i'm at work but would really like some psilocybin listening to this

Samhain XX was an experiment in streaming during an incredibly dark and uncertain time. The idea was since we couldn't get together physically, we could get our whole community together on a stream in a totally immersive environment that allowed for things that wouldn’t be possible to happen in the normal material state of events. To make it unique to its medium, and to therefore look beyond boundaries and travel distance and normal event times and all the other things that limit the possibilities in the real world. This allowed us to put together an over 30 hour dream line up with so many inspirations and heroes. Impossible things like having people from all over the world in a single stream, like Wata Igarashi from Japan, or Azu Tiwaline from the Sahara by way of France, or Solar from SF, or Eris Drew from deep in the T4T LUV NRG woods, Danny Daze in Miami or Clark Price in Pittsburgh and so on. So we were more than ecstatic that one of our favorite producers who happens to reside in London agreed to participate: Forest Drive West. His music is stellar and moves in so many directions, it is truly an honor to have his set close our weekly releases / rebroadcasts of the Samhain XX series. We can only hope these experiments will help us mutate to a more interesting future.

video: https://youtu.be/5Lt6rAMr66M

Interdimensional Transmissions Podcast

IT Podcast

IT.podcast.s10e16: Forest Drive West at Samhain XX

Command D summons the gods of the deep to have us completely submerged in a world of interdimensional dub techno, traversing us through an hour and a half of infinitely looped reflections and subaquatic soundscapes. 

@commandd

Q. This certainly feels like one of your most immersive mixes to date, deeply contemplative and full of dreamy dub techno atmospherics. What inspiration did you draw upon, and what type of setting or situation could you imagine it being enjoyed in? 

A. I started to get into this sound when I was putting together my mix for the Moonshoe mix series. I didn’t know what to call it at the time but I found all of those tunes and tied them together with a certain feeling that was really inspiring me then, it was very organic and that is still one of my favourite mixes. You can hear dub elements scattered throughout that whole mix.

As I started incorporating more dub elements into my productions I discovered artists like Stephen Hitchell and Rhythm & Sound that had created a kind of music that was really extremely satisfying for me to listen to, especially considering my developing love for hi-fi and larger sound systems. I incorporated those artists into my FHUO mix which was a much more considered exploration of the style. Looking back on the process of making the mixes and how much I enjoyed them really assures me that the deep and contemplative sound is a big part of who I am.

For this mix I’ve taken inspiration from the MDC series itself which I’ve been listening to for years. I wanted to add little hints of deep house sounds as a nod to the mixes of the past. I personally think mixes like this are the best to listen to when you’re travelling and looking out a window, otherwise maybe sitting at a desk on a rainy day doing some work. I’d like people to listen to this in a time where they won't be distracted by something else or feel the need to skip forward, I’d want people to just throw it on and let it play, drifting in and out of the tracks and their own thoughts.

Q. Are there any songs in the mix that are especially close to your heart, and what is it about these tracks that resonate with you so much?

A. My favourite tracks in the mix are Saftig Komposition by Rasmus Hedlund and Sedlec Ossuary by Persuasion. At a base level I love these tracks because they take a more modern approach to a dub techno track with tight production. Going deeper, the thing that really resonates with me is hard to put into words and best left unsaid. I think this kind of music (along with many other kinds) allows the listener to feel emotions that aren't able to be put into words, part of why I love it so much. I find that dub techno specifically can feel sad and happy at the same time like lots of jazz ballads. That to me is a really beautiful sound that kind of encapsulates life in general.

Q. Tell us about the development of your live set, and where things are currently at with it? Do you feel like you’re able to explore different shades of your sound when playing in a live setting?

