Once the unborn tiger sharks consume all of the living embryos, they turn to their mother's unfertilized eggs next, in a phenomenon called oophagy, or egg-eating.

All tracks mixed and mastered by MYEN except on PARTICLES APART (Master by sysadmin)

PURCHASE

ARID

@obelisksydney - Meta Bliss EP
[PAYNOMINDTOUS, PNMTU006, out Dec. 28th, 2022]
* featuring remixes by @ptwiggs and @sus1er *
Name-your-price download
[paynomindtous.bandcamp.com/album/meta-bliss]

The Sydney-based DJ and producer Ryan O'Rourke aka Obelisk (he/him) is an emerging name in the Australian contemporary underground club scene as an organizer of the experimental dance event series Nexus (instagram.com/nexus.eora/) and as an artist, holding releases on local compilations (@deep-scan-radio and @meganesia), and showcasing performances as both a solo artist and with the Winged Mantis duo, alongside Sydney-based DJ @index-exe. The work of Obelisk focuses on the interaction between heavy laptop electronic music and jungle/breakcore influences, mediated by a taste for raw aggressiveness and emotional grandeur that have been arranged in his debut release “Meta Bliss”, out on December 28th on our platform.

Composed of three original tracks, the release collects sharp, crystalline, and bursting compositions that feature fast and broken rhythms brilliantly juxtaposed with disfigured synths. While often indulging in the belligerent fury of knife-sharp percussions and booming distortion, the EP often crosses into spacious, euphoric melodies accompanied by frantic but cathartic, tempo-shifting drum work. Obelisk’s goal has been to investigate various ways of experiencing ecstasy and euphoria, whether by means of extreme, overwhelming rhythmic aggression, or breathtaking melodic refrains. While going through the 20-minute EP, one is brought to witness a daring descent into rush. “Meta Bliss” is the heavily cinematic sound commentary to some fast-paced, epic-scale, high fantasy encounter with angel-shaped, all-powerful beings of light under an immaculate sky.

Meta Bliss EP is completed by two remixes by the Sydney-based musician, producer, and DJ Ptwiggs (she/her) @ptwiggs and the Perth-based producer and DJ SUS1ER (he/him) @sus1er. Ptwiggs provides additional tones of darkness to “Illidan Bass” by crafting a 170 BPM deep drum and bass rework rich with clangy breakbeats, and diving deep into the obscurity of the industrial bassline. On the other hand, SUS1ER delivers the perfect closure to the release by re-arranging the opening track “Echoburst” into a 178 BPM hardcore anthem that preserves the emotional impact of the original all the way through the rawstyle finale.

Tracks 1-3 produced and mixed by Obelisk. Track 4 produced, mixed, and mastered by Ptwiggs. Track 5 produced and mixed by Sus1er. Track 1-3, 5 mastered by @wimdehaen. Artwork by K095C [instagram.com/k095c/]

Meta Bliss EP

Name-your-price DL

Obelisk - Brokenblade

Taken from SBKT054: Gorgonn - Six Paths
Release date: 31st January

Artwork and layout by Akihide Monna
Mastered by Raphael Valensi


In Japanese Buddhism, it's believed that when someone dies they are ushered down one of six paths depending on the karma accumulated during their previous lives. A being might end up in the world of humans, animals, demigods, or celestials, but it's also possible to end up reborn as a pitiable hungry ghost, doomed to an existence of insatiable desire, or even worse - be sent to hell, or jigoku. Ruled over by the Japanese lord of death Emma-ō, this hell isn't quite like the Christian hell, it's closer to purgatory, and cleansing the karma can take hundreds of millions of years of excruciating torture in extreme cold or immense fire. Japanese bass alchemist Gorgonn takes these themes as the basis of his debut album "Six Paths", assembling a spiritually weighty set of futurist dubs that consider the possibility that our mortal domain might be closer to hell than we realize.


