Ground a.k.a Gr◯un土 (Chill Mountain/Voodoohop/ESPinstitute)uses Osaka as a base to input the sounds he has met around the world and outputs them to the dance floor.
He operates digital label "Chill Mountain Rec" with Kabamix & Mt.chills. In his own music production, he released three albums in 2015, and in 2018 released the world debut album "SUNIZM" from the LA-based label ESP instutite.
​Booking&contact→ info.chillmountain@gmail.com

More Ground: https://soundcloud.com/dj-ground
More Goulash: https://soundcloud.com/goulash-disko
Crowdfund Goulash 2022: https://www.ulule.com/goulash2022/

CROWDFUND GOULASH

Goulash Mixtape - Ground

Millie & Andrea are Miles Whittaker and Andy Stott, fellow labelmates at Modern Love who collaborated on an occasional series of 12” releases between 2008 and 2010. It’s been four years since we last heard from them but they now return with “Drop The Vowels”, their debut album. Produced fast and loose through late 2013 / early 2014, it’s an album that recalls the strict and stripped funk of Anthony Shakir as much as it does Leila’s incredible debut ‘Like Weather’, eschewing the dark aesthetic both producers are best known for in favour of something much more visceral. It’s an album borne from a love of both pop and club music, made to evoke an adrenalised, hedonistic, as well as an emotional response.

Opener GIF RIFF brings to life a Gamelan edit stripped bare before the over-compressed ‘Stay Ugly’ breaks out with a tumbling, broken arrangement situated somewhere between Richard D James and Jai Paul. “Temper Tantrum” and “Spectral Source” follow, versions of tracks originally released on the second and third Daphne EP’s respectively, the former a rugged rave anthem tempered by blue strings, the latter a proper dancefloor destroyer recalling Shake’s mighty ‘Madmen’. ‘Corrosive’ flits between a fillibrating, arpeggiated steppers rhythm and a brutal jungle breakdown, while ‘Drop The Vowels’ further explores and strips bare bass & drums before the slow but jacking warehouse killer “Back Down” provides pure percussive abandon. Quay ends the set with something quieter, a sublime coda made entirely from field recordings.

GIF RIFF

Lefto Early Bird 10.13.23 | VISLA FM

Darkness
Light
Education
Violence
Life
Economy
System
Leaders
Manipulation
Geopolitics
Interests
Freedom
Migration
Racism
Climate
Earth
Technology
Change
Heat
War
Genocide
Ecology
Ecocide
Fake
Rain
Peace
Future
Virus
Antibiotics
Genetics
Artificial
Death

FREEDOM (2024_1)

Brussels-based producer and radio veteran @lefto lands on @gillespeterson’s @brownswood label with a slice of simmering, jazz-leaning electronica. Have an exclusive first listen now.

More info: https://djmag.com/listen/premiere-lefto-i-sing-find-peace-mind

Premiere: Lefto Early Bird ‘I Sing To Find Peace Of Mind’

Faith In Strangers’ was written and produced between January 2013 and June 2014, and was edited and sequenced in late July this year. Making use of on an array of instruments, field recordings, found sounds and vocal treatments, it’s a largely analogue variant of hi-tech production styles arcing from the dissonant to the sublime. The first two tracks recorded during these early sessions bookend the release, the opener ‘Time Away’ featuring Euphonium played by Kim Holly Thorpe and last track ‘Missing’ a contribution by Stott’s occasional vocal collaborator Alison Skidmore who also appeared on 2012’s ‘Luxury Problems’. Between these two points ‘Faith In Strangers’ heads off from the sparse and infected ‘Violence’ to the broken, downcast pop of ‘On Oath’ and the motorik, driving melancholy of ‘Science & Industry’ - three vocal tracks built around that angular production style that imbues proceedings with both a pioneering spirit and a resonating sense of familiarity. Things take a sharp turn with ‘No Surrender’- a sparkling analogue jam making way for a tough, smudged rhythmic assault, while ‘How It Was’ refracts sweaty Warehouse signatures and ‘Damage’ finds the sweet spot between RZA’s classic ‘Ghost Dog’ and Terror Danjah at his most brutal. ‘Faith in Strangers’ is next and offers perhaps the most beautiful and open track here, its vocal hook and chiming melody bound to the rest of the album via the almost inaudible hum of Stott’s mixing desk. It provides a haze of warmth and nostalgia that ties the nine loose joints that make up the LP into the most memorable and oddly cohesive of Stott’s career to date, built and rendered in the spirit of those rare albums that straddle innovation and tradition through darkness and light.

