https://soundcloud.com/roedeers
https://soundcloud.com/palmesziedas
https://soundcloud.com/bawrut
https://soundcloud.com/goodskills
🛒 https://roedeers.bandcamp.com/album/salt-town-boy-remixes-pt-2
🔊 https://youtu.be/NS1hTfgSAxU

“Salt Town Boy” is the debut album from Roe Deers released in November 2022. Remixes by Curses, Eden Burns, Shubostar & DC Salas came out earlier this year.

Now, it’s time for part two. Four amazing artists and their takes on “Salt Town Boy”. We are proud to present music from Bawrut, Chez de Milo, Panthera Krause and Sobek.


Panthera Krause delivers an amazing sunset vibes version for "Market Of Dark". Opposite vibe then title remix takes more to sunny beach than dark market. Perfect opener of this EP. Bawrut is an old favourite in Lithuania. After many great nights behind the decks, “Good Skills” is honored to finally have him on our released artists resume. His remix for “Tarp Raudonų Šviesų” is a dub version with a twist. Sobek’s version reminds of the musical origins of Good Skills - live driven bass sound. "Rodeo King" featuring Sex Judas hit dancefloor loud - from clumsy original to smoothe bassy killer. Bristol finest Chez de Milo delivered a trippy, bass driven, soundtrack-like breakbeat version of “Walking Down The Streets” featuring Aquarius Heaven. Real urban vibe dedicated to the main room Soundsystem.

Tracklist: 

1. Roe Deers - Market Of Dark (Panthera Krause Remix) 
2.	Roe Deers feat. Palmės Žiedas - Tarp Raudonų Šviesų (Bawrut Remix) 
3.	Roe Deers feat. Sex Judas - Rodeo King (Sobek Remix) 
4.	Roe Deers feat. Aquarius Heaven - Walking Down The Streets (Chez De Milo Remix)

PREMIERE: Roe Deers feat. Palmės Žiedas - Tarp Raudonų Šviesų (Bawrut Remix) [Good Skills]

izolated dub

@serenades_show
Bandcamp: https://lvrin.bandcamp.com/album/golden-axe-mirage
Release Date: December 12th, 2025
Mirage is a musical phenomenon that arises in the atmosphere due to refraction and total internal reflection of analog sound rays at the boundary between layers of trance of varying density, tribal ambient, and futuristic dub.

Thanks to this effect, the observer sees imaginary images of distant objects that are normally hidden behind the horizon, as well as their distorted shapes or reflections.

A mirage you can hear.
Right here.

Music by https://soundcloud.com/lvrin-1
Mastered by Justin Drake.
Artwork by Igor Skaletsky.
Designed by Nikita Erokhin.

Bandcamp

*PREMIERE* Golden Axe - Sonix

One by One - HMV

Andrea - Wintermay

A1. Floating
A2.Timed
B1. Queue A
B2. 22:22

Blithe Antinationalist Wrestling Maneuver

http://www.iliantape.de/it032-andrea-wintermay/

IT032 ANDREA - WINTERMAY

History Of The Future Part 2

D.D.D [Dirty Disco Dub] Unite 1 (Mad Orb)

Tower Twenty Three (Spud vs. Kreature Mix)

this is just an edit I did for fun and because i'd like to play this amazing song out at clubnights

José González - Killing For Love (Peavey's Manyoora Edit)

I remember the first time I read W.E.B. DuBois eclectic masterpiece The Souls of Black Folk. The way in which this Weberian scholar flowed from personal account to prose to sociological analysis to music and even political intervention has had a lasting impact on my own work as a cultural anthropologist. It made me understand that as scholars we must use different means in order to give expression to the totality of the lived experience: There is only so much in an academic text.

The experience of alienation has always been at the heart of my scholarly and artistic practice. I have used academic writing, lecturing, theatre performance and electronic improvisation to understand and represent it as a theoretical concept, postcolonial condition and lived experience. I believe, some issues need to be told like a story, some analyzed in most abstract terms and others need to be sung like a gospel. The medium changes the message.

In this sense, I guess, I’m a singing cultural anthropologist.

For some time now I have been engaged in the use of dystopian themes and sounds to paint a sonic picture of structural racism and whiteness of our present. But recently I have grown weary of this Ballardian idea of Future Now and the resulting phantasmagorian aesthetics myself and others have been invested in. The widespread availability of Digital Audio Workstations, sequencers, loopers and delay pedals has lead us into a futuristic cul de sac best described by Mark Fisher as the very absence of future.

Likewise, I am most skeptical of the “naturalist” countermovement, the return of folk. Especially in Germany, I am convinced there is no such thing as an innocent or progressive folk musical expression as it is always connected to the idea of the homeland (“Heimat”) which in turn produces the colony. It seems to me, the current zeitgeist is stuck between a “museum of a dystopian future” and a “museum of an idealized past”, but I wanted to sing about the present.

So, I involuntarily returned to pop music in its two-folded meaning of something popular and addressing not an essentialist notion of “Volk” or its woke cousin “communities”, but society as a whole.

I entered the studio just with a few lo-fi sounding melodies and rhythms from my circuit bent CASIO synthesizer. I had no clue what the finished product would sound like. But as soon as Markus started drumming, in a way strangely reminding me of CAN’s Ethnographic Forgery Series, my uptight sounds were suddenly embedded within a warmer global sound spectrum. The alien at home and abroad and the strange overlapped: We were seeing one and the same sound differently but were gently held together by Tobias’ producing.

Making music is about building coalitions. It’s about suggesting an articulation of styles, sounds and people, that hasn’t materialized, yet, but may help us in the current crisis: I wanted Amon Düül II to send their drug induced archangel thunderbird to rescue the refugees, that had tried to escape the police by climbing up a tree in Munich in 2016. I wanted Sun Ra to taunt far-right protesters in Chemnitz in 2018. And I wanted to mourn the loss of a former kebab shop cum discotheque that served as proof that there is such a thing as a minoritarian universalism.

SCHLAND IS THE PLACE FOR ME is a pop album featuring songs of alienation, not only as a tragic experience, but as a pop-cultural promise. Maybe Bill Callahan sung it best, “I am Star Wars today, I am no longer English grey”. I want those who suffer from alienation to stand in alliance with those who seek alienation, and vice-versa. A coalition, that tolerates the possibility that we are moved by the same groove for contrary reasons.

Schland Is The Place For Me

Fehler Kuti: Mayday Mayday

@dead-husband - Iguana
Label - @bordelloaparigi
Release Date - 24/02/2020

♫ Info + Buy ♫ -https://www.sinchi-collective.com/premiere-dead-husband-iguana-bordello-a-parigi/

Tower Twenty Three (Spud vs. Kreature Mix)

The Orb

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