😵‍💫😵‍💫😵‍💫😵‍💫😵‍💫😵‍💫😵‍💫😵‍💫

10_r3n - larvae first vibrations 蛰虫始振

From the album "What Stays In Vegas" out 22 November.

A chance meeting in Bucharest two summers ago saw Ratty Slay Johnson and Soopie reunite. It has been a much discussed topic amongst art and music circles as to how and why Rat Section abruptly fell into obscurity in the late 90s and up to this point their sudden disappearance remains a mystery.

Their sparse back catalogue seems inaccessible now. A dedicated collecting community known as ‘Club Rodentia’ sought to preserve their tape and vinyl output, amassing releases from Ratty Slay Johnnie’s sophomore release ‘Tails from Estonia’ to Soopi and Slay John’s last known excursion ‘Tashkent Knights’.

An unfortunate occurrence led to the destruction of this archive in 2005. Member of Club Rodentia Carlos Moscato was quoted in an article of NME magazine saying “In the dark of night, a fire emerged, I was responsible at the time for the care of the archive, as standard Rodentia protocol we would move the collection every 3 months, for both preservation and for local access to Rat Sections catalogue. On the final night of my duty I heard footsteps, a crash, and before my eyes years of hard work erupted in flames. Since this incident I haven’t found even a crumb of Rat Sections body of work and people say we will never see them again." Carlos Moscato was correct, until now.

Rat Section have been active for the last two years with appearances in London, Berlin, Malmö, Melbourne, Paris and Los Angeles, it looks like we are finally going to hear Rat Section again. They have found a home for their debut album on Halcyon Veil.

Rat Section are back in the spotlight.

Follow Rat Section
@ratsection
https://www.instagram.com/rat.section/
https://ratsection.bandcamp.com/
https://ra.co/dj/ratsection

What Stays In Vegas

Bandcamp

Rat Section - Rat Lifestyle

LA LLAVE

SUPPORT

Sueuga & Kat Nzingha - hole

Precious Metals Vol.1 is the inaugural compilation from Precious Metals, a label, radio show, and club night.

Since its debut as a radio show on London’s NTS in 2012, Precious Metals has been committed to showcasing  the outer reaches of experimental club music, both locally and globally. Under the direction of DJ and producer Endgame—emerging from South London’s pioneering club collectives Bala Club and Endless. The platform has been focused on capturing the organic cross-pollination of sounds from the inner-city and the sublime chaos of the present moment.

In 2020, Precious Metals evolved into a full-fledged label, seeking to unearth artists that are visionaries on their own terms, eschewing conventional genre limitations. Representing an international roster of uncompromising, iconoclastic artists both established and emerging. Bringing an emotionally charged vulnerability to club culture.

The compilation encapsulates this ethos, and ambition, the culmination of the past 12 years of endeavour. Featuring some of the legends and emerging stars of electronic music.

United in compassion and solidarity for the Palestinian cause and its ongoing humanitarian crisis, all proceeds from the album will be donated to support efforts toward humanitarian aid in Gaza, and Palestinian emancipation.

International Fundraiser: 
The People Stand with Gaza
Donate here

Imaabs - MurMur Time

Merlin Modulaw's latest project, ‚Lost & Found‘, is a EP that spans six carefully crafted tracks, pushing the boundaries of contemporary club music with a blend of genres and textures. The release highlights Modulaw’s unique production style, combining slower grooves, raw club sounds, and sharp, metallic textures to create a sound both gritty and immersive. Among the standout features of the EP are a powerful collaboration with Estoc and innovative remixes by genre-blending artists Manuka Honey and Xzavier Stone, each adding their distinct touch to the project.

Produced, mixed & mastered by Modulaw
#5 co-produced by Estoc
Remixes by Manuka Honey & Xzavier Stone

Artwork by Dimitri Erhard


DRUM NIGHTMARE w ESTOC

∎ SWINE PREMIERE ∎ @mensikmusic's first release for the newly formed Mexico City-based label INNTRA

"Exodia" is a melancholic club song. It shows Mensik's ambient music background, but also the new artistic territory, that he's exploring now after a series of DJ sets across Europe and Latin America. It's the perfect example of the atmosphere, where you can cry at the club. You feel sad, but also happy and full of relief at the same time.

