#artist: towa tei

[haveyoulistenedtothisalbum-poll]

Tracklist:

I WANT TO RELAX, PLEASE! • TECHNOVA (LA EM COPACABANA) • BATUCADA • LUV CONNECTION • MEDITATION! • RAGA MUSO • SON OF BAMBI (WALK TUFF) • LA DOUCE VIE (AMAI SEIKATSU) • OBRIGADO • DUBNOVA PT.1 • DUBNOVA PT.2

Spotify ♪ YouTube

[futur3juli3]

Uploaded the full version of God Of Funk

This was remixed by TECHNOuchi!

[radiation]

27 smiles

27: KOJI 1200 - "Blow Ya Mind - I LOVE AMERICA"

This album was in fact produced by TOWA TEI who was my most listened artist this year. Love this songs lyrics. OMG I LOVE AMERICA IF I WAS IN AMERICA I WOULD EAT HAMBURGERS AND GET A BLONDE COWBOY GIRLFRIEND AND THEN I WOULD GO TO CALIFORNIA AND MEET MICKEY MOUSE. I feel like totally misguided stereotypes about America being badass from a non American perspective are the only thing that can make me feel a little patriotic

[seekers-who-are-lovers]

Finally. “Metallic Rouge” can be streamed in different platforms. Four days ago when it was announced, the rights were forfeited outside of Japan and other territories.

First off, it is a collaboration among Yuma Yamaguchi, Taisei Iwasaki and Towa Tei. The soundtrack contains 42 songs, less than two hours of music spanning different genres with one specific theme and a curious choice of classical rendition of Claude Debussy’s famous “Claire de Lune” (Moonlight), which we have seen Rouge’s “brother” Gene (Jean) Junghardt was playing on the piano on episode 3. Debussy was inspired by Paul Verlaine’s poem with the same title and set forth to create this piece to accompany it.

All sing in a minor key / Of victorious love and the opportune life, / They do not seem to believe in their happiness / And their song mingles with the moonlight…

I wonder if Iwasaki thought about it.

The soundtrack opens with the lounge/jazzy “Falling Starlight and Moonlight I.” This piece has different interpretations that you just have to choose which one you like.

I prefer Viola’s (Celeina Ann, artist) when she sang this piece in a club that opened the first episode. It was so elegant and seductive at the same time.

Then it followed with one of the best fight songs imho, “Crimson Lightning,” which is the overall theme of the series.

One of my favourites is “Escobilla,” a flamenco-esque track that encourages you to do some dancing. The guitar opener is somewhat reminiscent of “Trigun 1998’s” “Never could have been worse.” Must’ve been the guitar pickings.

As the soundtrack is manned by three people it is interesting to note that one can differentiate the style of each sound. Somehow I can identify Yuma Yamaguchi’s. Not because I love “Undead Girl Murder Farce” and I listened to it almost every day last year making it my most streamed album, but it is the familiarity that he imbues on his composition and that is not bad at all. They give off a certain mood, very atmospheric. “Red Madness I” is a techno/industrial music that already landed on my jogging list.

Taisei Iwasaki often delves towards the aesthetic of orchestra, the jazzy, the piano pieces, which he also utilized on “Belle” for example.

While the pieces Towa Tei (of Deee-lite fame) contributed, who has established himself as one of the pioneers in electronica/house music, will leave you out of this world.

Towa posted that this has been the fastest track he’s ever composed.

I love listening to soundtracks when they don’t feel like soundtrack at all, like another entity away from the main material. “Metallic Rouge” is that.

