artists like 100gecs, etc., but attempts to cut through that noise a bit:
Trust does border on overload, but again, that’s by design. The LP arrives at a time when attention spans are short, interruptions are constant, multi-tasking has become routine and practically the entire history of music is now accessible at the push of the button.[…] Call it hyperpop if you must, but pop concentrate might be a more accurate term.
I agree with the sentiment; it’s hard to keep a listener’s attention these days, and especially hard to draw them in to a new full length for long enough to appreciate a narrative. But Trust makes a valiant attempt to achieve this kind of focus. Anchored by the pleasant contrasts inherent in Catnapp’s delicate voice and energetic delivery, the album strikes a balance between the sound of the new guard of hyphenate hyperpop-gabber-trance producers like Aamourocean and established progenitors of what might now fairly (though reductively) be called proto-hyperpop, Modeselektor (who feature on two songs on the album).
In a vacuum, I’d call this album (and its lead single) a great addition to the never-named Berlin electro-hop genre for which Modeselektor have been such emphatic and sincere torchbearers. But outside that vacuum, it’s certainly also fair to say this will appeal to a new generation of listeners who, perhaps without knowing the context, would lump this in with hyperpop, a genre that itself lacks any truly defined borders (and really that’s not a bad thing). Ultimately, what counts is not how distorted the 909 is, whether there are enough supersaws, or if a head is adorned with blue dyes versus fitted caps–rather it’s whether the music gets its listeners to respond. I’d say this definitely ought to.
Trust is available for preorder directly from Monkeytown. The lead single is streaming now, and is downloadable with preorders via bandcamp.
I kind of never thought I’d be writing about breakcore again, to be perfectly honest. But it’s hard not to win me over with well organized breakbeat chops and some satisfying pads. That’s just what New Zealand-based toadmilk delivers on this one. Plus, I give myself some license here, since notwithstanding the intricate-to-the-point-of-chaos arrangement of the amen throughout, this is probably closer to jungle than traditional brain-melting breakcore. Not that these things really matter — it’s just a cool song.
Unfortunately, this isn’t available for streaming on any of the major services, nor has toadmilk uploaded it to their bandcamp. So the only place to listen is right here (or on toadmilk’s soundcloud).
Continuing today’s hazy R&B theme is Flowerpetal V –real name Toya Ejike– a producer, songwriter, and vocalist from Atlanta. They describe their songwriting as an interchange between “melody and prose, [d]iving into a solemn inner expanse.” This is fitting; on “Since”, Ejike’s semi-monotone plays gently with the dulcet self-reflective tone of the lead melody.
The song has a familiar quality, while simultaneously fulfilling the refrain’s promise and take[ing] me by surprise. This sense of obscured familiarity is emphasized in the bridge, where Ejike’s cadence subtly references Aaliyah when she told us I’m not just anybody. Similarly, Flowerpetal V is not just anybody, they’re an artist with some real perspective, and someone for whom we should all keep a keen ear out.
“Since” is streaming now across the usual platforms, including on Spotify.
Following a theme today, more sludgy forward-thinking R&B for you on this cold Monday. Coquinati is a producer from Vicenza who’s spent several of the past years in Korea. He describes his music as inspired by the innovation and development rapidly swallowing poorer portions of large Asian cities like Seoul, and by the tension between the K-pop of Gangham and the underground movements of Itaewon. “Landing” features fellow Italian Noone, whose vocals are pleasantly obscured under a wash of distortion, and set atop a sea of pads and glitch.
Matthew Santos, aka MA/SA, sent over these two songs from his latest 4-song release, MMXXII. Santos is LA-based, and a two-time grammy nominee for his songwriting work in the late aughts for Lupe Fiasco. Bleary-eyed, trudging hybrid-pop that sits in a similar lineage of dark R&B as does Shlohmo–particularly his work with How To Dress Well. Lovely stuff here; great for a sleepy Monday morning.
You can grab MMXXII on bandcamp, though unfortunately, the second song below seems to only be available for streaming (which you can do on Spotify, or wherever else you listen).
Bratislava-based Blame Your Genes sent over this bit of infectious 2-step house the other day. As far as I know, not explicitly titled in reference to the war ongoing on Slovakia’s doorstep, its title ought still remind us of the ruin that continues to be left by Russian fire.
