“I’m not a person I won’t go to heaven”

This song reminds me of Hitman the game idk why

tracklist (jpg link) and download:

mediafire.com/file/m5i4mjxazyfnj9k/mixtape_foolin_2012.jpg
mediafire.com/file/xut3rc86q8yq4bc/Mixtape+Foolin.mp3

Mixtape Foolin 2012

Observe / Trust

Trust

Radiohead - Everything In Its Right Place (instrumental)

❤️‍🔥𝐻𝒶𝓇𝒹𝒸♡𝓇𝑒 𝐸𝓉𝑒𝓇𝓃𝒶𝓁 𝟤♡𝟤𝟥❤️‍🔥
by Clarke @pleasuresystems / @clarkeislove
happy valentine's day ❣️

Tracks:
Kajsa Lindgren – Korall
Anthony Phillips – Hurlingham Suite: (iv) Church
↳ vs. dj lostboi – FOREVER
Locust – No One in the World
Frou Frou – A New Kind of Love
China Crisis – Christian
Anenon – Open
Judy Mayhan – Everlovin’ Ways
Kurt Weisman – New Blueberry Song
Chet Baker – Like Someone In Love
Peter Ivers – I’ve Seen Your Face
Roxy Music – More Than This
Liam Benzvi – Acts of Service
Gregor – A Song About Holding Hands
Ulla – for your love
Bladee & Mechatok – You
The Art of Noise – Moments in Love
↳ vs. Charli XCX – Forever
Truman Hall – A Perfect Match
Junior Boys – Thinking About You Calms Me Down
Two Shell – love him
Otto – About You Now
Strange Ranger – Needing You
Chris Weisman – When You and Me Got Arrested

Hardcore Eternal 2023

Again

A Barely Lit Path

Circular patterns morphing through time, loop and ritual form the fabric of Proserpine, the latest work by Leeds-based musician, Teresa Winter. Recorded from a summer to a winter through 2021 and 2022, Proserpine is Winter’s most cohesive, focused music to date: confidently revelling in space, fixating on isolated sounds and giving way to satisfying, swirling waves of vocal and electronic buzz. Proserpine is Teresa Winter’s debut recording for Glasgow-based label, Night School.

On Proserpine, musical patterns revolve and intersect with each other, transmogrifying the music’s narrative. Over-arching themes emerge: continual change, elusiveness. Insubstantiality emerges into concrete reality in the form of recognisable field recordings: the purring of a pet cat, the hum of a live cable. The loops and patterns are sometimes just out of sight, the click and whirl on Child Of Nature is the backdrop to hymnal vocalisations by Winter, who intones spell-like text in conversation with herself. On opener Circles, Winter’s vocal is pre-linguistic, detached syllables falling into flowing streams, before Plume’s field recordings seem to juxtapose nocturnal and diurnal wildlife. "You said I was a Flower Of The Mountain" sings Winter, as James Joyce's Molly Bloom does but the carpe diem desire in Ulysses is dissipated here, spread out by gauzy, droning organs. Here desire is blown up and out, changed into something undefinable but no less powerful.

Change is at the heart of the album. The Roman goddess Proserpine, herself a reimagined version of the earlier Greek goddess Persephone, is always between: between summer and winter, the land of the living and the underworld, constantly emerging into new states of being. It’s a fitting metaphor for Winter’s work. Like an Apple feels like it soundtracks this in-between state, long, trailing reverb smudging synth keys and Winter’s achingly beautiful vocal performance. The effect is stirring but flitting in and out of perception, sometimes Winter’s presence feels of this world, of musical instruments and practises and at others it feels like the music is about to phase into a different plane, a different universe. 

While Proserpine references the myths and cults of the classical, pre-Christian era, Winter’s restless preoccupation with the mechanics of religion informs the album in other ways. Ritual is present through out, either in the mantra-like vocalisations or even the private rituals we are invited to witness: on Fireworks the listener eave drops into the protagonist's private bonfire. On the stunning Lamento, layers of Choral vocal interlock in celestial patterns that recall catholic mass: it’s an overt effect that simulates the ecstasy of religious fervour and also reminds the listener of the use of vocal that runs through Proserpine. Winter’s vocals often echo with the euphoria of obliteration, of disintegrating in an awful bliss. It’s an effect achieved with finality by the closer New Water as the piece begins with voice before burning up in the atmosphere of elegiac violins and enveloping undertows of whirring synth patterns and ghostly pads. Proserpine is forever turning, changing, always elusive and quietly revelator

Teresa Winter - Flower Of The Mountain (from Proserpine, LSSN086)

Processing sounds, rythmics and deep subs in a maze way.

