LIES-047
Daywalker +CF-Supersonic Transport
from upcoming three track ep
to be released April 10th 2014

Daywalker + CF-Supersonic Transport (LIES-047)

https://erfrecordings.bandcamp.com/album/burn-perf000

Burn is the second YS album and written as a direct follow-up album to Brutal Flowers. If their first album was an exercise in the incremental, a construction of poise and patience, Burn, should be taken way the fuck at it’s word: it quite literally finds catharsis in twisted reverse. Birthed out the malignant kick found in deconstruction and chaos. Evil twin, psychotic younger sibling, call it what the hell you like. It might take you a moment to get the lay of the land in this darkly mutated world. Like a bug eye’d native first confronted with a zippo, the hit is radical and instant: a new way for the world to go up in smoke.

Splice the Seattle slacker scene with the spliffhead soundsystem culture of the '90s Bristol trip-hop scene, then cross-breed that with the DIY optimism and glee in creation found in the cut-and-paste worlds of skate, graffiti and hiphop, now run that through the skitzo basement mind of John.T. Gast and you’re close to the kind of scorched earth and spiked suburbia that birthed Burn.

Dunno quite what YS have been ingesting of late, but this massively twisted LP touches on a host of gloriously fucked totemic underground sources while not sounding much like any of them. It has the ballsy swagger and hard flipping of the script as Massive Attack’s seminal Blue Lines. Indeed, the eponymous album tracks sound similar - the opener ‘Burn’ is like a hard-nosed, jammed-out redux of ‘Blue Lines’. Getting into a kind of slow-spinning overdubbed maximal euphoria ending with mumbled downer vocals, struggling to conceal their tongues in their cheeks, there’s an air of paranoia and proto-conspiracy theory. It’ll leave you scratching your head, feeling like you’ve stepped into a New World Order governed by a cacophony of dropouts, dope fiends, and apocalyptic stoners. A cracked-out world somewhere between Richard Linklater’s movie Slacker (1990) and Marc Singer’s Dark Days (2001).

The rest of the album parts like a tongue on a wine glass: Smith and Mighty, Bandulu, ambient Luke Slater records, Wah Wah Wino, Nurse with Wound, Land of the Loops, Placid Angels, Adrian Sherwood, Urban Tribe and DJ Shadow can all be heard in momentary splatters - but Burn like other works by YS, is its own ritual beast. ‘Moth’, a track that has been circulating the underground DJ circuit for many moons, is a raw, chopped, and screwed slice of stoner erotica that reeks of obsession and unrequited desire. Elsewhere, on tracks like ‘Switch’, ‘Trying’, and ‘Drift’, the throughline from Brutal Flowers can be heard. Underneath the driving heavy gravity, the trademark emotional intimacies of YS linger: eternal recurrence, ghosts of static and shortwave, worn memories of the playful and painful sort. The brief moments when flashes of orchestral ambience emerge from beneath the swagger are so pure, personal, and unguarded that, for a moment, they leave you completely alone. In the album’s closer ‘End’, you can hear the fleeting promise and DIY possibilities of an analogue world and embers of ash that flutter in its wake: where it seemed, for a brief moment, that collective of DJs, engineers, rappers, graffiti artists and skate crews were emerging from the streets, giving the middle fingers to the system, before just as quickly disappearing back to the doldrums of obscurity. ‘End’ is a bittersweet ode to early soundsystem culture, MCs and pirate radio - an out of step time where for a moment the underdogs and weirdos seemed to be kicking on the door of something bigger.

A veritable teenage doof suite dosed with desire, claustrophobia, and deviance. Burn is a good old howl at the moon: lonely, raw, and out for blood; basement style exegesis at its best. A thump to the gut, a stud through your blood. A dubbed-to-death classic straight out of the annals of nowhere. A perfect postcard from oblivion. A bleak, bold, and personally ferocious vision of tomorrow and tomorrow and tomorrow.

PREMIERE | YS - Moth [PERF000]

Best known for his cinematic jungle excursions, Seb Uncles returns to Livity Sound for a second extended release of introspective electronics with a strong influence from mystical sources. 