[lizardontheweb]

everything I know about hideki naganuma and related topics

uses James brown samples

uses old movie samples

uses slap bass

uses record scratches, but sparingly

Artists that sound similar

Sev Does Music

2 Mello

Sashko Naganuma

PurpleSigh192

Yeletez

Artists that the wiki page recommends:

2 Mello

AAron EVO

Akakage

Amin Payne

Azteka

B.B. Rights

B. Bravo

Bad Religion

BananaLizard

Basement Jaxx

Beastie Boys (Including The Latch Brothers and BS2000 side projects)

bignic

Bis

Bran Van 3000

BX'TREME

CAPSULE

Castle Logical

Cédric Menendez

Charodey Jeddy

Cibo Matto

Cody Vondell

Cody Wright

Cold

Color Plus

Copter4016882

Cornelius

CubeNatural

Cxldr3

Cyber Milk Chan

Cymbals

Daniel Crawford

Darling's Domain (formerly BonafideBloom)

Date of Birth

daypeecone

Deavid Soul

Def Cut

Deltron 3030

D Fast

DJ Chidow

DJ Kychu

DJ Lean Rock

Doctor Lazer

Dom McLennon

duuzu

E. Live

elektricPunk

Ethan Goldhammer/Flamclap

Erik Rico

F-Fields

Fantastic Plastic Machine

Featurecast

Fishmans

Flytones

Frank Klepacki

Fuzita Blender

Gorillaz

Grillo

GRRL

Guitar Vader

Henning

Hideki Naganuma

Hi-Posi

Idol Taxi

Ishanna

Ivan Makvel

JAEL

Jamphibious

JCPORTALS (ClascyJitto)

Jonny Tobin

Jurassic 5

Kahimi Karie

Kenichi Tokoi

Khadija

kidkanevil

KiloWatts

Klaus Veen

Knxwledge

Koolade

LaB Life

Lamp

Lee Funksta

Lefty

LEGOVE

Leopard DaVinci & Louis 707

Les 5-4-3-2-1

luce

Lunatic Calm

Manfield

Marian Tone

Mariko Nanba

MF DOOM

Mix Master Mike

Mofak

Momus

MrMediamanx

MXXWLL

Naofumi Hataya

Nerreave

O.B. One

Olli

Otis McDonald

Pitch Controller Mitch

Pixelord

Pizzicato Five

Plus-Tech Squeeze Box

Pomrad

Porter Robinson

POST ELVIS

Professional Murder Music

PROUX

Qypthone

Rebiere

Reps

Reso

Richard Jacques

Rob Zombie

Ronan de Castel ("Mr. Sauceman")

Rotten Apple

Russell Simins

Sashko Naganuma

Saturn!

Scapegoat Wax

Sebastian Knight

Semi Detached

Serani Poji

SEV DOES MUSIC

she (Electronic musician)

Shuvel

SiIvaGunner Sound Team

Sivey

SKALP

SkyBlew

soia

Soul Supreme

Sven Atterton

Swami Sound

Takako Minekawa

Takeharu Ishimoto

Temu (Electronic musician)

The Offspring

The Prunes

The Sleepers RecordZ

The Wiseguys

Tomoya Ohtani

Tony Grayson

Toronto

Towa Tei

Trian Kayhatu

Tryezz

VeraFX

ViRiX Dreamcore

wev

Yukari Fresh

zeroSCAR

ripped from the shibuya punk wiki page

[merry-go-round-jailhouse]

Yoshinori Sunahara - Pan Am - The Sound of ‘70s (full album)

Super groovy electronic album from Yoshinori Sunahara who was part of Denki Groove and collaborated in Metafive with artists like Cornelius and Towa Tei

[tweehearted]

Intro post

I realise that I haven’t made one of these before but

Hello I’m aini! I’m not too active on tumblr but if you ever want to talk my inbox is always open, plus I upload to other socials too!

My interests rn are Splatoon, the PaRappa series, music (a lot of it!), fashion (sometimes) and art in general.

My music tastes are mainly funk, j-pop & j-rock, Trip Hop, City Pop and Jazztronica! Current artist favs are Akina Nakamori, Prince, Yasuyuki Okamura, Cibo Matto, Sheena Ringo, Deee Lite, Towa Tei, Chara, Björk, etc etc. Apparently my top decade is the 90s!