Gorgonn describes himself as a Japalien exile. He left the country of his birth almost two decades ago, and since then has been working tirelessly to formulate Jamaican dub, noise, techno, and no-wave into a sound he calls "sci-fi steppas". If you've not come across his name before, there's a good chance you've heard his reverberations. An established sound tech who's worked with The Bug, Hype Williams, Seefeel and others, he's part of G36 with Kevin Martin, Dokkebi Q with Kiki Hitomi, and a former member of Devilman with DJ Scotch Egg and Bo Ningen's Taigen Kawabe. Just last year he released the acclaimed "Disentegration Dubs" full-length alongside JK Flesh, the veteran producer who's best known for masterminding Godflesh. All this experience blesses Gorgonn's productions with remarkable sonic force, and "Six Paths" is his most crushing display yet, smelting cannonball bass and osmium beats into sharp-edged soundsystem weapons.


Look no further than opener 'Abyss' for evidence of this: psychedelic synths draw the mind away from the mortal realm, while tangled, distorted beats push us back down to earth, our faces crushed into the grit and gravel. Using tweaked sub bass and unsettling drones, Gorgonn lays out a cinematic backdrop for the album, drawing us into a world that's terrifying, viscous, and nauseatingly familiar. There's a militaristic roll to 'Without Beginning and End', a track that juxtaposes spacey halfstep thrusts with death metal distortion, footwork polyrhythms, and unearthly pads that addresses the crushing endlessness of jigoku. On 'Invisible' meanwhile, Gorgonn torches the skeletal remains of D&B, abstracting familiar rhythmic patterns into fuzzy, ritualistic cycles that sound both ancient and humming with prospective technology. But on the closing track 'Life as a Beast', it sounds as if Gorgonn has come to a conclusion, and in a flurry of acid squelches and doomy foghorn bass blasts, he seems to have accepted that being reincarnated as an animal might be the best anyone can hope for. Who knows, you might end up as a cat.

--

Six Paths

Gorgonn - Greed

TAR164
@xhlunit

More from TAR at:
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twitter.com/wearetar
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@wearetar

ITERATION

Buy / Stream

XHL UNIT - "Aisle"

HERE IS BUY: https://djgapdjgap.bandcamp.com/album/mutual-care

Merely a sigh, merely a dream. It's just a thought, barely a smattering, merely a breath, no more than a glance. A second's fragment too long. More than a glance, a glower. An intent stare. Just a blink, no, a tic of discomfort, unease. It's more. It's DJ GÄP's 'Rododendrón', featuring Dorota Matejová, off the album 'MUTUAL CARE'. It's you listening and liking and reposting and sharing and wearing sandwich boards advertising its existence and being mocked relentlessly by children for wearing a sandwich board. A fleeting moment can mean so much. Every moment is more than itself.

@djgapdjgap <3

MUTUAL CARE

DJ GÄP - Rododendrón (feat. Dorota Matejová) [MK PREMIERE]

Genre tags. How outdated, how limiting. In our everything-all-at-once media landscape, dull catch-all terms like 'dance' are no longer useful for artists and archivists hoping to describe music that spills and oozes out of any box you try to force it into.

As a test case, take At Her Open Door, aka Taiki Kobayashi, an artist who crosses dubstep, experimental, IDM, rave, trance, gabber, noise, and 80s synthwave. For his new EP 𝙀𝙣𝙩𝙧𝙤𝙥𝙮 𝙀𝙘𝙝𝙤𝙚𝙨, he says his productions give form to the sound he wants to hear, a sound that fuses conflicting emotions and expressions.

Perhaps 30 seconds or so into 𝘈𝘥𝘥𝘦𝘳 you think you've got his number, nodding along to the complex uplifting trance chords. But then comes the noise, the glitches, the distortion, the ultrachaos.

Or how about 𝘔𝘶𝘭𝘴, which begins with metallic phrases that seem predictably grime-adjacent, before suddenly switching up into a hard trance untz-athon.

