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

  • 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)

  • Mailbox: yeong – Do You Ever Think of Me?

    Bittersweet vapor twitch from LA-based yeong. On instagram, yeong described this as a ‘getting laid off from corporate america type beat.’ That explains why this is a little melancholy, but also has a vein of fuck y’all attitude running through it.

    No bandcamp, unfortunately, but you can stream it on all the usual outlets.

    yeong – “Do You Ever Think of Me?” (sc)

  • Mailbox: omniboi – Panorama

    omniboi is a Los Angeles-based producer and composer, originally from Arizona. He rose to some prominence in 2016-17 with a viral video in which he married a Migos acapella with Nintendo-jazz-chic chords, followed soon after by a string of notable singles and albums. He’s current with a new EP, Panorama, out now on Canadian powerhouse label and management group, Nettwerk.

    After listening to a few songs from Panorama, it won’t be hard to gather that this is music heavily inspired by video game culture. But it’s not really 8-bit or chiptune. Instead, songs like “Ghost Town, USA” or “Marathon” feel distinctly 64-bit, and would fit right in on an N64 of Wii score. Music from that era of Nintendo games was deeply charming; these songs carry much of that charm because they’re so clearly the product of omniboi’s sincere love for that music.

    Nevertheless, I’d say omni is strongest when approaching the less overtly video game-inspired fare on the record. The EP’s lead track “Set Apart” (featuring vocalist Dona) and “Omni-Vision” (featuring nelward) both temper the rubber and sodapop aesthetic that omni’s most comfortable in with a touch of red leather and champagne. Neither would be out of place in the context of a late aughts fluokids party in Paris where the DJ was playing nothing but French Touch and bloghaus. None of that is to say these are stuffy songs only for millennials either—they’re not—they just seem aimed at a broader audience. (I caught my two-year-old absent-mindedly shaking her stuff to “Set Apart,” and babies don’t lie, so that might also tell you something.)

    Ultimately, Panorama is omniboi continuing to write the kind of music he loves, but there’s also evidence he might be eager to see his music working a few more dancefloors.

    Panorama is out now. Grab it on bandcamp or stream it anywhere streams are sold.

    omniboi – “Set Apart” ft. Dona (sc)

    omniboi – “Marathon” (sc)

    (Expand)

    This review was written in support of the artist’s promotional campaign.

  • Mailbox: Danube – Vienna

    Yet another nice submission from Belgium here. Something is drawing my ear to music from Flanders lately. This time it’s from Brussels-based producer Danube. Like his namesake river, Danube’s latest string of singles all relate to major European cities from which he’s drawn inspiration. Though none of the other singles are named after cities actually in the river Danube’s path, the latest is. It’s an elegant cut of soulful cosmopolitan electronica that captures Vienna well.

    No bandcamp for this, unfortunately, but you can find it on any major streaming outlet.

    Danube – “Vienna” (sc)

  • Mailbox: borne – DIEDA

    I mentioned the other day that I’ve been rediscovering my appreciation for a nice heavy-bassline-driven banger. Why be shy about it? I pride myself on avoiding pretentiousness where I can, and what’s wrong with rattling a few bones, anyway? This track I got in the inbox by Montreal-based borne fits that bill. The song is from borne’s latest EP, Deep End, out on Nightmode. The whole record is full of this sort of bass-heavy 2-step, so check out the rest if you like this one.

    No bandcamp for this, unfortunately, but you can stream it wherever, and if you want to play this out, you’re going to have to go to a place like beatport, sorry.

    borne – “Dieda” (sc)

  • Levi. – GARÇON

    Just like their curation, Clipp.Art press releases are always spot on. The blurb for this single from Levi.—an artist based in Japan—describes the music as “kinda catwalk music. Slinky. Low-slung. Lo-fi,” all of which is perfectly on the nose. This song evokes a little bit of that classic Le Le song, “Breakfast” — but if they had been more concerned with fashion and leather, versus food and seduction.

    Grab this on bandcamp or stream it to heart’s desire.

    Levi. – “GARÇON” (bc)

  • Mailbox: a.MIDI – evening in europa

    Sometimes when I’m overwhelmed with work and my daughter wakes up with the umpteenth round of high fever or other daycare-related ailment, I just wish I could take a break and spend an evening on another planet. I’d be willing to settle for one of Jupiter’s moons too.

    This innocent little lullaby from Kuwaiti a.MIDI is from their newest EP of songs that all imagine these sorts of quick calming vacations around the solar system.