⍈ Mensik tells us: "My new music is the result of an evolution of the past few years building a musical path, searching for new horizons through the diversity in music. When I first got into music I was making a lot of ambient and experimental music, I've always liked how it makes you feel to listen to a song that can really touch your feelings and mix it into a bunch of colors and textures, I think with this record I wanted to recreate that feeling but for the dancefloor."

⍈ "Música para llorar en el club. Para cerrar lo ojos y homogeneizarse con lo que realmente importa al ritmo de los estrobos, láseres y sistemas de sonido," writes INNTRA.

∎ EP LUX by MENSIK will be out on March 13th ∎ 
https://mensik.bandcamp.com/album/lux


[Swine Premiere] MENSIK - EXODIA (INNTRA)

@patarlab @vinerrrrr

Music Video: https://www.youtube.com/watch?v=S4ehGk52g3E
-----------------------------------------------------------
Death is certain, life is not. And both are available at our supermarket. 

With everything that’s happening in the world, one must wonder if there’s breaking free from it all or should they just stop trying to make sense of it. It’s a choice and it isn’t — depending on the circumstances one finds themselves in. What seemed senseless beginning to take form and what had always been solid shatters into pieces: home, family, plans, love, identity, freedom, sex, philosophy, technology, making-it, bank account, self, traumas, patterns, overcoming them, residence, conscience, morals, vodka, values, vulnerability — they have equal chances to serve as safe place or jail, wake or deliverance, life or death — go figure.

In its first release, Patar flips the table — and the cards, and the chips with it. No stake is too high to even mention it. One track and 7 versions of it, as an attempt to transgress from confusion to clarity — or maybe the other way around. Here’s an artistic experiment for you: do not brief, do not declare, do not obey, and do not fight — or do. And see what comes out of it. 

Qurgōn is a pit grave. There are dead horses in it, dead people, dead weapons, and vessels. It stinks and it’s scary. It’s a place where nothing will ever be born, or will it? It requires nothing, silently craving admiration. It only ever serves a collective memory of all the heroes and the blood-thirsty freaks alike. They are one, after all. It only is to be unbothered, looked at in awe and disgust; to be a break out on the smooth surface of the steppe’s ass.  

One artist made a call, seven responded — to dig to the bottom of that pit or touch upon its stony texture.

In order of appearance:

Viner [France, Marseille]
Şüräle [Kazakhstan, Almaty] 
Wulffluw XCIV [Moldova, Chișinău]
yutani [Armenia, Yerevan]
Sha Gen [Tajikistan, Dushanbe]
Aunt Zazà [Spain, Barcelona]
Hayk Karoyi [Armenia, Yerevan]
A.Fruit  [Spain, Barcelona]

Here’s another experiment for you: renounce all styles and genres and go with it. Who cares, anyway? Gloomy and epic, repetitive and bass-y — oh, always bass-y. Percussion-thick, yelling, obnoxious, rich. The sound of dying, finding peace, losing it again, and returning back to the hassle. The all-penetrating sound of a baby’s cry and the last exhale of a fighter knocked out for good. Ferocious sirens needling through the layers and layers of dead horses and weapons, clanking, squelching — resonating. With the horrors and hope. With memories and fantasies. With clinging to what seems to be it — and letting go. 

Nothing is certain anymore, yet everything is clear. 

p.s. The locations are mentioned to help gig providers locate the artists and, maybe, give an idea of their background and current state of mind, but not really and not necessarily.

* Qurgōn [Uzbek], commonly unknown as Kurgan [Turkic] or Курган [Russian]  a circular burial mound constructed over a mass burial site of warriors; originally in use in the Russian Steppes, Caucasus, and Central Asia, but later spreading into eastern, central, and northern Europe in the third millennium b.c.

text by Nastassja Popova
mixing & mastering by A.Fruit
cover by Timur Zima

Oldyungmayn - Leh

AL GHARIB

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NAKIOLAH ><>

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