Almost Broken 
2014 - New Vizion Entertainment Group

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‘For home use only’ is an anti-club social, a chance to get to know someone/something. A series of transmissions purely dedicated to exploring the other side.

Big breath in. Local deej Danimoto provides us with a rare chance of relaxation, a soundtrack to hibernation, a one way ticket to divination. Breath out. 

His words >>> 

By dj and producer Danimoto aka Daniel George, who has released music via Addition by Subtraction, Aedi Records and self-released the piece Analog Meditations. He works in the realms of House, Techno & Ambient. 

About my productions: I try to make the intention around my productions natural, almost sub-conscious - intention when producing music can get you into some tricky spots, where you aren’t really feeling anything but rather just forcing it. I was chatting to a friend the other day and he was showing me some of his music, it was so pure, authentic, i could tell it was a labour of love and i thought that’s when you make the best stuff, when you pour it all out, it doesn’t have to be hard, but it does have to be real.

About the mix: Dance floor direct stuff has an immediacy to it, when you are crafting something to be played at home, the reasoning changes, as if you almost want to be immersed in its temporality. For me these records recall a lot of the initial moments of connecting with something which validates an experience. 

Headspace when i made the mix: I’m not a fantastic sleeper, i’ve always had issues with that. I wouldn’t say i’m terrible, i mean i’ve survived but it does agitate me. If i can’t sleep, i’ll usually head to my studio to make or mix music. It’s always weird & somnambulistic but i feel at peace there and i’m never trying to make too much noise. In this case, i felt recreating some dream-state, slipping between moods and riding the very soft ebbs and flows of energy i get from mild insomnia.

Sounds carry intelligence.

His sounds >>>> https://soundcloud.com/iamdanimoto

FHUO # 84 // Danimoto

** Boomkat Product Review **

DJ 0.000001 runs stacks of unreleased Shangaan missiles in a heat-seeking throwdown for leaders of the African new school, Nyege Nyege Tapes.

Giving us flashbacks to the heat of Honest Jon’s legendary 2010 compilation and its corresponding tours feat Shangaan disco dynamo Nozinja and dancers from Limpopo, DJ 0.000001’s mixtape hustles x-amount of exclusives that harness the sound’s galloping 180BPM energy in myriad mutations made between 2015-2022.

With energetic parallels in Tanzanian singeli and the Balani mix style of Mali’s DJ Diaki, Shangaan Electro is the incendiary and up-for-it party sound of Limpopo, a region of South Africa whose sound famously sped up over the decades to its breakneck current iteration, demanding ever more intricate and spellbinding footwork from its dancers. DJ 0.000001’s summary of Shangaan thru its remixes forms a party-ready rush spanning what sounds like Rian Treanor galvanising the sound with insectoid algorithms, to the adaption of RP Boo’s frenetic Chicago footwork, and punkish spins from the fringes of Nyege Nyege Tapes’ swelling number.

Releases March 15th 2023

All remixes previously unreleased. Recombined between 2015 and 2022 by Jonah Mociun. Special thanks to Thomas Chauke, Nozinja, Mualusie, Tshe-Tsha Boys, RP Boo, BBC, Nkata Mawewe, & GT Sikizia.

Artwork by Kid Gringo
Mastered by Declared Sound

DJ 0.000001 - Recombinant Shangaan Mixtape - Sampler

Boomkat Product Review:

Heavy-duty Indian soundsystem carnage by its leading proponent DJ Smiley Bobby, on Uganda’s immense NNT - unmissable for anyone wowed by recent videos of Indian sound clashes, priming the label for incoming heat by DJ TSR.

