Ебанестический!⚡️⚡️

Blender

COLLABORATION WITH @SINMALDITA
OUT NOW ON TRA TRA TRAX
https://tratratrax.bandcamp.com/album/no-pare-sigue-sigue

art by weirdcore 

support:
https://sinmaldita.bandcamp.com
https://lilatirandoavioleta.bandcamp.com

Lila Tirando A Violeta & Sin Maldita - Consonante Rótica (TraTraTrax)

‘Inflatable Gravestone’ is the debut album by Mun Sing released on https://soundcloud.com/planetmurecords on 2nd June 2023

‘Inflatable Gravestone’ is the debut album by Mun Sing (aka Giant Swan’s Harry Wright).

The motivating force of the album is the sudden loss of Harry’s father in 2020. His father struggled with substance addiction and the album explores ideas of 'spirituality' and the ‘higher self’ in relation to addiction and its parallels with the coping mechanisms of grief. It also aims to highlight the importance of humour and distraction when coping with loss.

Serving as a narrative for his own experiences, the album is largely built around club-centred tracks (such as ‘Spider’ and ’Squabble’) broken up by moments of yearning and reflection in tracks like ’The Poison Garden’ and ‘Helhest (Azrael Smirks)’ and moments of dark anguish like 'Inheritor' with its heavy slab-like chords and pensive piano. Flirting with awkward and suggestive rhythms, Wright deliberately suspends moments of resolution and groove in favour of drama and jerky, unexpected cartoonish humour, taking as much influence from the likes of the Art Of Noise as Kyary Pamyu Pamyu. 

Wright rewards the listener with moments of clarity and introspection like flags on the journey, recruiting vocalist MX World to deliver lyrics and melodic ideas created by him and his father. His father’s journals in rehab helped inform most of the lyrics. Some take whole sentences as a way to physically ‘give life’ to his words for the first time. The lyrics describe feelings, revelations and  apocalyptic hallucinations. MX World's clear, direct tone suggests folk music and the timelessness of the human condition.

The album concludes with the title track ‘Inflatable Gravestone’ which features a chorus of giddy manipulated laughter from Wright’s friends and family to a truly maddening effect. This is then resolved by bright and clear piano chords and the sound of Wright’s father breathing in his sleep. A deeply affecting and personal record with corkscrew twists and turns and a healthy dose of absurdism.
releases June 2, 2023

All tracks written and produced by Harry Wright. Lyrics by Harry Wright, except track 10 lyrics by Harry Wright and William Wright. Lead vocals by MX World. Additional vocals by Nashne, Akiko Haruna and Mouse.

Mastered by Beau Thomas at Ten Eight Seven Mastering.

Published by Domino Publishing.

Squabble

Bin There - Vol 3 

https://ziurinhell.bandcamp.com/album/bin-there-vol-3

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Ｂａｄ Ｔｉｐｓ🔸https://linktr.ee/badtips
𝕽𝖊𝖖𝖚𝖊𝖘𝖙𝖘 👉🏾 badtipsaudio@gmail.com


⏬𝐁𝐔𝐘 𝐘𝐎𝐔𝐑 𝐌𝐔𝐒𝐈𝐂 𝐓𝐎 𝐒𝐔𝐏𝐏𝐎𝐑𝐓 𝐀𝐑𝐓𝐈𝐒𝐓𝐒 & 𝐋𝐀𝐁𝐄𝐋𝐒⏬



Isaka - Elytra [SFX03]
SFX, 2024
𝓑𝓾𝔂 👉🏾 https://sfx-space.bandcamp.com/album/elytra-sfx03

🔴 𝔽𝕠𝕝𝕝𝕠𝕨 𝔸𝕣𝕥𝕚𝕤𝕥
https://elytra.symbios.wiki/
https://www.instagram.com/isaka.elytra/


🔵 𝔽𝕠𝕝𝕝𝕠𝕨 𝕃𝕒𝕓𝕖𝕝
https://s-f-x.space/
https://www.instagram.com/sfx_space/

Elytra

𝖕𝖗𝖊𝖒𝖎𝖊𝖗𝖊#264 📢 Isaka - Circuit Shaker [SFX]

Yoko

INFINITY DIVISION presents SATISFACTION via his new imprint SOFTCORE UNLIMITED.

His debut album delivers thirteen tracks of euphoric, breakbeat infused, trancendental chaos, united by a genre-defying exploration of the elusive essence of anthemic sound — including remixes from Baseck, Assyouti, and DJ Loser

Venturing beyond the safety of machines, Ash steps to the forefront with his vocals on Ultimate Destruction and Like Heaven, while From Evil, Weather Prophets, and Satisfaction feature vocal contributions from Zastar of Violent Magic Orchestra, Coy Mistress, and Nova Bruise.



