breaky

Soundz

Breakage - Prophecy [Dubplate Intro Mix]

Aphex Twin - Kesson Dalef [Drukqs] (Dafake Panda Cover/remix)

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̝̞̟̠͇̊̋̌̍̎̏̐̑̒̓̔̊̋̌̍ ̎̏̐̑̒̚ ̕̚҉ ̌̍̎̏̐̑̒̓̔̊̋̌̍̎̏̐̑̒̓̔ ̿̿̿̚̕̕̚̕̚͡ ҉̵̞̟̠̖̗̘̙̜̝̞̟̠͇̊̋̌̍̎ ̏̐̑̒̓̔̊̋̌̍̎̏̐̑̒̚̕̚҉ ̌̍̎̏̐̑̒̓̔̊̋̌̍̎̏̐̑̒̓̔ ̿̿̿̚̕̕̚̕̚͡ ҉̵̞̟̠̖̗̘̙̜̝̞̟̠͇̊̋̌̍̎ ̏̐̑̒̓̔̊̋̌̍̎̏̐̑̒̚̕̚҉ ̌̍̎̏̐̑̒̓̔̊̋̌̍̎̏̐̑̒̓̔

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Ap̸h͘ḙ̭̭̭̭̭̯̯̯̯̭̭̯x Tw̷ì̷n ̡-҉ ̡̀Ķ͡e̡͝͠s̷̷̸s̷̢̛o͝ǹ̛͘ ̷̸Da̶le҉f̸̯̯̯̯̭̯̭̯̎̎̎̎̎̀̕ (DaFake Panda cover)

From 'µ-Ziq - Goodbye EP' (out on Planet Mu - 1st April 2022)
https://planetmu.bleepstores.com/release/242667-ziq-goodbye

µ-Ziq says hello again with 'Goodbye'. The six track EP is the first in a series of releases by Mike Paradinas this year, which are all centred around the 25th Anniversary Edition of 'Lunatic Harness’, his classic 1997 album. 

Inspired by going back through the archives while he was remastering the Lunatic Harness reissue, 'Goodbye' sees Mike revisiting the nineties, taking on jungle and it's precursor jungle tekno and upgrading them with the benefit of hindsight and contemporary software. Imbued with Mike's lush sense of melody and his knack for striking contrasts (don't be shocked to hear maudlin piano, 303 and amens in the same track), 'Goodbye' approaches these old genres like a sandpit, and stretches them in directions only Mike might take.

Goodbye

µ-Ziq - Goodbye

Razor-sharp drum 'n' bass, cutting-edge jungle and extraterrestrial machine sounds.

Kamikaze Space Programme and Cocktail Party Effect step in with four meticulously designed mind-bending tracks, offering unbelievable exhibits of their dexterity in crafting futuristic jungle and razor-sharp drum ‘n’ bass.

Spiced up with a devastating array of extraterrestrial machine sounds and wicked sinister ambience, Food for Thought is for all those who continue to feed their minds with criticisms, refusing to adhere to a system that wants us technological adults but spiritual and emotional infants.

“...But you survived!” Cit.

Food For Thought

Rice is great if you're really hungry and want to eat 2000 of something (With Cocktail Party Effect)

Sidereal

Larrge - Sidereal [ FREE ]

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J Kenzo - Subtle Radio - 01/06/2023

Soundtrack of the movie Revɘrse Oceᴧnisɱ.

https://vimeo.com/98759385

Revɘrse Oceᴧnisɱ

leavemealone (Nia Archives Remix)

Jimmy J & Cru-L-T - Take Me Away (Slipmatt Remix) 1994

Lost In Ether | P R E M I E R E | Brenecki + Kamikaze Space Programme - Karabash [Midnight Shift / Voitax]

taken from: VA - Mothership [ Midnight Shift / Voitax]
release date: Jan 27 2020

Tracklist:

A1 Hodge + Nico - Akita
A2 Invia + Masha Motive - Transfigured
A3 Arad + Rory St John - Radharc

B1 Cyan85 + Paco Pack - 4 Ma C - Borgs
B2 Jamal Moss + KiNK - Spiral Galaxies with 2 Cores

C1 Sorcery + Xhin - Pattern Confrontation
C2 ABSL + Simo Cell - Put Less

D1 Paàl + Umwelt - Event Horizon
D2 Kyoka + Sorcery - Polyprism
D3 Esker + Swarm Intelligence - Seventh Continent

E1 Brenecki + Kamikaze Space Programme - Karabash
E2 L/F/D/M + Veronica Maximova - Obsolete Vernacular
E3 Cressida + Makaton - Pirates

F1 Don’t DJ + Harmonious Thelonious - Hambi
F2 Florian Kupfer + Innsyter - Superfans

