Always Too FREAK (HDMIRROR x POCARI PISS mashup)

light the beam

Recordar es hermoso. Recordar es revivir aquellas experiencias que te han hecho ser quien eres hoy. Algunos recuerdos no son tan gratos, pero dejan experiencias que luego aplicas y ayudan. En esta ocasión, todos son buenos, o al menos así los veo hoy.

Este EP es una recopilación de esos recuerdos, momentos importantes de mi vida que ahora se manifiestan en forma sonora para todos ustedes.

Recordar es hermoso. Quédense con los buenos recuerdos. 

Recuerdos II
1. Pagano 
2. Consejos ft. Karen Herrera 
3. Hadas 
4. Mientras Crezco ft. Sandra Granillo
5. De noche somos pardos 
6. Pretendiendo ser otro 

Ahora disponible en todas las plataformas 
De venta en Bandcamp.

Arte: Jonas Hisk

Hadas

El irreal Veintiuno - Hadas

Track Part of The " Zilzal'z Sonic Ceremony V/A 001 " compilation

In Islam, "malaikah" refers to divine beings created before humans to serve as messengers fro Allah. They are immortal, made of light, and have no free will.

Malaikah

@peligrobeatmaker
Where there’s Part 1, there’s Part 2… and sometimes even 3.

The old world is collapsing—its structures fading, its borders dissolving. We are no longer just witnessing change; we are inside it, moving through the wreckage of what was and into the chaotic birth of what’s next. A new world is emerging in real time.

As everything shifts, we turn to sound—digging through the Vol. 4 submission folders, gathering fragments of memory, rhythm, and resistance to make sense of the moment. VOL. 2 is loading.

This is music for uncertain times—where irony meets feeling, nostalgia collides with speed, and the African side of things reminds us that rhythm has always been a force of survival and liberation. Polyrhythms spiral like broken timelines, edits twist the past into something unrecognizable, and bass shakes the ground beneath us.

But through all the chaos, one truth remains: we are one. Across continents and sounds, across generations and struggles, we move together. And in the end, freedom will win.




｡ﾟﾟ･｡･ﾟﾟ｡
ﾟN0FU7UR3　 nº4 VOL. 2 is coming


ig:
https://www.instagram.com/uhhhpeligro/https://www.instagram.com/nofutureb3rl1n/
website: www.nofutureberlin.club
bandcamp: https://nofutureberlin.bandcamp.com/album/n-future-n-4-v-l-2

DON PELIGRO - BALAN SOU

dru-1’s “preshuh” was composed in the artist’s home of Trinidad during Carnival of 2024. Reflecting on the experiences and influences that shaped the record, UK-based artist Drew Lovett recalls inviting friends to stay with their family during the festivities, experiencing overproof rum, pan bands, card games, and doubles. Community and a celebration of sociality seem to shimmer through the EP’s bass-ridden tracks, evident not-least in the prominent sound bites and vocals recorded on-site from those close to the artist during the Carnival.

The project unfolds across six tracks, each composition draped in FM synthesis and layered over gritty basslines. “preshuh” builds upon the
vision realized in the artist’s debut project, a 4-track EP released on Why Be’s Yegorka in 2024. This record punches with more technical precision, making a mature statement that feels cohesive and intentional, while retaining its playful essence. Lovett collaborates with Marta Rosa on percussion for the final three tracks—“maco queen,” “palance,” and “a4s.”

Despite its moody basslines and clear roots in the UK club scene and Hard Drum, Lovett’s EP is infused with a spirit of optimism and revelry. The EP opens with echoes of “toma!” and other indistinct cries, as timbale taps gradually build alongside jerky basslines in “diastema.” The subsequent track “corbeaux,” takes a more atmospheric approach, leaning further into lush melody progressions. Breath-like chirps fade in and out of the mix, allowing different melodic and percussive elements to shine at various moments. “Libido” calls the listeners to commune on the dancefloor, led by a steady four-on-the- floor rhythm. The hypnotic chant, “We come together,” repeats with quiet assurance, woven through a backdrop of filtered basslines and dissonance. Crunchy, sputtering synths wind in and out of the soundscape, teasing a sense of chaos and rapture, grounded by the steady rhythm beneath. In “maco queen,” the record seems to reach a point of climax; jittering bass sounds overtake the atmosphere immediately. “Hey!” and “Ha!” shout over the flurries, punctuating the frenzy, while intricate low-end patterns and hand drums introduce moments of organic warmth. Percussive taps and clinks imagine an impromptu gathering of people jamming together. Here, Lovett seems to call us to let loose, to shout, to dance, to revel in excitement. The fifth track, “palance” unfolds over a steady four-on-the-floor rhythm, with intertwining synth lines that emerge and recede unpredictably, engaging in a dynamic interplay akin to an animated conversation among close friends. The EP concludes with “a4s,” a vibrant, infused with Soca and Dembow breaks track that brings key elements from earlier songs—vocals, claps, and heavy basslines—crafting a dynamic yet cohesive finale.

Experienced in full, Lovett’s EP is a call to togetherness—a sonic invitation to gather, move, and celebrate without restraint. Infused with the frenetic energy of the carnival where it was conceived, the project unapologetically embraces the dancefloor, urging bodies into motion, and spirits into communion. Beneath its pulsating rhythms lies
a deeper longing—not just for revelry, but for connection. In a world still relearning the rhythms of closeness, it asks: How do we rebuild the spaces where joy and community once thrived? 

Artwork by Lucas Owen
Mastering by TB-Mastering
Words by Manolis Elijah Sueuga

dru-1 - a4s

amor.com @

MANSHIN is an album composed from the same sonic materials used in the performance of the same name - some taken directly, others re-recorded and reworked to shape a distinct listening experience. Rooted in research into psychoacoustics and Korean shamanic ritual, it aims to convey intensity, trance, and emotional resonance—interpreted through our own contemporary sensibility.

Rather than documenting or adapting the performance, MANSHIN offers a parallel encounter—where the ritual is carried into the listener's body with what only sounds can do. It is a listening experience that evokes a charged atmosphere, where sound becomes space, and listening becomes a form of entry.

The Drums

Just cause I'm chillin doesn't mean I ain't a KILLA

KILLA master Final

ion kno bout u

From album "SF02 States of Fugue" by @zoemcpherson
Preorders >> https://sfx-space.bandcamp.com/album/states-of-fugue-sf02
Performed, produced & engineered by Zoë Mc Pherson
Final mixdowns by Matt Karmil
Mastering and lacquer cut by Mike Grinser @ Dubplates & Mastering, Berlin
Artwork by Szilvia Bolla & Jonathan Castro

light the beam

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