Finally, 𝘠𝘰𝘬𝘦𝘴 is a violent hypercontemporary glitched-out deconstructed club track that's also a nostalgic hoover-driven rave anthem. You can read that again if you need to.

So any ideas for how to categorise this would be much appreciated. Leave your answers in the comments. Please like and subscribe.

---

At Her Open Door is an experimental music project started in 2007 by Japanese artist Taiki Kobayashi. He has previously released the album FLIR on CHINABOT and the EP Demon Stinger on formforum, and has participated in compilations for Magdalena's Apathy and Subsist Records.

Entropy Echoes was created using analog synths and samplers such as the Octatrack, Roland JP-8080, and α-Juno.

Entropy Echoes

At Her Open Door - Yokes

DIGITONICA, DEAD XICE - Umbra (29.11.2024)

Taking African gqom motifs, DEAD XICE and DIGITONICA have built on it with their own vision of the genre, starting with moderate rhythmic patterns, playing with broad soundscapes and sci-fi sound design, and ramping up to heavy, aggressive percussion parts that fill the cramped space of dark club rooms.

STREAM: band.link/umbradigixice

DIGITONICA, DEAD XICE - Umbra

Three years after their debut album ‘When My Darkness Came To Light’, Exploited Body has returned with their new album ‘Here, I Abandon’.

‘Here, I Abandon’ marks a new beginning, documenting the grievous first steps on the path of healing. The title references reaching a point, where all that doesn’t serve oneself must be left behind. The record is an exercise in “noise pop”, featuring prominent vocals from Exploited Body while combining their signature blistering distortion with their love of catchy melodies.

The album opens with ‘Only Your Eyes Could See My Wings’, a fragile and minimal ballad dedicated to their partner, who helped them find their way out of their pain-shrouded mind. Emerging from the fog, echoing vocals and thunderous piano drones lead into the disarmingly vulnerable vocal passage, the most personal song Exploited Body has ever shared with the world. ‘Demon Of Hatred’ is a slow-burning mantra about ending the cycle of trauma that began long ago, that manifests itself as a rage-filled beast. The screeching metal and cavernous bells collide under the somber vocals until it’s all ripped to shreds by violent pillars of noise. ‘After All (In The Ruins Of Limerence)’ deals with losing oneself in another person and awakening from the fever dream that is limerence. Along with the swinging vocal melodies, the dissonant mechanical humming break out into an onslaught of distorted kick drums before dissolving into harmonic bliss.

‘Replacing A Scar With Another’ explores themes of self-sabotage and self-harm, how we often reject help that is offered to us, creating new wounds to tend to instead of mending the old ones and trading old harmful beliefs into new even more detrimental ones (“replacing a god with another”). ’Self-Surrender’ is about shame, self-deception, requesting others to ‘hold your light’ until the sun’s out while you wallow in the dark abyss of self-pity, but now the time to has come to face yourself. The ethereal production paired with a delicate melody is reminiscent of a haunting lullaby with ghostly voices creaking in the midst of ringing synths, before everything comes to a head for a disjointed crescendo.’ Abandon’ is the purge that marks the point of no return, stripping off your weakness piece by piece, like an exorcism through the brutal wall of noise that the song builds up to. The closing track ‘Tear Me Apart Until All That’s Left Is Love’ is the bittersweet moment of letting yourself disintegrate and splinter into pieces to make room for what lies at the core of it all. A soft landing back into your body, before the colossal aftershock kicks in and sends you on your way to what comes next.

The album is written, produced, mixed and mastered by Nori Kin and features artwork by Changeless-affiliated Helsinki-based photographer Markus Watkins & Nori Kin.

Here, I Abandon

Exploited Body - Self-Surrender

@skrush-official
@skrush-official
@skrush-official

Villains Vol.6

SKRUSH - JUGGERNAUT

GAME

Entry in compression (Dark Dubstep)

𒀭DJ BOOKINGS: booking.myen@gmail.com
𒀭https://myen.bandcamp.com/album/karner
𒀭funeral music, sonic tulpamancy ฏ๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