https://youtu.be/tZ3x0iKP2r8

“I cracked open an old wound. An ancient flintstone extracted from a dry plain near a paleolithic village buried in South Moravia. Finding it was like opening some kind of Pandora's box. To move 40 000 years back. Or into the future? Now I return to my home. Here, on the edge of a small town, the ever shifting landscape transforms the past. Only human artifacts are left, scattered across a freshly ploughed field. At first they appear as disturbances. But in time, with the field harvested and left bare, they become sheltering oases filled with moisture. Everything feels weird and confusing. I am a lost fruit fly returning from an adventure, emotionally attached to a morphing image of a place that changes and yet stays the same. And the home I return to is and is not my home anymore. I am a mere inconsistency, an accident. Meanwhile, the clay heap keeps moving, the trees keep talking. And the resin drips…”

Dj bingo aka Ninja Priest is a Brno(CZ)-based producer and a DJ. Oscillating between soft cute melodies and epic EDM kicks, his contrasting music appeared on compilations by BCAAsystem, Unizone, Soft or Swine World. The present EP released on BCAAsystem is a sensitive conceptual walk through the buzzing of distorted space-time, an uncanny landscape that’s always there yet beyond our grasp.

Mastered by https://soundcloud.com/wimdehaen

Music, video, text and cover by the one and only https://soundcloud.com/djbingo1
https://www.instagram.com/dj.bingoo/

©BCAA system
https://www.instagram.com/bcaa_system/

support <3

dj bingo - what we call home

produced by @hadji-hajj
vocals by @chaams

Vertige II is the second compilation to be released on Abîme, gathering tracks from ten artists to explore the Vertige concept with a wider spectrum of intents.  

It features contributions from musicians all around the globe, each of them delivering an interpretation of this ambivalent sensation that could be equally seen as a positive or negative feeling if taken in its plurality of meanings.

Ranging from GIL’ dizzying textures in ‘Storm Petrel’ to the sweetness of Fauness’ guitars in ‘Am I ready’, Vertige II finds its coherence when seen as a progression, a back and forth between fear and love, with each track responding to the previous one by being its deforming mirror.

Vertige II puts the emphasis on vocal tracks, but again doesn’t limit itself to a one-sided approach, and that’s how Lil Asaf’s harsh Jordanian rap can be found coexisting with Flagalova’ anthemic pop and Ptwiggs’ shoegaze ‘Forever is not enough’. 

As the successor of our first compilation, this record can be seen as both a continuation and a rupture in comparison with it. The delicate sound palette of the original opus has exploded and expanded into an ecletic collection of pieces, sometimes frightening and overwhelming, and sometimes soothing and reassuring, as is the Vertige.

Hajj - Don't Follow Me I'm Falling (Ft. Chams)

"What's behind this strange looking leaf?" is the latest track from @djbingo1 's upcoming EP out for @bcaasystem

Pre-order: https://bcaasystem.bandcamp.com/album/what-we-call-home
Read More: soulfeederweb.com/premieres/premiere-dj-bingo-whats-behind-strange-looking-leaf

[Premiere] dj bingo - what's behind this strange looking leaf?

@djbingo1 @bcaasystem
Read more: pw-magazine.com/2021/premiere-dj-bingo-theres-so-many-of-us-yet-i-feel-so-alone/

Premiere: dj bingo »there's so many of us yet I feel so alone« [BCAAsystem]

“I cracked open an old wound. An ancient flintstone extracted from a dry plain near a paleolithic village buried in South Moravia. Finding it was like opening some kind of Pandora's box. To move 40 000 years back. Or into the future? Now I return to my home. Here, on the edge of a small town, the ever shifting landscape transforms the past. Only human artifacts are left, scattered across a freshly ploughed field. At first they appear as disturbances. But in time, with the field harvested and left bare, they become sheltering oases filled with moisture. Everything feels weird and confusing. I am a lost fruit fly returning from an adventure, emotionally attached to a morphing image of a place that changes and yet stays the same. And the home I return to is and is not my home anymore. I am a mere inconsistency, an accident. Meanwhile, the clay heap keeps moving, the trees keep talking. And the resin drips…”

Dj bingo aka Ninja Priest is a Brno(CZ)-based producer and a DJ. Oscillating between soft cute melodies and epic EDM kicks, his contrasting music appeared on compilations by BCAAsystem, Unizone, Soft or Swine World. The upcoming EP to be released on BCAAsystem is a sensitive conceptual walk through buzzing of distorted space-time, an uncanny landscape that’s always there yet beyond our grasp.

