Bandcamp: https://phara1.bandcamp.com/album/2003
Spotify: 29/6
YouTube: 30/6

phara - “2003” is an instrumental mixtape blending experimental hip hop, trip hop, coldwave, witch house, and ambient aesthetics. Each track acts as a fragment of memory or emotion - combining haunting melodies, textured synths, and downtempo beats. 
The project is deeply personal - 2003 is the year of the artist’s birth, and the album reflects themes of nostalgia, emotional distance, inner decay, and fragmented memory through a cold, introspective lens.

blur

night

isolation

Recorded on Behringer Uphoria audio interface with Les Paul and Jazz bass and P bass plugged direct into fx pedals

Drum sample #1 - Anderson Paak drums from Silk Sonic
Drum sample #2 - Thomas Pridgen from Mars Voita "Ilyena" isolated drum sample

Guitar, bass, fx - Taylor Northern

Taylor Northern is the Artful Dodger

Mooj's Advice

el lado b de las cosas

Welcome, goodbye is a song that blends several genres: trip hop, electronic music, blues and ghospel. It's a song that deals with the theme of departure, which can be associated with several contexts. The ic context seems obvious, but for me, it can have another meaning. We hope you enjoy this track.

Welcome goodbye

A trip through the Great Beyond in 2025.  When I stepped through the mirror I had arrived in another universe.  I was Beyond the Great Beyonding and I had foreseen the music that would be played in that world before it was played.  

This set was recorded on a Push 2, Abelton, Pioneer DJM 850, some microphones , iPhone recordings, lots of effects processing, tons of drum machines and racks... and then I cut up the original recordings of the tracks and then added more drum machines and chopped it up again to be able to record this live on the sessions screen.

It was my hope to be able to play it this well at the festival but equipment malfunctions and a bright sun forced me to play on a laptop with a mouse.  (It was a rookie mistake) The mouse wasn't the issue, the humidity was.  It kept making the mouse stick and not being able to see a screen I think I did pretty good with what I had to work with.  That will be released as soon as I get the recording to use as a comparison with this studio recording.  

So leaving a hot festival and fleeing before the rain blew in I left the beyond in a weird state of mind.  I was sad because this was the last show I would play with The Headspace collective.  I was also happy because I had accomplished a lot with the group when it was formed 9 years ago.   

The years went so fast and I learned so much in production.  I am happy with the knowledge that I have gained and the ability to create in the Lab of what I had in mind for sound when The Headspace Collective formed so many years ago. 

I accomplished my dream to play live at a music festival. But not just any music festival,  I opened the Great Beyond with Neil and Elaine and Shannon and created a sound ritual and a prayer that we can all heal ourselves and be free.  

I guess that's what The Great Beyond means to me... The freedom to be the person I am without judgement.

Look mom... I did it! 



Medicinall TGB Set 2025 (The Studio Session)

Pink - Coffe Shop Girl

An old track I found sitting on my hard drive.. An invitation to remember the vastness of our true, infinite nature and to know that we are more that binaries or algorithmic determinism.

Zero's and One's

2nd Guesses

...and we are still reflecting on this incredibly beautiful performance and have a big smile on our faces. The first time with five of us. Two new faces in the band. So many wonderful moments in preparation and on stage. For many, the Fusion Festival is one of the most exciting festivals in Europe and of course it was an honor for us to play the closing concert on the Neuland stage. Our calmness and our depth were soaked up by the audience. Gratitude was returned to us and we received many nice messages afterwards. We are very grateful for this opportunity and would like to thank Fusion for the invitation...and of course the great stage team for the great sound.

The encore is from D.$ahin: "Bittersweet Overkill"

Hounah feat. D$ahin live at Fusion Festival 2025 - In Concert / Neuland

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Hounah feat. D.$ahin live at Fusion Festival 2025 - In Concert / Neuland

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]

A fractured prayer from the outskirts of the universe. Stardust trapped in a maze of power and illusion, screaming against false gods and broken systems. This track is not a song but a manifesto—raw verses born from cosmic dust, dripping with defiance, fire, and shadow. Even if we are nothing more than a dot in the cosmos, here we burn, unfreezing the silence, Written by Miguel Rueda

A dot on the edge of the universe

"Sarah McDonald effortlessly segues from applying a dash of tropical swelter to thirties standards, tinkering with Thelonius Monk torch songs to a soul jazz rendition of an Amy Winehouse classic." 