It’s hard to find light these days, but I am a firm believer that this kind of horror calls not just for reflection on the atrocities being committed, but also for allowing ourselves moments of joy. Neither should be ignored. While I reflect on the continued suffering of the Ukrainian people, this song brings me some joy today.
I add so many good songs to all our Spotify playlists that I don’t end up having the time to properly feature on the blog, so I thought I’d start a simple new feature where I post a handful of recently playlisted songs. Many of these will probably end up as euphoric breakbeat appreciation posts, but honestly, have you met me?
Perfectly simple breakbeat-infused pop from London-based Lothian producer Barry Can’t Swim, who you might remember from his excellent Amor Fati last year on Shall Not Fade, or his prolific string of no fewer than eight singles in the past three years. Not bad for a guy who never learned to swim.
“God Is The Space Between Us” is the first single from More Content, out June 24th on Ninjatune sublabel Technicolour, which has had a really strong run since its inception, with releases from the likes of Octo Octa, UMFANG, Elkka, and DJ BORING, among others. The single features Taite Imogen, a lovely singer who I hadn’t heard of until now, but will happily keep an eye out for in the future, as I will continue to do for Barry Can’t Swim.
Pre-order More Contenton bandcamp and get “God Is The Space Between Us” while you wait, or stream it anywhere and everywhere.
Barry Can’t Swim – “God Is The Space Between Us” (ft. Taite Imogen) (sc)
I’m destined to live the dream for all my peeps who never made it.
“Keep It Real” is a solid AZ-sampling breakbeat workout from Chicago-based KEEFE. This is some of the hardest stuff I’ve posted since I restarted the blog, and I’m not mad at it. I’ve also included another one from his latest–grab the whole 4-song EP on bandcamp for $1 — it’s full of this kind of grit. And all the proceeds from the EP go to Chicago Hopes for Kids, so it’s kind of a no brainer.
Clean shimmering steppiness from Tel-Aviv based Dawncall and Dresden-based Azaleh. Unfortunately, where I am, winter’s sticking round a while longer, but this kind of vibe makes the cold a touch easier to handle. Grab the song on bandcamp; plus there’s tons more A+ material from both of these producers on their respective soundclouds (I included an older one from Dawncall below).
More of that sugary Swedish pop meets bouncy UKG that I can’t resist. This time from Russo-Swedes snackbox and EEVA. Hard not to swish around to these. No bandcamp, but find both of these tracks on spotify or wherever else you stream.
Camilla Myhre, aka Varnrable, is an Ethiopian-Norweigan producer and vocalist about to release Air Born, her debut long player on the excellent Danish label Escho — home of Smerz, Iceage, and sometimes home of old Palms Out favorites When Saints Go Machine.
“On Fire”, which also features Yangze–who co-wrote the lion’s share MØ’s latest album–is tense and patient. It’s an exercise in contrasts–easygoing and sweet vocal performances from both artists float atop a synth lead that is reminiscent of a chair screeching across a schoolhouse floor. Remarkably infectious stuff, notwithstanding its more anxious elements.
I’ve also included a great song that Varnrable contributed to 2020’s Kulør 006 compilation on Courtesy’s homonymous label.
Air Born is out on April 29th, is mastered by one of my all time favorites, DJ HVAD, and as if this wasn’t enough of a confluence of some of Denmark’s finest, also features another old favorite, Choir of Young Believers. You can preorder the album on bandcamp, or stream the two singles wherever you do that.
Samaki is a New Jersey-born, Atlanta-based producer and vocalist who’s been making deep and romantic hip hop for only the past three years, but you’d be forgiven for thinking he’s a veteran. I don’t know much about him, and he doesn’t have a big online presence yet, but he tells me he’s just trying to make music he would listen to. No soundcloud or bandcamp for him, so he’s given me permission to share two of his songs as mp3s, but you can also stream his stuff on spotify.
JKP is a producer from London, and like many of his countrymen, he’s got a knack for a certain kind of melodic organic house-inspired electronica that’s hard not to enjoy. I don’t know much about JKP, except that you might have heard some of his music in an advert for Shiseido beauty starring Euphoria star Hunter Schafer. Lovely stuff for fans of Four Tet or the like. I don’t think these are on bandcamp, but you can stream them on spotify and elsewhere.
I got this cryptic submission from St. Louis-based ∆EYEZ the other day. Strikes me as somewhere between chopped & screwed (without the lean) and early aughts Prefuse 73 or Machinedrum. Hard to place, and frustratingly brief, but really compelling stuff nonetheless. I’ve included the song he sent me, as well as another two from a couple of years ago.