    Grab an interplanetary layover on bandcamp, or stream it wherever you’d like.

    a.MIDI – “evening in europa” (bc)

  • Visual Velcro 22

    Eluard – “Funny Jasmine” (bc)

    AAOM – “Infinitum”

    ECHT! – “Cheesecake” (bc)

  • Mailbox: JUICY – g pas l’argent

    Second time this week I’ve posted music from Belgium. I told you that country doesn’t get enough shine for its music.

    This time it’s from JUICY, a pair of classically trained musicians making really compelling pop music and doing their best to subvert genre expectations. This song is from the recently released Cruelles Formes EP, produced in collaboration with equally talented countrymen ECHT!.

    My French isn’t as sharp as it should be, and JUICY definitely embrace a certain lyrical expressionism and abstraction in some of their music, but I get the gist. I don’t have enough money either. Can someone explain to me what they might mean by: “rrrjrsfmr jrahtogpb” though?

    No bandcamp for this, but you can stream it all over.

    JUICY – “g pas l’argent” (sc)

  • Mailbox: Sasha & the Bear – Miss it. Repeat.

    Bittersweet breakup melancholia from nomadic duo Sasha & the Bear. Definitely the kind of song one might listen to a few times after rowing all night. 💔

    No bandcamp for Sasha & The Bear, but you can stream this wherever you do that.

    Sasha & the Bear – “Miss it. Repeat.” (sc)

  • 4am Kru & Salo – So I Stay

    I’ve written about these guys a couple of times now. Previous tracks by 4am Kru have been mostly peak time focused club tools, but this one’s a lovely pop ballad masquerading as a jungle track. Featuring the vocal stylings of Mancurian singer/producer Salo.

    4am Kru – “So I Stay” ft. Salo (sc)

  • Mailbox: D-Nite – Echoes

    Many people don’t think of Belgium as a place with a rich history of contributions to dance music. Some may only recall 2 Unlimited’s 1993 masterpiece “No Limit” or Technotronic’s classic “Pump Up The Jam”–both of which were extremely formative for me when I heard them as a little kid. Maybe others associate the country with groundbreakers like Soulwax/2manydjs, who are indeed Belgian and not French. The country is no doubt overlooked, despite the fact that Belgians have been raving since before raving was raving, and essentially birthed genres like EBM. But despite its significant contributions, Beligum’s proximity to its northern neighbors means its sound is generally associated with eurodance, gabber, and industrial influences.

    For his new EP Echoes, Belgian producer D-Nite (real name Kevin Dodeur) certainly draws on his country’s history, but leaves most of those typical associations behind, instead opting to deliver a record full of strong global influence and tempo-shifting adventurism. From the rapid-fire kuduro of “Late Night Tale” to the tablas loops of “Calming Mantra” and the chopped jazz rides of “Stuck in a Dream” — Dodeur clearly embraces the breakbeat, but won’t be limited to overreliance on American JB production or UK Amens. (Not to be accused of leaving anyone out though, Dodeur does throw in a few bars of the Think break on the EP’s title track.) Dodeur is a committed travel guide on this record, insisting that the listener follow him around the world from party to party. But it’s a great trip, so who would complain?

    Echoes is out now on Fine Grains records, purchase it on bandcamp now, or stream it wherever you do that sort of thing.

    D-NITE – “Late Night Tale” (bc)

    D-NITE – “Echoes” (bc)

  • Remix Sunday 162

    Those who invoke history will certainly be heard by history. And they will have to accept its verdict.
    – Dag Hammarskjold

    Remix Sunday 162 Zipped Up. (90mb zip)

    Ice Spice – “In Ha Mood” (O’Flynn Remix)

    Barbatuques – “Baiana” (Disaffected Bootleg)

    Caballero & JeanJass – “Tchernobyl” ft. Kaaris (FCKN PSYCHO Remix)

    Virtual Self – “Ghost Voices” (Jack Blom Rave Tool)

    Central Cee x Dave – “Sprinter” (Y U QT Dub)

    Tirzah – “Say When”” (suicideyear Bounce Mix)

    Brandy & Monica – “The Boy Is Mine” (FVLCRVM Remix)

    DJ Kass – “Scooby Doo Pa Pa” (DJ BPM Jersey Club Remix)

    Frank Ocean – “Chanel” (camoufly Remix)

    True Faith – “Take Me Away” (crim:son Rave Mix)

    image/ Adam Rouhana

  • Mailbox: ELIS – Saint

    You may have noticed some of the harder sounds of yesteryear’s Palms Out showing up here and there again on the site. I promised some of this last year, but it felt a bit forced at the time. Now, raising a toddler, navigating an ever more demanding dayjob, and feeling generally stretched at the seams somehow has me getting energized again by big pulsing basslines, sharp punchy drums, and neat little energy-building devices (yes, drops, but you know, other similar tension-creating details too). All these are all present on this heater of a track by Puerto Rican producer ELIS. I don’t gig anymore, but I expect this would blow up the right floor.