A. Putting together my first live set was an awesome experience. I got to play it all around Australia from clubs to rainforests. I’ve put the current live set to bed for now and am starting to work on a new one with a slightly different setup. Although it was a challenging experience, I loved making a live set because often when I would dig for tunes to play out I’d think ‘I wish I had a song like this’ and writing a live set meant that I could bring those ideas to life and curate a set exactly how I wanted. I think I’m really starting to settle into ‘my sound’ in production and DJing, but there are creative limitations in both like finding new music or learning new skills. Overcoming technical barriers in production allows me to get closer to my most true form of expression when it comes to what’s coming out the speakers so I’ve been really working on that recently. Hoping the next live set will be bigger and better : )

MDC.302 Command D

Psychedelic journeying with London's Sybil, before she returns to Nowadays Nonstop 

https://www.instagram.com/sybil_dj

https://www.soundcloud.com/syberkid

Sybil @ The Lot Radio 02-08-2025

Follow @claywilson

Recorded live at Anemone x Acid Camp in Los Angeles on October 26, 2024.

Clay Wilson is a producer and DJ, who began turning heads in 2013 with his mesmerizing debut on Styles Upon Styles. He quickly followed that release with a string of similarly psychedelic 12”s for The Bunker New York. Clay’s monthly radio show Sensoria, with Oliver Chapoy has been a fixture of the sound of The Lot Radio since early 2016.

Acid Camp Vol. 154 — Clay Wilson

IWD 2025 For Orientate x Bouncy Bouncy 
1-2am 
Before the amazing mentors of the ESEA community - Ciel and Manami

Live at MOT, London - 8 March 2025 (1-2am)

I recorded this mix sitting on the carpet of my partner and I's new home, pulling out some old records and enjoying the comfort of our new living room which now also houses my custom green monitors. Sundays to me have a naturally relaxed and positive vibe and it's the same day that I throw my event 'Park Dub'. The music at Park Dub is generally a mixture of electronic dub tracks and more rootsy dub reggae but I usually tell the DJ's playing that 'anything with enough reverb and delay is fine', haha. I tried to capture the spirit of Park Dub in the mix.

Tracklist:

Shebuzz, Akmuo and Heavenchord - Seashell Dreams (Grounded Mix)
Babe Roots - World Struggle (Ambient Dub)
Ghost Dubs - Thin Line
Cofaxx - Move 2
Dubmonger - Archive
Triangle - Mantra Dub
DJ Sports - Untitled (B2 NH6)
Full Bloom - Giesing Underwater
Akko - Rosh Sataan
Frenk Dublin - Erangel
Rasmus Hedlund - Verners Funk
V.I.V.E.K - Galactic Dub
Cousin - Overtime Dub (Feat. Tom G)
Frenk Dublin - Divide & Rule
Babe Roots - Ruff Out Dubwise
Jon & Hugh - Stillness (Rings Around Saturn Dub)
Lightning Head - Studio Don One
Roots Radics - Dangerous Match One
Jah Shaka - Prophet Dub
Ghetto-ology - Dub-ology
Mad Professor - Mother Nature Dub

@commandd

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linktr.ee/delayed
www.delayed.nyc
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Contact us:
info@delayed.nyc



Sundays are for... Command D

We are very happy to present @jasminhoek for the next Nous’klaer Radio! The label favourite, both in DJ sets and productions, gave us the perfect start of the week with her new recording. Get to know her better through the small Q&A here below. Big thanks to Jasmín!

𝗛𝗼𝘄 𝗹𝗼𝗻𝗴 𝗵𝗮𝘃𝗲 𝘆𝗼𝘂 𝗯𝗲𝗲𝗻 𝗽𝗹𝗮𝘆𝗶𝗻𝗴/𝗽𝗿𝗼𝗱𝘂𝗰𝗶𝗻𝗴?
I started practicing DJing at the end of 2015, and had my first real gig in early 2017. I got Ableton in 2019, but didn’t get to spend a lot of time with it until the pandemic. So, it’s been 10 years (!) since I started DJing this year, and 5 years since I started producing.

𝗪𝗵𝗶𝗰𝗵 𝘁𝗿𝗮𝗰𝗸 𝗽𝘂𝗹𝗹𝗲𝗱 𝘆𝗼𝘂 𝗶𝗻𝘁𝗼 𝗱𝗮𝗻𝗰𝗲/𝘁𝗲𝗰𝗵𝗻𝗼?
I think there were several tracks, but two tracks that stand out for techno specifically are Rrose’s Waterfall and Blawan’s Vibe Decorium. I remember being blown away when I first heard them on YouTube. They're still among my favorite producers, and I play those tracks quite regularly.