I don’t know much about AEYEZ, but if his soundcloud is any indication, he’s pretty prolific; there’s a lot of really good stuff there. He hasn’t released much on streaming services, and there’s no bandcamp, so your best bet is to follow him on soundcloud.
Los Angeles & Miami-based producer Troy Kurtz (who used to blog with our old compatriots at Gotta Dance Dirty, and now runs the Pulp Trax label) just released this steppy little number on Amtrac’s OPENERS label.
True to its title, it explores the acidic side of breakbeat 2-step, albeit seemingly with the lack of an actual 303, in favor of an oscillator with other characteristics (but still with enough squelch in the filter to be aceeeed). The bassline’s bite is balanced nicely with the constant spectre of evolving phantom chords and devolving glitchy ambience, and a recurring hollow snare for good measure–all of which pushes the track nicely into roots dub territory without making it feel overtly nostalgic. Solid stuff here.
The song doesn’t appear to be available for purchase on bandcamp yet, but it’s streamable on spotify and elsewhere.
The above short film documents the writing and recording of MUGOGO!, the recently released 22-song album from Kenyan rapper Ziller Bas and Swiss producer FlexFab, over the course of two weeks the two spent together in Kilifi, Kenya in early 2020. Continentally connected to South African gqom, the album has a distinctly hybrid sound of its own — cosmopolitan in its production style, with supremely refined and energetic vocal performances by Bas in a dialect he describes as Sweng Flow, a combination of Swahili, English, and Giriama. I really encourage you to watch the film; it’s beautifully put together, and provides a lot of personal context for the album, all of which makes the record that much more exciting.
I selected a couple of my favorites from the album, but it’s really solid throughout. It’s streaming now, or it can be purchased in a gorgeous deluxe vinyl package on bandcamp.
FlexFab & Ziller Bas – “Haha! Haha!” ft. Jimmy Pé (sc)
FlexFab & Ziller Bas – “Fullu!” (sc)
FlexFab & Ziller Bas – “Oya Baba!” ft. Gafacci (sc)
Did you know that the the American Chameleon is not, in fact, a chameleon? It’s actually an anole, in the same family as an iguana.
Physical Therapy, aka Daniel Fisher, is a chameleon (or I suppose, given he’s from New Jersey, an anole). Countless aliases, constant genre shifting, loves oak branches and crickets. The past couple of years have seen Fisher relatively quiet since the definitive It Takes a Village compilation (which is all his work, under a number of different names); I say quiet reluctantly though, given the past two years have also seen a slew of releases under other aliases, remixes, and focus on his near-perfect label, Allergy Season.
Now he’s back with Teardrops On My Garage, a record that sounds like Craig David spending a summer in Newark taking acid. It’s out now to stream and on bandcamp. I’ve included a couple of picks from the EP, plus two of my all-time favorite Physical Therapy songs (including “Male Tears”, one of the best and simplest uses of the funky drummer break–which is not something I say lightly).
And keep in mind, if you find yourself allergic to color-changing lizards, you’re probably actually allergic to cricket poop, not the reptile itself.
Physical Therapy – “Chain Reaction” (sc)
Physical Therapy – “2 Tears” (Ladies Night Dub) (sc)
Slackin Beats is from Malmö, Sweden, and has evidently ingested whatever it is that’s added to the water in Sweden that seems to give an inordinate percentage of its music-makers an unexplainable grasp for perfect pop sensibility. Raghd, who lends vocals to Slackin’s production here, is also from Sweden, and clearly also has the Swedish gift. “With Me” borrows elements of 2-step, breakbeat, house, 2000s electro, and whatever else works — woven together effortlessly to create a perfect piece of hybrid dance pop.
A song like this reminds me just how much good music still flies under the radar without ever garnering the attention it deserves. In another configuration of the world, songs like this would get sustained promo, proper radio push, placement, etc., but instead, it’s up to outlets like mine to contribute a tiny bit towards spreading the word. It’s out now on streaming platforms, and on bandcamp.
PAPA Sound, the Swedish duo composed of Teddybears’ Patrik Arve and songwriter Paulo Albo, have been steadily releasing dancehall collaborations with the likes Wayne J, Prince Icomstan, Royal Payne, among others. For “Money” the duo teams up with the legendary Macka Diamond (aka Lady Charm/Mackerel, of “Tek Con” fame), to great effect. Nice to see Macka on a collaboration like this–and I hope the lyrics have the intended manifesting effect–Macka has always deserved plenty more shine, especially internationally.
