ADDICTED 2 U // CRAZIST BOUCE INST

Mix recorded for Oroko Radio, aired in December 2023.
Tracklist: https://www.instagram.com/p/C0l_ctYsyZn/?hl=fr&img_index=1

BJF Mix for Oroko Radio - December 2023

✨💿 Presenting ‘Merry Glitzmas’ 💿✨

Dive into the glittering depths of Aotearoa's underground music scene with 50 local artists from across the motu providing us with 59 unique tracks. This collection shines a spotlight on the unparalleled creativity and variety that radiates within our underground culture.

✨ We are dedicating this one to the brother in glitz, Sam, Aka Bron, who passed away on November 23rd 2024 in Leeds, England. He is always with us and lives on through spirit and the beautiful music he produced. Half of all proceeds will go towards helping bring Sam home to his whānau. The other half will be donated to the Palestine Children’s Relief Fund, in an attempt to bring hope and support to children in need. ✨

🌟 Let the glow of Aotearoa's underground guide you this Glitzmas 🌟

Additional Mastering by Jackie Jenkins
Cover art by Kollector

DJ Bumpuff - 25 lighters (prod. Caru)

//> Un viaje sonoro que explora resistencia y euforia en un paisaje postindustrial, equilibrando tensión, esperanza y caos a través de cuatro pistas y dos remixes.

Artist: @dsffctd
Label: @xxiiibeats

Unstuck

"A 1 is better than a 0" (remixes) is a reimagined version of Bikôkô’s latest EP, which takes the listener on a musical journey through the lens of perfectionism and productivity obsession in everyday life.

Central to the essence of "A 1 is better than a 0" is the spirit of collaboration and cultural exchange, hence why Bikôkô had the idea to open up the project and its interpretation by remixing some of them. This compilation contains four remixes made by four artists from different parts of the world that connected with Bikôkô over the period of writing the original project.

The decision to collaborate with artists from diverse backgrounds and to sing in multiple languages was a deliberate choice aimed at honoring the rich tapestry of cultures that have shaped Bikôkô’s identity. It was also a conscious effort to ensure that the message of the project resonates with a global audience, transcending linguistic and cultural barriers.


Bikôkô - La Mano (Denzel Himself Cowgirl Remix)

Arielle Lana @ SILO 28 February 2025 [Closing Set]

https://www.subtleradio.com/artists/ininincue-wav-by-jjjase/

Live Set for inininCUE @ Los Globos (February 27, 2025)

I put this together as guest mix for a gorgeous friend of mine, Purity over at East Side fm - Inspired by all things LOVE. 

This was originally a Valentine's day special that turned into a Mardis Gras mix. Filled with sapphic sounds, lots of romantic trip hop and some sexy pop blends. Being the sappy romantic I am, this ended up containing a lot of my favourite songs, so is quite special to me. 

Music to fall in love to, for dancing around in your room, getting ready for a night out, or even break up music to cry to. Whatever it is... celebrate love in every shape.

In saying that, HAPPY PRIDE ANGELS!!! <3 And thank you so much to Purity for having me on this episode of BOSH! xxx

Listen back to the show here: eastsidefm.org/episodes/1740812400/

valentines/ mardis gras guest mix for Purity - East Side 89.7fm - 01.03.25

Pour cette emission, restonsflex construit un set éclectique autour de versions rejouées en live des tracks de son nouvel EP "YOU DON'T LOOK COOL TRYNNA ACT TOO COOL" ainsi que des créations originales avec son sampleur et séquenceur DJS-1000

restonsflex : YOU DON'T LOOK COOL TRYNNA ACT TOO COOL - 04 Mars 2025

Revisiting events that altered the composer’s life drastically, C Powers (@cpowers) creates in Unlawful Assembly a swirling introspective space burrowed within the chaos, danger, and noise of a fascist and collapsing Amerikkka.