A proper mazza from Maharashtra State in Western India, DJ Smiley Bobby’s ‘Dhol Tasha Drum Exercises’ presents nearly an hour of up-to-the-second, electronic re-interpretations of ceremonial drums. It’s a full-frontal example of the rave energies in BRIC countries currently catching fire internationally, paralleling innovative mutations of Baile funk in Brazil or from the Svbkvlt lot in China with a ruthlessly rough brand of dancefloor discipline that sharply bends tradition into the hot present. Yr ears will not deceive you - DJ Smiley Bobby’s gear is frankly some of the sickest we’ve heard in a minute and we expect this introduction to be prized by any ravers unsatisfied with Western club music’s increasing tendencies to imitate-not-innovate.

First formed by the late Shri Appasaheb Pendse in the ‘60s, Dhol Tasha Drum exercises were originally performed on a sort of acoustic kettle drum but became electronically adapted in recent years thanks to the likes of DJ Smiley Bobby and peers including DJ Aasif, DJ Ammy, and DJ TSR, the latter of whom is due to drop an album with NNT this year. DJ Smiley Bobby’s introductory session finds the sound at its stripped down and breathless best with a ceaseless battery of drums and percussive madness that truly puts willing bodies thru their paces as the mixtape steps from side A’s 90-110bpm workout to its 150bpm ‘Hard Drum Sound System’ on the flip.

Also kinda mirroring the way DJ Plead has flipped Arabic drum styles, how Bilou XIV have transposed Senegalese mbalax drum patterns onto machine grids, or DJ Diaki’s Malian balani knee-ups, we’re certain this one will light up the pleasure centres of proper dancers everywhere, and dovetail with the sort of thing Beatrice Dillon makes, or anyone who’s been scouting zones where Indian bhangra and UK rave music bump fists, a la Mick St. Clair’s remixes of Nusrat Fateh Ali Khan.

Un-fucking-missable!!!

DJ SMILEY BOBBY - Dhol Tasha Drum Exercises from Maharashtra (sampler)

AVAILABLE DIRECT FROM FT > 
https://futuretimes.bandcamp.com/album/dolo-6

DOLO PERCUSSION is back! DOLO 6 is the first Dolo Percussion drop since 2020, 6 more drum tools for the freaky, gnarly, and psychedelic DJ in U. Fastfreeks and Chuggheads can each get some, with everything from DOLO 27’s frenzied tek to DOLO 29’s SP crank. Direct from Future Times digital for immediate party use. Do Your Beat!
credits
releases April 12, 2024

Produced and mixed by Andrew Field-Pickering at Future Times.
Mastered by Dietrich Schoenemann at Complete
DOLO 26, 27, 30 Mixed with Mezey, DOLO 25 Mixed with Niko Rao
Cover illustration by Andrew Field-Pickering

DOLO PERCUSSION - DOLO 26 (FTDIGI019)

Manchester’s Ship Sket (@hdmurder) debuts on @illegaldata with a suite of hyper-accelerated (and occasionally hellish) bass workouts

‘England as a Succubus’ is out 7th June – have an exclusive first listen to ‘Parallel Vengeance Identity’

More info: https://djmag.com/listen/premiere-ship-sket-parallel-vengeance-identity

Premiere: Ship Sket ‘Parallel Vengeance Identity’

‘Idling on the walls, there is a pleasant orange light…’ Memory is like this. Even More Familiar Than The Sparrows And The Car Horns is a piecing together of fragments, falling in and out of focus. We’re guided through a series of rooms that are undeniably his, yet lays no claim to them. Rafet’s latest release, armed with the resonance of nostalgia and longing, mysticism and colour, takes a simultaneously personal and distanced thesis of the translation of experience. 



For an instrumental composition, the track is rich with image. His arrangement remains evasive, never quite taking full flight. It remains held in anticipation, shimmering with recollection. The soul wants to depart, to return, but much like our attempts at reaching back into the corners of our mind, Rafet’s subject is but a visitation to memory and trace. 