Satisfaction (Assyouti Remix)

dru-1 - preshuh
Label: Infinite Machine
CAT#: IM118
Format: Digital
Release Date: April 25th, 2025

dru-1's "preshuh" was composed in the artist's home of Trinidad during Carnival of 2024. Reflecting on the experiences and influences that shaped the record, UK-based artist Drew Lovett recalls inviting friends to stay with their family during the festivities, experiencing overproof rum, pan bands, card games, and doubles. Community and a celebration of sociality seem to shimmer through the EP's bass-ridden tracks, evident not-least in the prominent sound bites and vocals recorded on-site from those close to the artist during the Carnival.

The project unfolds across six tracks, each composition draped in FM synthesis and layered over gritty basslines. "preshuh" builds upon the

vision realized in the artist's debut project, a 4-track EP released on Why Be's Yegorka in 2024. This record punches with more technical precision, making a mature statement that feels cohesive and intentional, while retaining its playful essence. Lovett collaborates with Marta Rosa on percussion for the final three tracks—"maco queen," "palance," and "a4s."

Despite its moody basslines and clear roots in the UK club scene and Hard Drum, Lovett's EP is infused with a spirit of optimism and revelry. The EP opens with echoes of "toma!" and other indistinct cries, as timbale taps gradually build alongside jerky basslines in "diastema." The subsequent track "corbeaux," takes a more atmospheric approach, leaning further into lush melody progressions. Breath-like chirps fade in and out of the mix, allowing different melodic and percussive elements to shine at various moments. "Libido" calls the listeners to commune on the dancefloor, led by a steady four-on-the- floor rhythm. The hypnotic chant, "We come together," repeats with quiet assurance, woven through a backdrop of filtered basslines and dissonance. Crunchy, sputtering synths wind in and out of the soundscape, teasing a sense of chaos and rapture, grounded by the

steady rhythm beneath. In "maco queen," the record seems to reach a point of climax; jittering bass sounds overtake the atmosphere immediately. "Hey!" and "Ha!" shout over the flurries, punctuating the frenzy, while intricate low-end patterns and hand drums introduce moments of organic warmth. Percussive taps and clinks imagine an impromptu gathering of people jamming together. Here, Lovett seems to call us to let loose, to shout, to dance, to revel in excitement. The fifth track, "palance" unfolds over a steady four-on-the-floor rhythm, with intertwining synth lines that emerge and recede unpredictably, engaging in a dynamic interplay akin to an animated conversation among close friends. The EP concludes with "a4s," a vibrant, infused with Soca and Dembow breaks track that brings key elements from earlier songs—vocals, claps, and heavy basslines—crafting a dynamic yet cohesive finale.

Experienced in full, Lovett's EP is a call to togetherness—a sonic invitation to gather, move, and celebrate without restraint. Infused with the frenetic energy of the carnival where it was conceived, the project unapologetically embraces the dancefloor, urging bodies into motion, and spirits into communion. Beneath its pulsating rhythms lies

a deeper longing—not just for revelry, but for connection. In a world still relearning the rhythms of closeness, it asks: How do we rebuild the spaces where joy and community once thrived?

PREORDER

dru-1 - maco queen (IM118)

Max Dahlhaus – ONEIRIC [OMB015]

Berlin-based producer and audiovisual artist Max Dahlhaus returns on the label two year after his last Over My Body debut release with a dream in Sound.

A system of sound built from fragmented memories, shifting rhythms, and digital distortions. ONEIRIC exists in the space between the organic and the synthetic, between structure and collapse. Here, cello strings vibrate in artificial landscapes, field recordings blur into machine pulses, and AI-generated voices attempt—futilely—to replicate human emotion. It’s a record untethered from genre, operating instead as a dream-state where time signatures fracture, grooves morph, and textures breathe.

The title ONEIRIC—meaning “relating to dreams”—perfectly encapsulates the LP’s unstable logic. Like a lucid dream, the music moves with both intention and unpredictability. Each track is its own self-contained world, but together they form an evolving structure that reprograms itself as it plays.Max Dahlhaus builds this sonic architecture through an array of techniques: recording cello and breaking glass, capturing field sounds, feeding AI-generated elements into Ableton, and letting the collision of these methods shape the outcome. Vocalists CATNAPP and Ayu Okakita appear as ghostly presences—human touchpoints in a landscape that is constantly shifting. ONEIRIC is as much a soundtrack for the body as it is for the mind—cinematic in scope, but wired for the club, where rhythm dictates movement and sound overwhelms space.
credits
releases May 2, 2025

Written & Produced by Max Dahlhaus
Masterd by Max Dahlhaus
Artwork by Xtrux
https://overmybody.bandcamp.com/album/oneiric

NÜ PREMIERE : Max Dahlhaus - Vacillation (OVER MY BODY)

For decades, the town's stones have been mysteriously moving in summer,

And old-timers still whisper fairy tales.

It's even said that they meet discreetly every summer,

Fairies from the four corners of the earth to make us dance to the rhythms of their kingdoms...

𓆩Ӻīɍⱥƶ𓆪 : Le Deuil d'un Papillon

✻H+3+ЯД✻7luCJIo0T6... (second drop) (EXTRA SLOWED & BASSBOOSTED)

booking: mia@lb-agency.net
ziurinhell@gmail.com ∞

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