    Unfortunately there’s no bandcamp for this, but thankfully ELIS was kind enough to let me share the 320 with all you DJs. And for those of you not planning on playing it out, who just like dancing at home, stream it at your outlet of choice.

    ELIS – “Saint” (mp3)

  • Morris Cowan – Notes

    When I got back to the studio with the recording I was satisfied with how it rattled along to all the synths be they smouldering or fully ablaze, the feeling of smoke billowing, whipped up in the air.

    I tell myself all sorts of stories. Sometimes doing so may be in an effort to protect myself, sometimes to cut myself down. Honesty—including honest self reflection—is a noble goal, but we also need to nurture our own fantasy worlds. Without building those internal structures, how do we make sense of ourselves and our feelings? Without imagining what we might want, or what we need, how can we ever achieve anything–or at least how can we feel satisfied once we’ve achieved something?

    On his latest album Notes, Cornwall’s Morris Cowan definitely gets at that comforting ‘writing electronic music in the forest’-type sound that you sometimes hear on a James Holden or Nathan Fake record. The song titles and cover art would imply that was the intention, or even the process. Or maybe, considering all the winds on the Cornwall coast keep forests from taking root, this is music for the rocky green expanse. In any case, this kind of intimacy is elusive for most composers of electronic music. Cowan describes some of the sound sources for the songs on the record: recordings of a cacophonous working wool loom he visited on the Isle of Mull, a 1990s Mattel toy drum machine, found-sound recorded by tapping sticks against trees. But for all of this field recording, it’s the songwriting and synthesis that give these songs most of their tenderness.

    Grab Morris Cowan’s Notes on bandcamp now, or find it anywhere to stream.

    Morris Cowan – “The Stories We Tell Ourselves” (sc)

    Morris Cowan – “Toasting Marshmallows As The World Burns” (sc)

    Morris Cowan – “Boss Music” (sc)

  • Kristy Harper – U

    I don’t feel like giving myself to anyone but you

    Declarations of lust and loyalty on this boppy bit of breakbeat pop from London-based producer and vocalist Kristy Harper. This is out now as a single on Silver Bear—the sometimes home of folks like Jasper Tygner and O’Flynn—and leads off Harper’s upcoming 18:04 EP, due in January.

    Grab it on bandcamp, or stream, stream, away.

    Kristy Harper – “U” (sc)

  • Mailbox: cupsy & cybersona888 – GNGSTA

    This is another example of the kind of stuff I was writing about yesterday. But where I hesitated to call yesterday’s tracks internetcore, this one fits that bill much better.

    We’re still in the same universe I was describing, heavily reliant on the building blocks of jungle: chopped amens and short, round, 808-like bass hits. But here cupsy (an artist based in Colorado Springs who also releases music under the name Dream Entact) and cybersona888 (who I can’t find any info about) definitely do head much further down the breakcore rabbithole. There’s also a marked attempt (conscious or instinctive) to incorporate elements of other internet genres. There are moments full of evil reese and post-gabber kick fills that–in this context–manage to function like a reprieve from the breakbeat mania. Large portions of the track also include a layer of [probably] memphis rap acapella that sits low enough in the mix to be mostly indecipherable, but clear enough to be a nod to the Russian drift phonk that ruled TikTok and Reels for a while a couple of years ago (I’ve got a soft spot for that stuff).

    There are a lot of ingredients in this pot, but it all works together nicely. No bandcamp for this, but find it for streaming all over.

    cupsy & cybersona888 – “GNGSTA” (sc)

  • Mailbox: ERRx – i miss having LAN parties

    Is there a microgenre name for these sorts of shortform breakbeat-driven quasi-jungle tracks, usually with heavy reference to internet culture, anime, and gaming? I’m not slighting the stuff, some of it is great, but it really feels like it’s definitely a thing, and I don’t have a name for it. I guess this is sort of what I imagine kids who would have been making breakcore 15 years ago are doing instead (some of them are definitely still incorporating breakcore). And I’d also guess this is kind of close to the world that gave birth to legit stars like PinkPantheress. Calling this internetcore feels too broad, since my experience is that encompasses much more than what I’m trying to describe.