Ink Rations

Maze Processing

Kamixlo - DEATHWORK
Label: PAN
Cat.No.: PAN 144
Release Date: 26 July 2024
Purchase: pan.lnk.to/DEATHWORK

A peppery smorgasbord of industrial rhythms, razor-sharp stabs and provocative vocals, 'Deathwork' is Brixton-based Kamixlo's strongest statement yet, sandwiching earworm-laced pop between refried layers of euphoric back-room ambience and visceral hard dance distortion. It's been four years since Kamixlo poured his heart out on his acclaimed debut album 'Cicatriz', and he's been experimenting incessantly since then, figuring out how to integrate bold, memorable hooks into his signature alloy of burnished synths and mangled samples. And if its predecessor represented catharsis after a discomfiting period of loss, 'Deathwork' finds Kamixlo's emotional load lightened, freeing him to survey and tighten his formula by traversing club music's most eccentric, genre-agnostic fringes.

The young DJ and producer cut his teeth in the early 2010s, forming the iconic Bala Club party and label before deploying a series of EPs that accurately captured the era's voracious zeitgeist. Muddling references to nu-metal and emo classics with nervy dembow and bass deconstructions and dissociated SoundCloud rap thuds, Kamixlo characterized a new type of inclusive artist, unprejudiced by preconceptions of the underground or mainstream. 'Deathwork' builds on this legacy and widens his outlook substantially, urging listeners to step towards the dancefloor no matter how they might engage with music. And for the first time, Kamixlo seamlessly amalgamates his delirious bass-heavy atmospheres and kinetic beats with vocals, incorporating compelling performances from reggaetón sensation Isabella Lovestory, avant-pop outsider Puzzle, and Drain Gang's infamous Bladee. There's even an appearance from Berlin's Mechatok, who shows out with a production assist on the album's syrupy closing track 'Insect'.

From the ecstatic opening breaths of 'Ketamine Fields', it's clear that Kamixlo's in a fresh headspace. Weightless angelic voices curve gracefully around overdriven rave-ready bass twangs, while muffled, blown-out drums echo somewhere in the distance. It's the perfect pre-game to an endless, messy night, leaving Isabella Lovestory to lurch towards the mass of sweaty bodies on 'Pitch Black', rhyming sensually over Kamixlo's provocative metallic plucks and slow-motion dembow pulse. And by 'Combe', the peak time energy is palpable, with carnivalesque percussion and eardrum-popping high pitched squeals that grind against the pummeling gabber kicks. Puzzle brings the album back down to earth on 'Chaos', casually free associating and providing a light-hearted counter to the fog of machine crunches and deranged laughter.

On 'One More Night At The Line', Kamixlo carves the house blueprint into a neurotic chatter of helium voices and cocky slams, and when Bladee arrives in a wisp of smoke on 'Death Forever', the noise has calmed a little. Here, Kamixlo flexes his most exploratory muscles, nesting Bladee's grungy voice in an erratic tangle of muted, almost pacifying, black metal screams and nursery rhyme chimes. It's a paradox that perfectly encapsulates the scope of 'Deathwork', an album that continually flips expectations, turning in on itself and questioning its own logic without ever losing its momentum.

Written and produced by Kamixlo
Mixed by Felix Lee
Mastered by Enyang Urbiks
Artwork by Daniel Swan

Deathwork

Kamixlo - Ketamine Fields

original: https://www.youtube.com/watch?v=E935Od_J4fw

Physically Sick

My Sorrow Is Luminous

Taken from 'Delete Beach', Mica Levi’s original soundtrack to an animé by acclaimed artist and Turner prize nominee Phil Collins, released on Demdike Stare’s DDS label. 

Following on from the maverick pop auteur and film composer’s European Film Award-winning score to 'Under The Skin', and her 'Jackie' soundtrack, this is Mica’s first musical accompaniment for animation, by revered designer Marisuke Eguchi, animated by STUDIO4ºC.

Delete Beach

Mica Levi - Interlude 2

Cool Uncle debuts with their first EP on Patrúin. The EP is being released physically as a Poster and T-Shirt with QR codes to scan to download the songs. The QR codes are dynamic, so they will be updated with new Patrúin previews and other tidbits. Peer behind the curtain, sink in and drift away.

Saxophone on Forget performed by Conor Whelan

Artwork by Mel Keane

Mastered by Marco Spaventi

Radiohead - Everything In Its Right Place (instrumental)

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