Explore more:

Midnight Shift
SC: https://soundcloud.com/midnight-shift
FB: https://www.facebook.com/mnshift/
BandCamp: https://mnshift.bandcamp.com/

Voitax
SC: @voitax
FB: www.facebook.com/Voitax/
Bandcamp: voitax.bandcamp.com/

Midnight Shift x Voitax Compilation - Mothership

Lost In Ether | P R E M I E R E | Brenecki + Kamikaze Space Programme - Karabash [MNSVOI 01]

Taken from the album "John Frusciante - Maya" (23rd October 2020)
https://planetmu.bleepstores.com/release/200467-john-frusciante-maya

John Frusciante releases the first instrumental electronic album under his own name on Aaron Funk's Timesig label. The record is dedicated to his cat Maya who recently passed away, a fellow traveller in his otherwise solitary music making sessions. He says "Maya was with me as I made music for 15 years, so I wanted to name it after her. She loved music, and with such a personal title, it didn't seem right to call myself Trickfinger, somehow, so it's by John Frusciante." 

  'Maya' is inspired by his favourite music: '91 to'96 UK breakbeat hardcore and jungle. It’s a varied and personal take with sophisticated, authentic production balanced against John’s acute sense of melody, an inspired blending of machines and samples infused with a joyful energy.

  After discovering early UK rave music, John started dancing at drum & bass club nights in Los Angeles. He then got into Venetian Snares' music at the Autechre curated ATP in 2003, eventually becoming friends with Aaron resulting in the Speed Dealer Moms collaboration which boosted his confidence in making electronic music.

  The process of making his tracks changed over time as John explains; “For a full year before I started this record, I worked within self-imposed limitations and rules that made the music-making process as difficult as possible, programming for programming's sake. After a full year of that, I decided to make things easier, to the degree that I could regularly finish tracks I enjoyed listening to, while continuing many of the practices I‘d developed. Throughout the recording of Maya, I would prepare to make each track very slowly, but would finish tracks very quickly. I'd spend weeks making breakbeats, souping up a drum machine, making DX7 patches, and so on. By the time an idea came up that seemed like the beginning of a tune, I had a lot of fresh elements ready to go."

  John says his solo music has changed; "I don't have that interest in singing or writing lyrics like I used to. The natural thing when I'm by myself now, is to just make music like the stuff being released this year. I really love the back and forth with machines and the computer." The fun he’s having on 'Maya' is infectious.

Maya

John Frusciante - Amethblowl (TIMESIG011)

If there’s an artist to successfully traverse the treacherous divide between drum and bass, breakbeat and techno it’s Christopher Jarman’s prevailing alias, Kamikaze Space Programme. With roots indebted to the music he released on labels like Renegade Hardware under his Raiden alias, his abstract, field recorded, industrial and broken admission into the annals of electronica has seen his music backed, supported and released by the heaviest of renowned labels - namely Luke Slater's Mote Evolver, Mord to Osiris Music, Mord and Mote Evolver, WNCL, to the freshly minted Eomac’s Eotrax and further afield on Trust via Kamikaze Space Programme’s electro-minded wares. 

Having proved himself a razor-sharp edge of meticulous drum and bass production when rising up through the ranks of the genre’s definitive platforms, Kamikaze Space Programme’s hybrid sound, has joined the dots through a constellation of labels inhibiting a grey zone between UK club music and steely brutalist industrial textures. 

An accomplished session musician and avid field recording artist, Jarman’s music by and large is made up of foley sound design and sonic experimentation using bespoke apparatus and homemade microphones. Capturing internal resonances and electromagnetic radiation of objects, re-amplified or organic, classic hardware dub mixing completes the Kamikaze Space Programme aesthetic. Having worked with BBC Radiophonic Workshop and Rotterdam’s Re:Vive initiative too, there’s no denying Jarman of his credentials, with his repute as a formidable DJ and live act backed by his place in heavy weight line ups across the globe, be they at Berghain, Kompass Klub or Dommune to performing at festivals like Atonal, Krake and Kiev’s Next Sound.

Other collaborative projects, furthermore, have found their way through Simon Shreeve (aka Mønic, of Downwards and Kryptic Minds fame) to his Osiris Musik collaboration with Adam Winchester (Appleblips) under the moniker, Dot Product. He’s also proved a deft hand in the remix by taking on productions by Planetary Assault Systems, Emika and The Exaltics to NY’s The Horrorist.

Encompassing the most brutal of industrial sound design alongside intrinsic field recordings and the sleeker, low tempos and frenetic energy of jungle, breakbeats and drum and bass, Jarman’s ability to maneuver between genre and style sees the music of Kamikaze Space Programme defy classification while spiralling from one nether-spectrum of sound to the next.