Written and produced by Daniel Grima 
Mixed by Zubin Hensler 
Mastered by Zino Mikorey 
Artwork by Leonard Brown 
Copy by Chris Gaynor
Design by Tulip Hazbar 
Photography by Annika Kafcaloudis

Rafet - Even More Familiar Than The Sparrows And The Car Horns

shapes

As far as we know, or at least can discern from those letters and records published after his tragically early death at the age of 40, the author Franz Kafka had two great love affairs. The second, with journalist and translator Milena Jesenská, has been widely celebrated in the decades since the collected, one-sided Letters to Milena was compiled and published. In it, we see what must be the total store of his warmth and passion – everything lacking in his disorienting, menacing fictions. The Milena letters, strange and hot and highly questionable as they are, remain a source of fascination and inspiration for Kafka fanatics, erotomaniacs and historians alike. 

Unfortunately, their intellectually salacious reputation means those Letters far overshadow an earlier, thicker, darker volume penned by Franz K to his first great love and one-time fiancée, Felice Bauer, a relative of his lifelong editor Max Brod. While Kafka’s real-life story is one of brutal sexual failure and alienation before, during and after these two longer-term relationships, he managed a depth of written intimacy with both of these women most accurately described as harrowing. This tendency to expose himself most in moments of bitter melancholy is far more apparent and striking in the collected Letters to Felice.

This cold zoetrope, which conceals and reveals at accelerated frame-rates, eventually making a complex picture from an endless sequencing of small repetitive gestures, is the scaffold supporting Aris Kindt, the ongoing two-piece ‘post-structuralist pop’ project from Francis Harris and Gabe Hedrick. With Now Claims My Timid Heart, Harris and Hedrick continue the experiment started on Swann and Odette, crafting closed systems that promote a hushed correspondence between their sonic (Basic Channel, drone metal) and literary influences (Kafka, Sebald, Pynchon). 

Their commitment to this insular, architectural thesis resolves itself yet again with a record that manages to be simultaneously alienating and deeply human. This is largely due to the novel and particular ways the band achieves its trademark sound: For Timid Heart (their first record since 2017 as well as their first release on NYC’s Quiet Time Tapes), Harris eliminated much of music’s normal dependence on physical space, instead creating hermetically sealed sonic ‘rooms’ where the songs can live by sending samples and loops through convolution reverb. Each of the eight tracks on Timid Heart is fundamentally, thus, a field recording from an inaccessible world.

Nowhere is this more apparent than on ‘Letters to Felice,’ which contains some of the album’s most Kafkaesque, dystopian atonality, as well as the most obvious influence of storied producer and engineer Phil Weinrobe (Adrienne Lenker, Big Thief), who oversaw mixing for the record. This is about as upbeat as Aris Kindt gets; listening closely and taking into consideration the Rembrandt painting that gave the band its name, one can only hear the ravings of the human heart in a biomechanical sense. Not the stuff of love letters, but the operating table; not throbbing with lust, but electricity. It is the sort of music that begs the listener to remain at a slight remove for their own safety, to avoid going out in the way that desire, once sated, also ceases to be.

Now Claims My Timid Heart is, in this way, both a continuation of and an advancement upon Swann’s speculative emotional landscape; it maintains the band’s mystic sense of intimacy while simultaneously moving it in a more interior, cautiously analytic direction. Like viewing the Aris Kindt of Rembrandt’s masterpiece, or the vulnerabilities of Kafka on the private page, Timid Heart feels at times like getting a peek into an autopsy in progress. Simultaneously raw and clinical, it pulses inside the listener, encouraging retreat – if only into oneself. 


Aris Kindt - Saichh Sequences

AAL MIX with all new material. 
New EP out this Friday (Jan 31) featuring FKA Twigs & Lydia Lunch.

{{{First aired on NTS Radio January 27 2020}}}

OP 𓅛 mix 24 - A.A.L MIX

While cases of savant syndrome involving unusual cognitive abilities have been recorded in the neurological literature, they are usually linked to autism spectrum disorders or other developmental disabilities. Examples of acquired savant syndrome developing later in life are considerably rarer.

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derekamato