Socials:

@mitsuwaltz — art blog

Insta — @artificialssweetener (personal) @mitsuwaltz (art) @ainimitsu (media spam)

TikTok — @mitsuwaltz

Pinterest (I’m on here a lot) — @mitsuwaltz

(If in doubt, find mitsuwaltz)

[cozmonaughty]

intro post

aini | 18 | media archive

about me + what I love + socials under the cut ~

about me: hiii my name is aini! this is my blog for sharing the media and music i like (more as an archive) and i'm looking to find others with a similar interest! I love all things 80s and 90s and I'm a pretty big fan of japanese media. I'm currently studying literature, fine art and geography at school, and I'm looking to study graphic design at uni. But in the meantime i like to do character illustrations and paintings.

genres: jpop, jrock, shibuya kei, kayokyoku, techno kayo, trip hop, new wave, city pop, jazztronica, synth funk, r&b, proto hyperpop, dream pop, cantopop etc artists: Yasuyuki Okamura, BARBEE BOYS, Akina Nakamori, Sneaker Pimps,Prince, Chara, Kahimi Karie, Toshinobu Kubota, Kirinji, Panchiko, Radiohead, POiSON GiRLFRiEND, Nelward, Drive45, Nona Reeves, Kenji Sawada, Cibo Matto, Bjork, Ginger Root, Towa Tei + Deee Lite, Denki Groove, The Long Faces, Sheena Ringo, YMO, Ryuichi Sakamoto, HALCALI, Faye Wong, Jun Togawa, The Garden, CYMBALS (+ more i def missed)

Fav album rn: Becoming x by Sneaker Pimps

Fav song: Live 4 Love by Prince

i'll try to keep this post updated if anything changes! links to socials:

links to my art accounts: https://linktr.ee/ikaa

main blogs: @tweehearted / @mitsuwaltz

spotify: https://open.spotify.com/user/ijonk8655lwzo3dnm45a57tr2

last.fm: https://www.last.fm/user/missy-mitsu

[musicarenagh]

Diving into Innovation: Sage Suede's "Dirty Blonde" Reviewed Guys wait, wait, have you heard Sage Suede's latest album, "Dirty Blonde"? If not, you're in for a treat. This album isn't your average playlist filler – it's a whole vibe, a sonic journey that'll have you hooked from the get-go. Sage Suede's music is like a blend of several genres right from electronic psychedelic to hip-hop, all in one place. Yet, round it up, it's not just the beats but the feels. It's more than just music that you hear in "Dirty Blonde", it is a feeling. Along each track, a different story is told for instance, the groovy beats of "High" and the fine tunes of "Palm Trees and Scotch" with Dazmin D'leon. Also, there's "Itty Bitty," an oldie that will literally force you to tap your feet and move your head in no time. However, "Dirty Blonde" manages to ooze out a feeling all its own. It brings you just straight into a completely different world where music is better than just the soundtrack – it’s like an adventure. Hence, if you're up for an unexpected turn of events, a new trip, then "Dirty Blonde" shall be the album you're looking for. SAGE SUADE isn't merely rapping; he's creating moments, and 'DIRTY BLONDE' is one you'd not wish to miss. Listen to Dirty Blonde on https://soundcloud.com/sagesuede/sets/dirty-blonde-clean?utm_source=clipboard&utm_campaign=wtshare&utm_medium=widget&utm_content=https%253A%252F%252Fsoundcloud.com%252Fsagesuede%252Fsets%252Fdirty-blonde-clean Follow Sage Suede on Facebook Twitter Spotify Soundcloud Youtube Instagram What is your stage name SAGE SUEDE Is there a story behind your stage name? I’m a musician & model that is into magic. The name is meant to describe my vocal delivery in an abstracted manner through the tactile / textures. I see a sage green aura a lot while meditating and I have smoked sage for the thujone, but usually absinthe is easier. Where do you find inspiration? I write from the heart, so my writing is usually based on real experiences. Recently, I have had a lot of stalkers, so I wrote the single Saiko Choto, which is in Japanese and English about the crazy chick that follows me around shopping. She’s not Japanese, but I like the psycho fashion in harajuku. I’m a polyglot, so I write the way that I think and sometimes make stuff like that or in Spanglish. What was the role of music in the early years of your life? I was in musicals growing up and often got cast as the prince. Even in shows that I wasn’t part of like at Esther’s Follies they would just pull me on stage and do an entire number. When I got older, I started to party more and wear leather, so people saw me more as the bad boy and I was also in a musical as Flynn Rider so that’s where I got a lot of free vocal training, even though it wasn’t totally my vibe. Are you from a musical or artistic family? Music was always a part of my life and I used to play often for memorial services and Alzheimer's centers with my family. When I got older, I started to book my own shows since I was the most into music. Who inspired you to be a part of the music industry? I always wanted to travel and experience the world, so I chose to be a musician and also a polyglot. My first albums were Music by Madonna and Deee-Lite’s Greatest Hits. I think the electropop of producer Mirwais and dance house like Towa Tei impacted the style of music that I produce today. How did you learn to sing/write/to play? Most of the electropop that I create is in Ableton with sampling. I’m also a multi-instrumentalist but usually I sing & dance on stage. I do my vocal arrangements and most of my beats before post-mastering, which are layered to sound otherworldly lately. What was the first concert that you ever went to and who did you see perform? I saw Crystal Castles live at Stubbs in high school and almost passed out. Alice Glass has a great stage presence and it felt spiritual for me. How could you describe your music? I’d say electropop with some punk, hip hop and reggaeton vibes.