I got lost looking for my favourite robitussin droplet

I extract, therefore I am

look, the clay heap is moving

(DAWNV/A2)
@xxxpithexxx
100 limited copies 
CD
Photos by Melchior Tersen
https://www.instagram.com/melchiortersen/
Mastering by @lastrackqlf

"The influence and presence of trap and rap in dance/experimental is obviously massive, and the lines between genres are more blurred than ever. HAJJ, however, says this is a recent thing; “I find that the electronic scene in France is just starting to encourage the integration of this culture. Not so long ago people insulted me when I played rap/trap in my sets.”

The underpinning idea for this compilation brought electronic producers not explicitly of that world to unpick whatever boundaries remain and contribute tracks for a mixtape – while a few of the artists are more obviously ready to “play the game” and already make music which exists pretty close to this horizon, this has been a challenge to think creatively for a few of the other artists invited."
Elliot Stevens for Ifonly

Dawn2021

Pithe - In The Tube

@djbingo1

THE CHARITY COMPILATION FOR UKRAINE

We, nineteen Czech & Czechia based producers, are in unison against the aggressive occupation and invasion of a sovereign country of Ukraine. On February 24, 2022, Russian troops invaded Ukraine, masking the operation as a "peacekeeping mission”. On August 21, 1968, our country was also invaded by the Soviets and Warsaw Pact armies. The occupation lasted over four more decades.

No more invasions! Fuck imperialism of all kinds!

100 % of received revenues will be split between Ukrainian NGOs written below. You can also support them directly here:

www.uahospitals.org
eng.ffr.org.ua/support-in-crisis/eng

We already fundraised over 30 000 CZK (1200+ EUR), from which we already supported NGOs mentioned above. We also sent monty to John Object‘s military unit to help them with purchasing the equipment for their defense.

***IMPORTANT INFO****
The amount of money you send is NOT the amount of money we will receive and we can send to the people in need. However, there are a few things you can do:
1) Purchase the release during the Bandcamp Friday (March 04). Bandcamp usually cuts down 15 % revenue share, so choose this date for purchase if you want to avoid that.
2) You can also support NGOs and charities directly and get a free download code from us, if you‘ll send us the screenshot of at least 10 EUR donation to some of Ukrainian help charities by your choice to our email unizoneclubnights@gmail.com with "Donation" in subject.

Thank you for any kind of support!
Слава Україні! Героям слава!

SUPPORT

DJ BINGO - AND I WAIT, AND I WAIT

[surf034]

https://soundcloud.com/opalbeau

artwork by usof (linktr.ee/usofusofusofusof)

🏄🏾‍♀️🏄🏾‍♀️🏄🏾‍♀️🏄🏾‍♀️🏄🏾‍♀️🏄🏾‍♀️🏄🏾‍♀️🏄🏾‍♀️🏄🏾‍♀️🏄🏾‍♀️
ⒶⒶⒶⒶⒶⒶⒶⒶⒶⒶⒶⒶⒶⒶ

opal beau ~ No-One To Talk To

10_r3n - larvae first vibrations 蛰虫始振

eeee

I TRIED TO TELL YA SOMETHIN' THRU THIS FUCKING PHONE (1st version demo)

Closing track for @lowincomesquad 's various artists tape #16.
https://lowincomesquad.bandcamp.com/album/li-016

(DJ Loser, DJ Speedsick, DRAAG, Emma DJ, HAJJ, Ismael, Jaclyn Kendall, Julien Andreas, SSSS, Xiao Quan and Zoë Mc Pherson)
Curated by @strahinja-arbutina
Mastered by True Hd from @maison-studio

There is no ending 4 a Grim (LI​$​016)

taken from "𝓈𝒶𝓁𝒶𝓉𝒶²²⁰⁵ (charity compilation for Maciek)":
https://xxxglamourxxx.bandcamp.com/album/charity-compilation-for-maciek

online post-release party:
https://www.facebook.com/events/2638117263136748/

Hi there!

Sorry to bother you & writing about this so late, but the case is really urgent and important . .

We're running a pretty sexy label called glamour.

