Ecstatic Dance Elements – Ether
Presented by The Holding Space and Renewed Health and Wellness
🔮💫✨

The Ether set floats in the liminal space between spirit and sound—where breath meets stillness, and movement becomes prayer. This mix opens a portal to the unseen and the deeply felt, blending ambient textures, cinematic soundscapes, sacred chants, and dream pop anthems.

Rooted in intuition and reverence, Ether holds space for transformation—anchoring stillness in motion and inviting dancers to feel the subtle frequencies that connect all things. From the spacious hush of Brian Eno to the sacred resonance of Deva Premal’s Gayatri Mantra, every track was chosen to amplify the inner world.

This is the fourth and final chapter of the Ecstatic Dance Elements series—a journey through Earth, Air, and the combined forces of Water & Fire. Now, with Ether, the cycle completes in luminous stillness, subtle power, and open-hearted connection.

🌀 Tracklist: https://accomplicated.ca/ecstatic-dance-elements-ether/
🕊️ Explore the full series: https://soundcloud.com/accomplice/sets/ecstatic-dance-elements

Ecstatic Dance Elements - Ether | World | Ambient | Pop | Soundtrack

This one’s a manifesto. Vinyl static. Acid line arpeggios. Crisp hand-coded drums. It’s pure accomplice — programmed in Sonic Foundry Acid, with a 303 emulator squelching over breaks and vocal samples from Beat Street (1984) laying down the ethos: “I got my own style.”

This track doesn’t follow trends. It nods to b-boy culture, rave grit, and that sacred space where dancing isn’t just permitted — it’s protected. The aesthetic? Raw. Unapologetic. Custom-coded. A love letter to acid techno, break dancing, and individuality.

“If you’re going to arrest people for dancing, maybe you’re the one who needs some advice.”

Dancing, that I know.

Lost Dubs 001

Lost Dubs 001 - I Got My Own Style (2008)

“The music… owns you.”

Some tracks are made for peak time.
This one was made for the shadows.

Certain Dubs for Certain Clubs was built in 2007 and rinsed out on the system at Club Cargo in Hongdae, Seoul — back when I was a resident at Konkrete Jungle Seoul. That club had low ceilings, heavy bass, and zero tolerance for fluff. It was the kind of room where this track belonged.

Built around a haunting vocal sample from Good Will Hunting (1997), this dub pulses with repetition, restraint, and that peculiar intimacy you only find in dark spaces. It’s not flashy — it’s hypnotic. It’s not for every dancefloor — it’s for certain clubs.

“Certain clubs. You get in there… the music owns you.”

This is the darkness I seek when I party. You might too.
lyrics
Yeah, I know.
I go places, I interact, you know.
I hide from people.
Certain clubs.
You get in there.
The music,
owns you.
Yeah, I know.
The music,
owns you.
Certain clubs.
Certain clubs.

Lost Dubs 002

Lost Dubs 002 - Certain Dubs For Certain Clubs (2007)

💿 Lost Dubs 003 – Bla Blam (2006)

Bla Blam isn’t glorifying the gun — it’s condemning it.

The main hook lifts from Dr. Dre’s Let Me Ride (1992) — “Blam-blam, blam ’til dem fall / Listen to the shots” — while the breakdown drops into dialogue from the 1973 Jimmy Cliff classic The Harder They Come. The samples echo over heavy percussion, their repetition turning from swagger to something more unsettling.

For anyone who knows me, my stance is no secret — I despise gun violence. This track takes the language of gun culture and forces listeners to confront its weight.
Every blam and shots is an opportunity to think about the real-world violence they represent.

Played loud, it’s a rhythm. Heard closely, it’s a statement.

Lost Dubs 003

Lost Dubs 003 – Bla Blam (2006)

2008 was a turning point. I felt like I was standing on the edge of something bigger than myself, chasing a sound I could finally call my own.

My Sound was exactly that — me drawing a line in the sand and saying: this is accomplice. Built from raw textures, hypnotic grooves, and the stubborn refusal to copy anyone else, it became a declaration of independence in music form.

