My crappy neighbors decided to play music at 6am so I have been blasting this right back since 6am 😂🙂‍↕️ LETS GOOOOOO

Playlist converted by Soundiiz from another music platform ! https://soundiiz.com

Schlball dnb

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Eyes on Fire

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phanto remix (dnb Flip)

Deekline  Ed Solo   I Need A Dollar

Two artists that have found a home for their exquisite sonic palettes on Shogun Audio, Pola & Bryson and Emily Makis now serve up some of their most captivating work to date. Titled 'Phoneline', this latest offering collates Emily's mesmerising vocal capabilities and songwriting with the masterful production of one of drum and bass' most talented production duos.

Following on from a monstrous 2022's in which Pola & Bryson released 'Tell You What I Did', which went into rotation on Radio 1's playlist, and remixed the likes of David Guetta, VenBee, and High Contrast, 'Phoneline' sees them link up with a future superstar and the most exciting and compelling vocalist in drum and bass music in Emily Makis.
A frenzy of drums, plucks, synth work, and vocals that all co-exist in a sphere that's equal in its vast quantities of tension, power, and beauty, 'Phoneline' is a serious statement from both artists that'll resonate with listeners in the dance just as much as it will with those hearing it at home.

It's not often that songs like this come around - we can't wait to share this one with the world.

Phoneline

Pola & Bryson, Emily Makis - Phoneline

Tell Me Why

Tell Me Why (1991 Remix)

Black Out Days

Black Out Days (Subtronics Remix)

Tove Lo - Habits (Stay High) (Subtronics DnB Bootleg)

Strangers - YEEKS Remix

Free Download

Kenya Grace - Strangers - YEEKS BOOTLEG - FREE DOWNLOAD

Descend

Suspect (Synergy Remix)

stay high x black out days dnb Subtronics/medun mashup

Ryan Nevis x Wass - You (make me forget)

Down Low

Down Low (YDG Remix) [feat. Sorana]

Toxic Edit

Toxic -K1NG Edit

Go Back (YDG Remix)

John Summit & Sub Focus - Go Back (ft. Julia Church) [YDG Remix]

PUT IT DOWN

OG Nixin Fuck Em x Narr Two Twins Lanky BOOTLEG

https://phantogram.komi.io/

Move In Silence feat. @bigboi Out Now 

Sparked by a color or song that recalls the most joyful and tragic moments in your life, a sense memory vaults you into the distant past. These subtle triggers remind us that memory isn’t confined to the mind; it lives in the body, too. Phantogram’s fifth album, Memory of a Day, captures that disorienting sense of time travel. “We put these songs together as a capsule, thinking about how a certain sound or melody can bring you back instantly to a memory of a day,” Phantogram says. 

While they were recording, the duo fixated on life calendars, a gridded sheet in which each unit represents a single week of a person’s life on the planet. As you fill in the grid, you witness the progression of your life in stark terms. The older you get, the darker the grid becomes, reminding you of how much time you have lived, and how little you may have left. “It’s this exploded view,” Phantogram says. “Like an image of Earth from a distance.” The life calendar is both morbid and nostalgic, a physical representation of our ephemeral time on Earth. 

“Days are only numbers,” Sarah Barthel sings on the chorus of “Come Alive.” That lyric became a north star for the duo as they set forth to make Memory of a Day. At once heavy and ebullient, “Come Alive” distills the lasting impact Phantogram has made on popular culture. Since their 2010 debut, Eyelid Movies, Phantogram has been comparable to no one, futurists who still manage to stay ahead of the curve more than a decade into their career. Their genre-bending approach to pop has led them to work with everyone, from Big Boi, with whom they founded Big Grams, to Subtronics, Future Islands, Deftones, the Flaming Lips, Tom Morello, and Miley Cyrus, to name just a few. A festival staple across the globe, Phantogram has also toured with Queens of the Stone Age, Arcade Fire, the XX, and many more. “We’ve always been proud of that: not being afraid of the experimental.”

Though their music has always been future-facing, to make Memory of a Day, Phantogram looked back. “Recording this album, it felt like how it did when we first started making music together,” Phantogram says. Alongside special collaborators like Mikky Ekko and Dan Wilson, Phantogram was joined in the studio by producer John Hill, who helmed Phantogram’s second album, Voices. The duo experimented in the studio and indulged in the music that brought them together in the beginning, artists such as J Dilla, Prince, Slowdive, and so much more. They reference new wave acts like the Talking Heads, ESG, and Liquid Liquid as influences on the percussive punk track “Feedback Invisible,” which is followed by the wistful burst of color “Attaway.” It’s a shoegaze song so sumptuous “you can almost see the grain in the guitar sounds.” 

Phantogram think in images when they write, drawing on scenes from films that linger with them years on. “Ever since Eyelid Movies, our work has been visually driven,” Phantogram says. In the video for the fuzzed-out waltz “All a Mystery,” snippets of human lives coalesce into a montage of experience. “Erase all the tapes in my mind/ Throw them all away,” Barthel sings, accompanied by a bittersweet swell of synths. “Turn back the tables of time/ Let all those memories die.” A swirl of memories, both triumphant and tragic, surface on Memory of a Day. “Come Alive” was written after Barthel experienced a transformative live show on her own, while the title track recounts the moment Josh Carter had to put his dog down. “It’s what you wanted, but couldn’t say,” he sings. “I’m not afraid of dying or what it feels like”

The album’s penultimate track, “Happy Again,” is a thrumming, bass-heavy rock song with a chorus that sounds like a wave crashing against the sand. “Another empty summer sunset/ Feeling homesick,” Barthel sings ahead of the bridge, her voice catching on the breezy, luminous production. “Can you believe this is your life?” It’s a moment of realization Phantogram compares to the dour scene in Forrest Gump, where Lieutenant Dan, “mega depressed and drunk,” throws a bummer New Year’s Eve party. Still, the song ends with an enlivening mantra. “I can be happy again,” Barthel repeats as guitars careen and crash. If days are only numbers, then how else can a person measure a life? On “Ashes,” the answer seems to be in moments of resilience. Based on the adage “you came into this world alone and you’ll leave it alone,” the throbbing production infused with elements of trip hop, shoegaze and indie accompanies Barthel as she reminds the listener: “Ashes rise, ashes rise.”

When they penned the lyrics, Phantogram thought of the mythical phoenix spreading its wings after catastrophe to take flight. The vulnerable, even despairing moments on Memory of a Day are stark, but they’re buoyed by a relentless optimism that has driven this project from the outset. In the Los Angeles studio where they recorded Memory of a Day, Phantogram often marveled at the distance they’ve come, both physically and spiritually, since they first started making music together in a barn in Upstate New York. “Tomorrow never knows,” Barthel nods to the Beatles on “Come Alive.” The accumulation of days together tell a story bigger than any finite lifetime, and Phantogram’s life calendar is only a fraction full.

Black Out Days (Subtronics Remix)

PHANTOGRAM

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