Only Seeing God When I Come

@ruinxxx @d-tiffany @priori-ties @emkaybymk @sunnysibar @ddan-tek @roza-terenzi @hame_dj @frederiktollund @newmembers @pascaleproject @bliss_inc @lawrencelee @maara @eoindj @user-500557389 @monophonikmusic @god69

In celebration of International Women's Day 2022 all proceeds from this release will go directly to charities working to create safe sleeping spaces for homeless migrants, trans, inter and queer health care and people with disabilities in Berlin as well as various charities in Ukraine.

Special thanks to all the artists involved, Marco From Analogue Cut for mastering and Daisy G Watson for the artwork.

Tracks uploaded in low bitrate please purchase at:
radiantlove.bandcamp.com/album/radian…d-comp-vol-3

Sansibar - Matkustaja

gem-K - Closer

Priori - Impending Bloom

You Don't Need to Sin to Win My Love

Hold Onto Me

Away

https://www.dropbox.com/scl/fi/fjml45d6xst1hvtzz1pyg/FKA-twigs-24hr-Dog-Aleksandir-Edit.wav?rlkey=wzvqcjhraxzpkie3umcd177ba&st=78qnu7wk&dl=0

🐶 🐶 🐶 🐶

DOWNLOAD

24hr Dog (Aleksandir Edit)

@djsakee

Hailing from Riverside, 55 miles east of Los Angeles by southern California's Santa Ana river, DJ SAKEE is a vinyl-first DJ and producer who's been making waves on the West Coast as of late. 

In the space of a couple of years starting August 2023, he self-released three scorching EPs on Bandcamp and made appearances on labels including Floorspeed Records, FromBelow Studio and Compost Discs, eventually attracting the attention of New York based label Dance Data who put out his debut 12" "Gravitate" in August 2025.

Already a favourite at local DIY warehouse parties, SAKEE recently made his New York debut alongside Kush Jones and S4M23, where his talents demanded an invite to CENTER BOOTH's Brooklyn studio to record and share his gift with us and the world.

A few gems from "Gravitate" feature in this sophisticated, immediately engaging set — all mixed with an assured hand and consummate understanding of how to maintain energy levels throughout. Moving through ethereal atmospherics, deconstructed tribal cuts, trancey broken beats, bone-deep Chicago house, discombobulating jungle and an alluring Madonna sample, it's a highly considered, cohesive and extremely effective sixty minutes that points to big things ahead for the young SAKEE.

https://www.youtube.com/watch?v=dXNRxL9vVPM
https://www.lettonne.dance/

DJ SAKEE – Center Booth ◎ S2E21

Mensik es un creador de sonido mexicano y el nuevo invitado a SNSNS (Sensasiones) con un set de “música para llorar en el dancefloor”. El joven mexicano define su sonido único como una mezcla entre el bass, el pop y la textura, con sonidos percusivos y además a sus raíces latinas. 

Esta residencia, hosteada por Julio César es en colaboración con la cafetería Sitio de Barcelona y la marca de ropa Espíritu Club. Nace para dar visibilidad a artistes migrantes latines, proponiendo una experiencia fuera del entorno club.

[LIVE SET] 182 📡 MENSIK🇲🇽 (Sensasiones by Julio César)

Eartheater - Phoenix: Flames Are Dew Upon My Skin
Format: LP / DL
Cat.No. PAN 112
Release Date: 2 October 2020
Purchase/stream: pan.lnk.to/Phoenix

Composed, produced, and arranged by Eartheater alone, Phoenix: Flames Are Dew Upon My Skin draws a path back to the primordial lava lake from which she first emerged, as it also testifies to the reincarnating resurrections the project has undergone over its first full decade of existence. While the album renews her focus on guitar performance and legible structure, Eartheater balances the unabashed prettiness of acoustic harmonic songs with the dissonant gestural embroidery of oblique instrumentals. Having fallen back in love with the idioms that first captivated her, she worked to crack open the techniques that had fossilized inside of her, while still seeking to apply the electro-alchemical knowledge she picked up along her journey. The result of a laborious revival in fire, Phoenix recontextualizes Eartheater’s combinatorial approach to production within her most confident abstractions, adjacent to some of her most direct songs to date.

Eartheater composed and workshopped most of Phoenix over a ten-week artist residency (FUGA) in Zaragoza, Spain, housed in a sprawling, cubic glass facility that looked out over wildflower-flecked mountains. Following an intensive period of recording and touring, the residency provided her with an unprecedented period of solitude in the small Spanish town. Her newfound sense of isolation ultimately became liberating, leading her to sidestep the crutches and steady grids inherent to electronic music, and to conceive pieces rooted in her guitar and her desire to perform with other players live. Eartheater’s voice glows brighter than ever at the center of Phoenix’s arrangements — her familiar operatic highs are grounded by newly expanded velvety lows, leaping lucidly up and down octaves. Her intricate guitar work flits across baroque fingerpicked passages and latches into cyclical figures that meet her voice in lush harmonic progressions. From her own guitar parts, to the orchestral string arrangements she wrote for the Spanish conservatory group Ensemble de Camara, to the harp and violin lines performed by her close friends and collaborators Marilu Donovan and Adam Markiewicz of LEYA, Eartheater’s applications of acoustic instruments bring an extraordinary emotional emphasis to her compositions. Phoenix prepares for a future where electronic sound — or even electricity itself — isn’t guaranteed, but where her music could still come to life with a group of hands dexterously winding across instruments against the light of the fire.

Eartheater drew inspiration for Phoenix from geological imagery, whose turbulence and potential for genesis mirror the trajectory of her own life and relationships. The album’s instrumental pieces directly reference these moments of upheaval, colliding audio of volcano and lightning storms with resplendent string and vocal arrangements. “Volcano” looks out over the album from its peak at the center, its tectonic plates colliding in towering melodies and layers of vocal harmonies, as piano accents crest and cascade down the mountainside. When Eartheater sings, “I’m still building mountains underground,” she is trying to reconcile the pinnacles of her ambition with the comforts of a simple existence buried beneath the surface. “Diamond in the Bedrock” finds her admiring the gemstone forming under intense pressure inside her, but rejecting the romantic promise that the diamond signifies, choosing instead to escape a relationship that has come to stifle her.

Read full press release: bit.ly/2XtJGvQ

Away

trashy.sounds

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