“Money” is available to stream now anywhere you do that sort of thing.
Belief is a collaborative project from Boom Bip and Warpaint drummer Stella Mozgawa. Hearing this brought me back to the early 2000s, when I was a teenage intern at El-P’s Def Jux label — Boom Bip’s first two records would frequently play in the office there. While his solo sound has since evolved considerably, Bip’s knack for melody remains intact, and the addition of Mozgawa’s drumming feels like a subtle and welcome throwback to that era’s liberal use of drum breaks.
“Ulu is the Hawaiian word for growth, to rise or sprout” says Bip; the song was improvised and recorded mostly live, as part of a series of sessions for Belief’s upcoming album on Lex Records. I’ve also included a remix of the track by Palms Out favorite, FaltyDL. You can stream both now, or purchase them on bandcamp.
Belief – “Ulu” (sc)
Belief – “Ulu” (FaltyDL Remix) (sc)
You can also watch the video for their previous single after the jump.
Machiavelli’s La Mandragola is a play about shameless disregard for the means by which one achieves one’s desires. It demonstrates that the given or chosen title of a person should not be the measure of their character. But it’s also a warning to the virtuous, that the sinful may still be the victors; that immorality may never be punished — and a reminder that religion is mostly a system under which we collectively pretend good deeds are always rewarded, if not in this life, at least in the next. The legend of the Mandrake root itself is that when dug up, it will kill all who hear its screams.
Piezo, like Machiavelli, is Italian, and this song is likely named for either the play or the root (or both). It will certainly not kill you to hear it, and thankfully so, but as you listen to it, be reminded that we can’t depend on the notion that the powerful men who cause chaos and suffering in this world will be punished cosmically, it’s up to the rest of us to stop them ourselves.
The song came out in 2019 on the excellent German label, Version. Surprisingly, there are still vinyl copies available, so jump on those while they’re still around.
A sweet slice of pop from former Smooth Ends frontman, Franco-Argentinian and London-based Kevin Erlicher, aka Loverground. Consistent with his background in cognitive neuroscience, “How U Feel” asks us to think about what we really have to worry about when we’re preoccupied with a new object of affection. It’s a great song to distract you from the kind of circular thinking that obsessive desire can create. It reminds us we have more than we could ask for–that sometimes we just need to take a moment to chill and let ourselves feel our feelings.
“How U Feel” is out now on Nice Guys. You can grab it on bandcamp, or stream it wherever.
Donna Missal, who recently put out the best work of her career – an excellent EP produced by Sega Bodega – was dropped by Harvest/UMG shortly after the EP’s release. Subsequently, she posted to twitter a good encapsulation of how preexisting economic privilege is often the most potent ingredient for music industry success:
Nepotism and oligarchy are real, it’s mythological that there’s no barrier of entry anymore because of social media. Class has an unavoidable impact on your options. – Donna Missal on twitter
Those of us who have worked in this industry for any significant amount of time will easily be able to echo this sentiment. The sheer number of artists, producers, and indie label executives whose fathers or mothers are poisonously rich wall street financiers and pharma execs is staggering. Josh Eustis from Telefon Tel Aviv recently tweeted something along these lines:
You would be truly astonished to know how many “weirdo” artists – who are both our peers and many who are super famous – literally have dads that own gem mines in Indonesia – Telefon Tel Aviv on twitter
Does any of this mean rich kids shouldn’t get attention for their music? Of course it doesn’t. But we shouldn’t pretend that artists or labels make it purely on the merit of their talent or how much they “hustle”. This kind of thinking is just another version of the bootstraps fallacy. The system is rigged in favor of the rich, so if you find yourself wondering how that producer manages to pay for his million dollar studio in Williamsburg, despite only having been involved in a small handful of notable projects, remind yourself of the dark money that permeates the arts.
Does this mean that an artist like Missal is without privilege? Of course it doesn’t, and I imagine she would readily admit that. But she’s right when she points out that it’s far more emotionally exhausting for some artists than others to continue to “posture like everything’s cool” in the midst of the “optics olympics” of an industry driven by never-ending social media frenzy and armies of oligarch-funded publicity teams.
Donna Missal – “(to me) your face is love” (sc)
Donna Missal – “sex is good (but have you tried)” (sc)