Damage

曲目(Track) / 歌手名 (Artist)

Moonlight In Vermont / Dorothy Ashby
Feel Like Making Loue / Ana Mazzoti
Past Lives / Real Estate
On A Clear Day (You Can See Forever) / Martin Denny
Swervin' (Remix) / Clams Casino
Ode To The Blue / Grouper
Belvins / Anna Butterrs 
Floating On A Moment / Beth Gibbons
Tranquility / Isaiah Rashad
Butterfly / Cleo Sol
Chegada / Joyce
Life is / Jessica Pratt

山沿い (Along the Mountains)

(Mix) 65. BoM - Unique Harp Of Dorothy Ashby (Jazz, Psychedelic, Ethnic)

Equiknoxx are one of the hottest, most innovative dancehall squads from Jamaica right now; Bird Sound Power is their debut collective show of strength, packing 12 avant, crooked riddims by core members Gavsborg and Time Cow, plus Bobby Blackbird and Kofi Knoxx, with vocals by Kemikal, Shanique Marie and J.O.E. (R.I.P).
The set was parsed and pieced together by Jon K & Demdike Stare , and now thanks to link ups via Swing Ting’s Balraj Samrai (a longtime livicated supporter), it is issued on Demdike’s DDS imprint, replete with Jon K’s sleeve design.
Easily identified by the squawking bird idents peppering their cuts, Equiknoxx productions have been big in the dance since Gavin Blair a.k.a. Gavsborg produced Busy Signal’s billboard hit Step Out in 2005, followed by key instrumentals for Beenie Man, Aidonia, Masicka, and T.O.K. - with many released on 7” thru their Equiknoxx Musiq label, and some of which, such as Aidonia’s Negative, are included in this set.
Bird Sound Power arguably marks up the most striking riddim album you’ll hear from JA in 2016, weighted with the potential to open up perceptions of current dancehall thanks to the mad character and broad reference points of its producers, encompassing King Jammy’s foundational digi-dub and Dave Kelly’s Mad House sound as much as rugged New York hip hop and the wigged-out, feminine pressure of Virginia Beach’s Timbaland or The Neptunes.
The oldest tune inside dates to 2009, but the rest are relatively recent dancehall mutations, including a number of exclusives produced in the last 12 months. Each one reps for Equiknoxx’s unique aspects, such as Jordan Chung a.k.a. Time Cow’s brilliantly bizarre, layered arrangements of film samples, sawn-off hooks and digi-tight beats, whilst also a result of as their distinguished family vibe,
Bird Sound Power exists in a paradox, contemporary but classic, and with as much potential to turn new heads onto current JA sounds as Mowax’s Now Thing set back in 2001, which remains a key touchstone for all fwd looking producers..

Bird Sound Power

I Really Want To Write On Her Purple Wall

Taken from 'Colón Man', the exceptional debut album proper by visionary Jamaican dancehall artists Gavin Blair (Gavsborg) and Jordan Chung (Time Cow) plus their extended crew, aka Equiknoxx - once again for Demdike Stare’s DDS label. 

Where their widely acclaimed 'Bird Sound Power' primer compilation, issued on DDS in 2016, brought the rest of the world up to speed with the music produced between late ‘00s and 2015, their first album now brings a 2020 sound into sharp, technoid focus thru a baker’s dozen steely, heat-seeking riddims galvanised with clinical electronics and a Midas Touch approach to sampling.

山沿い (Along the Mountains)

N.boy

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