For over half a decade, Cecilia Powers has been active in anti-displacement organizing. When she moved to LA in 2019, Cecilia joined the Los Angeles Tenants Union, helping working class and undocumented families organize against unethical landlords and gentrification in North Hollywood. Upon moving to Portland a year later, she became a co-founding member of Don’t Evict Portland, a tenant-lead organization that is working to build tenant power and delay, reduce, or eliminate the harm and violence of evictions.

Cecilia has spent years attempting to inform her music with the lessons and experiences she gained from participating in abolition movements and tenant organizing. Her objective as a composer has been to capture or create moments where action and disruption are injected with rhythm, noise, and bodily movement. At times, C Powers has experimented with “injection” by creating compositions specific to direct actions. “Weaponizing” these compositions or “injections” meant tailoring them to be played from amplifiers or systems specific to action plans or conditions (tracks for car stereos and boomboxes at protests utilizing large car caravans, or hacks and modifications for megaphones as examples). Unlawful Assembly is the cumulative result of Cecilia’s efforts to explore the intersection of direct action and music.

While mainly driven by a focus on historical documentation for future movements, Cecilia also created a space of art-self-therapy in re-imagining the soundscapes, pressure, emotional impact and of events she experienced alongside countless others. The works collected in Unlawful send the listener into collision with sonic violence without warning. Throughout the album, Cecilia develops a unique language within her sonic realism and begins to re-animate thematic elements of the real conditions experienced. As scores of innocent bystanders were assaulted by sudden bursts of aggression and projectile fire, the listener is pummeled with noise and field recordings of brutality on tracks like “Munitions”, and “If We Don't Get It (IWDGI)”. 

Cecilia re-animates the War-Drumming and Chanting of multi-hour marches on tracks like “I Will Not Live In A Fascist State”, and the joyous call and response found on “Lombard”. One can feel the panic of evading riot police violence oozing out of the swirling rhythms of “Resignation Dance” and “Failure To Comply.” The infamous “LRAD” sonic suppression device can be heard on the title track and others, as can the howling responses from anti-racist protesters.

The dread of neoliberalism, and the rage it inspires, permeate the entire album while immersing the listener in the atmospheric details of the gritty urban Pacific Northwest. C Powers’ re-capture of so many chaotic nights will demand the listener keep their “head on a swivel” while also offering a space to heal. Perhaps this album has a backward gaze fixed in a time not too long ago—Cecilia hopes it can help those who are ready to regroup in order to move onward.

All source material recorded on stolen Chinook lands (also known as Portland, OR) from May 2020 - Dec 2020. The field recordings in this work were made under extreme conditions in which equipment was sometimes damaged while recording, or the recordist experienced or narrowly escaped bodily harm.

Download/Stream: https://sorry.ffm.to/sr61


Stream/Download

C Powers - Munitions

During the making of this record I was primarily concerned with the anxieties of postmodern existence. Living with constant information connects us but ultimately drives us apart as powerful institutions use information and disinformation to manipulate the public and manufacture consent. As a first generation Chinese immigrant raised in the west, I am interested in the process of sampling from ethnically diverse, "foreign" origins as well as local, familiar sources and seeing how they interplay with each other in startling new ways. Sampling is an old artform, a foundation of electronic music, and we are learning as a new generation how to utilize this tradition under changing ethical standards. Stylistically this record was made with the intention of using a lot of disparate samples from politically-incongruous places: European colonialist films, a white Mormon indie rock band, Japanese kabuki, traditional Chinese hand percussion, Nixon's speeches, vocals from both American and Cantonese pop icons, an experimental record about the Vietnam war, etc., and combine them in ways that are unexpected, non-fetishistic, and nuanced. As post-millennial people, we enjoy greater access to cultural artifacts ("samples") than ever before which can lead to great artistic works if used with respect to context, meaning, and cultural significance. This EP was an attempt to explore that. 
-Ciel (@cl_lit)

ADDICTED 2 U // CRAZIST BOUCE INST

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