𝗪𝗵𝗶𝗰𝗵 𝘁𝗿𝗮𝗰𝗸 𝗮𝗿𝗲 𝘆𝗼𝘂 𝗮𝗱𝗱𝗶𝗰𝘁𝗲𝗱 𝘁𝗼 𝗺𝗼𝘀𝘁 𝗿𝗲𝗰𝗲𝗻𝘁𝗹𝘆?
As soon as the first rays of sun hit, I get sucked into late 1960s and early 1970s music.
Ann Peebles – I’m Gonna Tear Your Playhouse Down (this whole album is such a masterpiece)
Jefferson Airplane – White Rabbit
Jimi Hendrix – Foxey Lady

𝗪𝗵𝗮𝘁 𝗼𝗯𝘀𝗰𝘂𝗿𝗲 𝗶𝗻𝘁𝗲𝗿𝗲𝘀𝘁 𝗱𝗼 𝘆𝗼𝘂 𝗵𝗮𝘃𝗲?
I’m a huge nerd when it comes to fashion and fashion history. I actually wanted to work in fashion as a kid/teen before I got sucked into music. I must say, for creativity, fashion is still my biggest source of inspiration. I really admire the crafts of sewing, designing, and working with fabric. Of course, like in any creative industry, there are plenty of things to be critical about as well, but the creativity and world-building behind certain fashion shows or editorials is magic to me.

𝗪𝗵𝗮𝘁'𝘀 𝘆𝗼𝘂𝗿 𝗮𝗱𝘃𝗶𝗰𝗲 𝗳𝗼𝗿 𝗮𝘀𝗽𝗶𝗿𝗶𝗻𝗴 𝗗𝗝𝘀 𝗼𝗿 𝗽𝗿𝗼𝗱𝘂𝗰𝗲𝗿𝘀?
Specifically for DJing, I’d say go to clubs early, see how a club night evolves, and learn what makes a good flow for the night/event. Listen to a lot of opening sets to learn how to build up a set. It takes time to learn what it’s like to play on a club sound system, so opening sets are great for easing into it. If you can do a good opening set, you can definitely slam it out later during the night. That said, this might be a hot take, but I think DJing should start as your hobby, and could then eventually turn into your job. If mixing, digging, collecting, or deep diving into music isn’t something you’d do if you weren’t paid for it, it’ll be hard to stick with it. Try not to monetize your hobbies right from the start.

Nous'klaer Radio #39 - Jasmín

disconecting from this world

sinking deeper

motion

Further information: bleep.com/features/bleep-mix-152-Shackleton

The enigmatic genius Shackleton’s contribution to Bleep’s mix series is completely and utterly captivating. In his first mix in almost a decade, the music blends tracks from 2019’s Reach The Endless Sea and 2020’s Like The Stars Forever And Ever, the two LPs Shackleton has made as part of the group Tunes Of Negation. These numbers are spliced together with live versions, improvisatory passages and droning interludes which were fashioned by Shackleton resampling pre-existing tracks. Those who know Shackleton from his dubstep days will find that his sound has changed considerably since then - his intoxicating style now nods more to Jon Hassell’s fourth world explorations, Indian classical music, the rhythmic phasing of Steve Reich and post-minimalist artists like Midori Takada. This earthy, psychedelic hour serves as a fascinating chronicle of how Shackleton’s artistic voice has developed down the years.  

"The mix is made up of tracks from the two "Tunes Of Negation" albums, some live versions, and some studio improvisations.  I made some bridges between the tracks with drones and the like that I created out of parts from existing tunes that I resampled and generally messed around with."

Bleep Mix #152 - Shackleton

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Bleep Mix #152 - Shackleton

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Bleep Mix #152 - Shackleton

Bleep

Recent comments

Matt Ticehurst

Schwarzmalerei

URSKOG

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