A few days ago our friend survived a major accident and he ended up being paralyzed from the waist down. He'd been in a coma for two weeks, woke up and doctors said he won’t walk anymore. He created a fundraising page (zrzutka.pl/s33zx9) so we decided to help him raise the money for everything by making a charity compilation that we would release on glamour’s bandcamp.
We wanted to ask, if maybe you (or any befriended musical project you know) would like (and could of course!) to be featured in such a compilation? For now, we have 70 confirmed artists (including galen tipton, John Object, Dmitri Mazurov etc.), many more to come.
All the money from bandcamp would go for Maciek. We thought of you because we admire your music so soooo much, and still want this compilation to be pure quality! <3

(The track must be unreleased yet, but you don’t have to make a new piece especially for the compilation. You can even give us something you’ve created some time ago but never published it.)

Thank you for your time!

Wiv love,
glamour

Maciek:
zrzutka.pl/s33zx9

artwork by Sam Balfus
www.instagram.com/balfua/

master by Bartek Kujawski
8rolek.bandcamp.com

𝒢°07

John Object - Scream/Scream

Haunter Records is proud to present Left My Brain @ Can Paixano (La Xampanyeria) OST. A project five years in the making, dotted by contributions from dear friends Asaël Robitaille, v1984 and Marie Davidson; it is Osborne-Lanthier’s most ambitious work to date and, in many ways, an elegiac record. Largely composed and produced in the shadow of his mother’s passing, it also contains an another sort of elegy: to a infamous Barcelona restaurant that functioned as a daily stop for Osborne-Lanthier during a stay in Catalunya. It was in the midst of  that trip that he started adding sardonic, deranged experiments to his then-overtly serious, academic work. After his mother’s passing in 2016, nostalgia drove him to revisit a body of old recordings where he discovered something new: the sarcasm, self-effacing humour and proficient technicality he’d found so funny originally was now just a mask for insecurity and sadness. He set out to rework those recordings, reprocessing them over and over until their structures completely changed, until they’d gained such texture and depth they were no longer recognizable.
 
The music’s journey construes a multi-layered story, one only he can tell. The record smacks with a wet nostalgia that soaks into the concrete dryness of Osborne-Lanthier’s sound design, maintains a taste for intensity as a tool for immersive engagement. There’s a widescreen romanticism to these compositions, reminiscent of a vivid dream: the tracks are tactile and elastic, morphing rapidly from uncanny-valley EDM tropes to vast, sweeping expanses of sincere choral synths. Osborne-Lanthier sees the album as something of a concept cemetery; an overgrown plot that slowly filled to the brim with dead ideas; a mycelial network of thoughts and plans that never came true. The fruiting body of a fungus born from the nutrients of dead plants: an opus born from trash. 
 
For all of its absurd alien beauty, this is as much a record about being a musician as it is a record about making fun of music: as much an expert-level exploration of technical chops as it is an assault on the stupidity of technicality. Beautiful film-like ambient passages flow directly into weapons-grade riffs, fluid whirlpools drain into chattering synths and shrieking frequency envelopes. Ugliness and immaturity are not only preserved but elevated. The result is Osborne-Lanthier’s most finely-honed record to date — a reflection of what it is to be human: divinely uncategorizable.

Composed between 2015 and 2020 in Montreal, New York, Paris, Berlin, Barcelona, Milan, Tokyo, Stockholm, Osaka and Shanghai by Jesse Osborne-Lanthier.
Produced in Montreal by Jesse Osborne-Lanthier.
Additional production and arrangement assistance by Asaël Robitaille.
Mastered by Heba Kadry.
Design, layout and additional art by Jesse Osborne-Lanthier.
Art installation and photographs by Adrian Altman, courtesy of the artist.

Cat. No. SPCTR015/PTTDIABL001 – All rights reserved.
℗ & © Haunter Records 2020

Left My Brain @ Can Paixano (La Xampanyeria) OST

Catchment Areas (Spiritual Pollution)

Jesse Osborne-Lanthier - Catchment Areas (Spiritual Pollution)

u can also book our bcaa-dj-gang here: bcaasystem@gmail.com

eva01 ✳️ https://soundcloud.com/evaunitone
mma_  https://soundcloud.com/bcmma
no</3mi https://soundcloud.com/basic_knife_safety
Irako Seigen https://soundcloud.com/irako-seigen
bilej kluk https://soundcloud.com/bilejkluk
realitycongress http://simonlevitner.com/

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