As Eusebeia, Uncles has developed a strong, independent presence in modern electronic music defined by a prolific run of deep-diving, breakbeat-driven albums and EPs. In 2022 he released Cosmos on Livity Sound, a mini-album that zoomed out to a more reflective strain of electronica shaped by atmospheric synth lines in the hauntological vein of Ghost Box, Pye Corner Audio et al. 

The Wyrding Way finds Uncles delving even deeper into this area of his output, keeping drums to a bare minimum and focusing instead on powerful melodic lines. There are still considered soundsystem moments that connect with Livity's long-standing sonic focus, not least the subtle dub inflection of EP centrepiece 'By The Light Of The Moon'. Elsewhere Uncles leaves the melodic parts unaccompanied, letting the phrasing and emotional pull of the title track tell its own story. 

Balancing light and dark elements and drawing inspiration from personal experiences and perspectives, combined with spiritual and existential observations, Uncles capitalises on the evocative streak in his studio practice to deliver a timeless, immersive experience unlike anything else in his considerable back catalogue.

Eusebeia - By The Light of The Moon

Sun Archive

Super Cell

Unintentional Healing Loop

Artist: IFS meets AGF
Title: East-West Logistics
Label: guides
Release date: 10.10.2025
Format: digital / cassette (edition of 60)
Mix & mastering: IFS
Artwork: Marta Sieczkowska

IFS meets... is a series of three releases in which the IFS duo (Krzysztof Ostrowski @kook-on, Mateusz Wysocki @fischerle) produce, curate and host guest vocalists. The first publication in the series was an album recorded with Japanese artist MA. The next is a record created with activist, sound artist and vocalist @agf-antye-greie known as AGF. The last album planned in the series will be a release featuring Wojciech Kosma - @spalarnia.

The impulse to record the album with AGF was a project as part of the Bydgoszcz Experiment Studio, during which the three of them - Ostrowski, Wysocki and Greie-Ripatti - met for three working days in Bydgoszcz, with their final event being their performance together at the cult club MÓZG. The material recorded during the rehearsals and concert was what the artists used to create the album. East-West Logistics is a release that focuses many different strategies and experiences. Such as the fact that Greie-Ripatti, Ostrowski and Wysocki are all artists who come from Eastern Bloc countries, whose memory goes back to the regime changes of the 1990s. Another common fact is that all three live far from urban metropolises, in small towns. This is worth keeping in mind when you start listening to East-West Logistics. 

On a musical level, the artists used every possible excuse to transform their time spent together into verbal and sound material. Recorded junk sounds were incorporated into the album's audiosphere, fragments of conversations between AGF, Ostrowski and Wysocki became part of the lyrics, and the artists' city walks proved to be an important framework for AGF's poetic stories. Antye Greie-Ripatti, returning to outlines after her 2017 instrumental EP, this time focuses primarily on her voice, which becomes the focal point of the compositions created by IFS. 

East-West Logistics can be read as a horizontal movement of meanings: between subject and object, between world and individual, between present and past, between voice and sound, between east and west. On the one hand, AGF leans into psychogeographical intuition – she creates spaces for herself, inhabits them and sets new borders for private experience (the title tracks East-West Logistics and Semi-periphery). On the other hand, there is a touching and personal reflection (Limits and Force to feel). There is also room here for a more abstract and experimental formula (Neuro.logical and C– operator). In terms of sound, IFS try not to interfere with the field of view created by AGF. Although the musical texture is sometimes dense, it provides a well-balanced complement to Greie-Ripatti's voice.

While the first album in the IFS meets... series was a combination of an atomised language and post-footwork rhythms, East-West Logistics operates more sparingly. In contrast to MA's frenetic and jittery expression, AGF's voice oscillates between spoken word and singing, on the one hand being calm and attentive, and on the other precisely describing the observed world. IFS, by contrast, has managed to produce a soundscape that simultaneously complements the Greie-Ripatti narrative, but can also function as an independent sound story.