    I really like these three tracks I got in the mailbox from ERRx. All three short and sweet slices of this genre I don’t have a name for, none longer than two minutes. I know nothing about this artist — their twitter location is listed as ‘not here’, and their bio on all socials is:

    c r i t i c a l ERRx d e t e c t e d @ criticalxerrorx E̶̪̺̖̗͍̠̖̲̭̲̜̘̊͝R̶̨̜͍̳̙̪̭̽̎̀͠R̸̛̝̤̬͓̻̫̩̣̳̀͒͒̌͂̓̾͂͊̐͝͠x̷̛̰̲͛̿̾̈́̐̎̄̓̕͜͝͝͠ ̸̣͍͚͍̭̙̝̬̀̔͐̓̒̋̚

    I even tried to do some sleuthing by seeing where their spotify listeners are concentrated. Almost evenly distributed between London, Santiago, LA, Melbourne, and Paris. You can’t get much more worldwide than that. Or I guess the operative word is online. Maybe we can just call this microgenre ‘online jungle’?

    No bandcamp for ERRx, so follow their soundcloud, or stream them all over.

    ERRx – “I miss having LAN parties” (sc)

    ERRx – “I made an error” (sc)

    ERRx – “who are you” (remix) ft. Brooke Elise (sc)

  • Mailbox: Urchin & Kmodo – Right In Front (Of Me)

    An elegant bit of well-polished organic house music from London producers Urchin (Leo Appleyard) and Kmodo (Chris Nickolls). The pair both come from improvised jazz backgrounds so it’s no wonder there’s a cultivated quality to this song, and not surprising there’s some real perfect swing on that kit. What’s maybe surprising is how not jazzy this is. This is not an endeavor to combine jazz and house music, it’s simply a very well executed piece of modern dance music. No need for much extra embellishment.

    Out now on streaming, but no bandcamp, I’m afraid.

    Urchin & Kmodo – “Right In Front (Of Me)” (sc)

  • Visual Velcro 21

    RiDylan – “Exit This” (bc)

    Six Missing – “Cleanse” (bc)

    Inwards – “Leavin’” (bc)

  • Mailbox: RiDylan – Switch 8

    I consistently get the sense that Canadians are underappreciated as producers of electronic music. Sure, a few of them get plenty of well-deserved credit as the groundbreakers they are—looking at you Plastikman, Tiga, A-trak. And even in recent years, deserving folks like Kaytranada and Jacques Greene have made more than respectable careers for themselves. But I’m always amazed that for a country of only ~35 million people, there is such a high concentration of talent up there. This feels especially true with respect to technical prowess. A lot of the producers I run across from north of the border just have major fucking chops.

    RiDylan (real name Dylan Gauthier) is one of those producers. For well over a decade, he’s been releasing music that lives somewhere in the universe between breakcore, jungle, acid, and glitch. Notably, in 2019 he released what appears to have been the next-to-final record on Jason Forrest’s Cock Rock Disco imprint–a real brain-melter collection of fucked up ravey junglism (check that release here).

    Gauthier’s latest release, a five-track EP called Switch 8, still exists in the universe he’s inhabited over the years, but some of the ebullient rave chaos of past releases has been replaced by more of an icy refinement. This is exemplified by a song like “Eternal Minutes” — a stripped-back 150+bpm electro number with tightly EQ’d drums underpinning a bitcrushed acid bassline and a meandering glassy sine wave pattern–who knew a bitcrusher could be used so carefully? The record’s opener, “Balaclava Clouds” also demonstrates how Gauthier is saying something new using familiar tools. The amen break reprogramming is as detailed and complicated as anything he’s produced in the past, but instead of piling mayhem atop the sturm und drang, here the 303 isn’t much more than a single triplet squelch that automates in and out of audibility. Save for the breakbeat kaleidoscope and minimalist acid licks, the track is just a huge cloud of bells and pads. These may sound like simple changes to have made, but capitalizing on the contrast of these disparate elements–and delivering each with such care–ends up functioning as an effective way to communicate a set of nuanced emotions instead of just fire and brimstone or all-out-rave.

    The other three songs on the record are admittedly more reminiscent of Gauthier’s breakcore past–including an absolutely frenzied remix to close out the record by Osaka legend Laxenanchaos. But despite all the breakbeat havoc, these last three still demonstrate an evolution. Even the Laxenanchaous remix elegantly winds itself down in the final minute of the EP from disarray to relative simplicity, ending with a few seconds of what sounds like a field recording of children playing on the street, set to a Vangelis score.

    Gauthier is making music as energetic as ever, but his palette–both sonically and emotionally–is expanding to include subtler shades between all of the primaries.

    RiDylan – “Balaclava Cloud” (bc)

    RiDylan – “Eternal Minutes” (bc)

    RiDylan – Turbocide (Laxenanchaos Remix) (bc)

    (Expand)

    This review was written in support of the artist’s promotional campaign.

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