Looking back, this was me defining my sound — and realizing I didn’t need anyone’s permission to own it

Lost Dubs 004 - My Sound (2005)

💿 Lost Dubs 005 – Freedom Will Come (2006)

2006 was a year I was digging deep into dub — not just as a sound, but as a philosophy. Freedom Will Come samples the words of an activist dub poet, echoing with the urgency of struggle and the promise of liberation.

“You can only push a dog around so many times before that dog will turn around and bite you.”

This wasn’t about the polished club floor. It was about the other side of dance music — the protest, the poetry, the call for change. Heavy bass, rolling percussion, and the voice of resistance carried through delay and reverb until it felt like a mantra: freedom will come.

Lost Dubs 005 - Freedom Will Come (2006)

2006 was the year I first went to Movement in Detroit — my favourite festival in my favourite city. At the time, minimal techno was everywhere. I’d never worked at 120 bpm before, and I honestly had no idea what made a “minimal techno” track actually minimal techno.

So I tried. Ten times.

What came out wasn’t minimal techno at all — at least, I don’t think so. But what it is turned out funky, different, and very much my own. Sometimes not fitting the mold is the point.

That’s how Minimal Ten was born.

Lost Dubs 006 - Minimal Ten (2006)

2008 was my Dubstep era. What I loved about Dubstep (before it became the dirty word of Brostep) was its versatility. Coming from Ragga Jungle, which stood so far apart from most 4/4 genres, Dubstep gave me an access point into so many different spaces. At the lounge, I could play the chilled-out side. At the Reggae club, I could lean into the deep Dub. At the breaks club, I could bring the harder edges. There weren’t any Dubstep-specific venues in Seoul at the time — I might have been the only one playing it in the country — so I shoehorned myself into whatever nights I could.

During that time, I was in a relationship with Anna D — entrepreneur, voice actress, photographer, venue owner, DJ, and resident of We Love Techno at Joker Red, located in Seoul’s artsy Hongdae district. Anna invited me to contribute something unique: techno-inspired dubstep. I called it Dubstepno.

Rhodes Vibe was written specifically for that night, and more specifically for the mix handed out on CD at the door: We Love Dubstepno. It remains one of my favorite tracks I’ve ever produced. Just lovely, through and through.


Track two in this mix: https://soundcloud.com/accomplice/we-love-dubstepno

Lost Dubs 007 - Rhodes Vibe (2008)

Notorious B.I.G. - Hypnotize (Hydrosonix Remix) 🌀_🌀

FREE DOWNLOAD | https://hypeddit.com/hydrosonix/hypnotize-remix

More @hydrosonix:
https://open.spotify.com/playlist/2H3l45QsHdorv0RrIfXSxt

FREE DOWNLOAD

Notorious B.I.G. - Hypnotize (Hydrosonix Remix)

DAFT PUNK - AROUND THE WORLD (WESTEND EDIT) (FREE DOWNLOAD)

Here is the archive of my mix for France’s @lyl_radio that aired earlier this week. An hour of laid-back, dreamy downtempo tracks, soft and cute vibes  <3 <3

Milch on LYL Radio 2021-01-19

DJ/producer since 1997, Toronto-born accomplice is a proudly genre-fluid selector with deep roots in Montreal’s underground.

From early residencies with iDJ and Junglist Fridays at Blue Dog, to his time in South Korea where he held down slots at Vinyl Underground (Busan), Konkrete Jungle Seoul, and festivals like Pentaport, accomplice has always thrived where bass meets boundary-pushing energy.

Now based lakeside in cottage country north of Toronto, accomplice continues to move dance floors in unexpected ways—bridging decades of influence through sets that blend depth, soul, and surprise.

Releases:
2008 – Celestial Conspiracy – Waterwings EP [CC001R]
2009 – Substruk Records – Babylon EP [SUB007]
2010 – Bludclot Recordings – Loose [BLUDCLOTdigital005]
2010 – Monkey Dub Records – My Sound
2010 – Steppaheadz Recordz – Freedom Will Come

Mail: jamieson@accomplicated.ca
Booking: booking@accomplicated.ca
Management: management@accomplicated.ca