Joel Shortman, Rathdowne Records.

"..deceptively laid back and self-assured, with an undercurrent of emotions waiting to sweep you by. When she sings “Rusted brandy in a diamond glass”, it’s the rust she focuses on, not the diamond. Tom Waits would approve...

..There’s a lot of nostalgic glamour associated with the ’20s and ’30’s era. Singers who choose to sing this material often end up as replicas of the sultry divas of the past, dressing up in satin gowns and pearls and stale femininity. Not Sarah McDonald. She approaches her material with a tomboyish attitude, phrasing the classic jazz and obscure torch songs that comprise her set list with a punk sensitivity and a kind of modern-day angst delivered by this beautiful, soulful chili-infused chocolate voice of hers. When she opens her mouth, she showers her audience with raw emotion. No pretense, no polished femininity, no nonsense. It helps that she’s sexy as hell when she does it; and that she’s surrounded by a killer band: Ron Romero on tenor sax, Kumar Shome on guitar, Ben Hanlon on the bass and Lewis Pierre-Humbert on the drums. As these musicians spew fire from their instruments, people get up and dance to her singing, even if she sings Monk’s “I mean you” (not the most danceable song out there)."

Nikos Fotakis, australianjazz.net

Sarah McDonald evokes cool smoky jazz club atmosphere with expressive melifluous phrasing contrasting with rhythmic dexterity.  She is a singer who has been as influenced by horn players and drummers as she has by the great vocalists. Having delved deeply into music, she draws from the greats of the history of jazz, blues and soul and selects choice standards, along with original, contemporary and more esoteric repertoire that she infuses with a soulful authenticity.

She has had a wealth of experience performing original music in various guises, playing in a range of contemporary original bands, world music ensembles and playing music for circus, theatre and film.

She also plays flute and sings in Tarab Ensemble, playing classical Arabic music:

https://www.facebook.com/thisistarab/


For bookings contact: iiiiilk.type.kind@gmail.com

I am a crazy artist. I am a friend, lover, wife, sister, aunt, dancer and coffee fanatic.  I am a post modernist and a child of the 70's.  I love the remix.  I love taking another persons work and giving it a different flavor.  I do this live and in the studio.

Le collectif Under the gun a pour but de réunir des artistes aux sensibilités diverses et de favoriser leurs collaborations pour des supports et objets artistiques de toutes sortes. Fin De Citation fait partie de ce collectif vous pouvez écouter la bande originale de leur album concept par ici :
https://soundcloud.com/fin-de-citation/sets/fin-de-citation-ost

Hey, my name is Taylor Northern and I am a guitar player. I set up this soundcloud to showcase my demos and network with musicians. If you like the music and need a guitar player, email me at tnorthern29@gmail.com. Thanks!

www.instagram.com/tayloralexandernorthern
https://www.youtube.com/channel/UCDhiwyJYdtRz7oUy4q1vJNg

Psychology major with a love for art. I have a massive love for pharmacology which can be seen within my works. Plan to just live life and create

Upcoming Events:
10 Years of Isle of Wax/Nachtasyl/Hamburg [22.06.2024]


Past Events:
Frappant with @jexopolis/Hamburg [20.10.2023]
Golden Pudel with West Mineral LTD/Hamburg [20.09.2023]
Frappant with @huerco_s, @titofuego and @pontiacstreator/Hamburg [20.09.2023]
Golden Pudel with @fantastic-man/Hamburg [16.09.2023]
Nachtasyl with @regfant [20.05.2023]
Goldener Reiter/Munich with @rhodeandbrown [06.05.2023]
Golden Pudel with @zaltan-dance/Hamburg [22.04.2023]

booking: isleofwax@gmail.com

„This journey to the roots is by no means a résumé, not a retrospective, but the acceptance of a mental challenge, a deeper look, a feeling.“

New tracks tagged ##triphop