IFS meets AGF - East-West Logistics

An intimate, mesmerising record about loss and change, 'sorry i thought you were someone else' is K-LONE’s most personal album to date and his debut release on Incienso. 
Made after his father’s passing, the album became a place of escape and reflection. A warm, hypnotic space to drift within.

Written and produced by J. Gladwell
Mastering and lacquer cut by Anne Taegert at Dubplates and Mastering
Artwork by Josh Abramovici
Cover figure by Mark Gladwell
INC-029

"slk" is taken from K-LONE's new album 'sorry i thought you were someone else' - out November 14th.

ORDER: Vinyl/Digital:
https://k-lone.bandcamp.com/album/sorry-i-thought-you-were-someone-else
Out November 14, 2025
INC-029

K-LONE
@k-lone93
www.instagram.com/k_lone_

Incienso 
www.inciensorecs.bandcamp.com 
www.instagram.com/inciensorecs 
www.incienso.nyc

K-LONE - slk [INC-029]

https://theorytherapy.bandcamp.com/album/were-here-all-the-time

@whatdotjp
@theory-therapy

Theory Therapy is pleased to present ‘we’re here all the time’ by jp (aka J.P Wright) – the New York producer behind one of last year’s shinetiac remixes on the OST label, and a member of Housecraft Recordings’ trip-bient group Ahem.

Compiling several years of well-worn material, the Brooklyn artist’s debut solo LP was the result of many hours of hardware jams and happy accidents, later meticulously edited down into these seven arrangements. Blending first-thought-best-thought spontaneity with extended DAW labouring, Wright delivers some of the most immediate music yet on Theory Therapy.

The album is reminiscent of ’90s and early-’00s IDM. Syncopated rhythms and atmosphere swirl into a mutable whole, as hardcore breakbeat, ambient trance and acidic electro bleed together into a liquid mélange. The sequencing drifts from gauzy, ethereal openings into tensile, club-ready pressure before swerving toward moments of stillness – like lingering in an emptied club hours after the crowd has gone.

There’s a distinct physicality to the music too. Kick patterns jitter like loose live wires, delays ripple through the fog-soaked air, yet the album’s finest moments lie in its more subtle textures and tonal shifts. This is proper braindance that keeps you suspended in its pulse, caught in non-linear time. Wright lets the music wander in unpredictable arcs, moments folding back on themselves, stretching in multiple directions at once – tracing and retracing a memory that refuses to settle. 

pi premiere: jp - perf (Theory Therapy)

Fly In Amber

Slip Logic

Two [Is Greater Than] One, Part 2

Bubbletrain

excerpts from 'prelude' poem by Susannah Simpson

i’m streamed here 
like a birthed thing 
salty heaven  i taste you 
aphrodite’s thighs parted
flock feeding all righteous supplicants
succubus doves fucking
and making new sounds

she’s dancing a thousand times faster
then one slow beat, lull, lullaby
this one to live by and this one to die

take it home to heaven
or don’t take it at all
as long as you give me
roses in the end

water under the bridge
is weeded and twisted
into a sodden braid
of tangled desire 


prelude 

sage green i’m streamed here
like a birthed thing salty heaven
i taste you peering between lines
aphrodite’s thighs parted 
flock feeding all righteous supplicants
succubus doves fucking
and making new sounds
a pounded rhythm to bleating wings
she’s dancing a thousand times faster
then one slow beat, lull, lullaby
this one to live by and this one to die

take it home to heaven
or don’t take it at all
as long as you give me
roses in the end

you win 
or i’ll wind down
wine diseased
ounces poured out
into old strip club reservoirs
some holy potion concocted
through the botched jobs
of customers discarding shreds
of undone things bits of paper
lost coins digits gone astray butt of tobacco sopping wet 
and longing to be met
with the hot tongue
of some other stranger or guard rail employee
water under the bridge
is weeded and twisted
into a sodden braid
of tangled desire
briars of lust molten thick 
and piercing

if you want to
scratch that
scratch it and 
set my itch free
(please)

pray lewd
to a new beginning
hashtagged and
on the fritz of civilization
slick and silver
dew-strewn and yearning
to be pet

Super Cell

AKASHA SYSTEM

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