The style varies a lot with the way I’m thinking and feeling, as well as the styles that I’m enjoying in my free time. I create culture based on what I’m experiencing. [caption id="attachment_54342" align="alignnone" width="2000"] Diving into Innovation: Sage Suede's "Dirty Blonde" Reviewed[/caption] Describe your creative process. I usually write the lyrics before I make the track. Sometimes I structure the track around the poem. Other times, I’ll arrange the beat before I write the lyrics and tailor the lyrics for the beat, like I do on some collabs. What is your main inspiration? I’m inspired by everything that I’m going through in life, as well as by other art that I experience. For example, my psychothrillers on Amazon… a lot of the inspiration comes from being stalked for the past 3 years and my next door neighbor’s divorce. What musician do you admire most and why? Probably someone like Shygirl or on her label because I dig the London sound. I guess I’m spearheading that electro scene in Austin, which is the London of the southwestern US. Another artist would be Uffie and I’d like to have a fashion bender too. Did your style evolve since the beginning of your career? Yeah, I’ve made a ton of different styles and languages. After playing The Viper Room, I feel this rockstar energy that I want to share more of. I’m not sure how I would like it to manifest most in my music yet, but I wrote Psychotic Bulgogi on the way to the venue and published a few other psychothriller novelettes later, so I might just be a little more goth. Who do you see as your main competitor? My only competitor is myself, because I’m only benchmarked on my own success. What are your interests outside of music? I like fashion and the new Robert Wu show is a favorite. I also like Versace. If it wasn't a music career, what would you be doing? I like to model too and that’s a big part of my online presence. I have a photoshoot on Friday and thousands of pictures. I like to work with brands and share the influencer deals with fans on instagram. What is the biggest problem you have encountered in the journey of music? Stalkers. They are very annoying and they deliberately lie about everything in my life, including my name to random people offline. Online, they’ll go down my follower list and lie to people. It is bogus and they don’t make anything, but if they spent the time on themselves then maybe they could. The stalkers in my apartment complex attacked me with a weapon and they caught a case with the municipal court, but they are still yelling lies out the window. If you could change one thing in the music industry, what would it be? I don’t think there is any equality at all with the corporate monopoly and federal funding is a disproportionately serving corporate slush fund for award show circle jerks, so it has never served indie artists at all that do our songwriting and arrangement. There doesn’t seem to be a pipeline from artistry to corporate wasteland anymore and most of them are buying the entire track, so it’s often a disappointment to listen to. Why did you choose this as the title of this project? Dirty Blonde is partially about the experience of being a carefree blonde, which also includes being stalked like on the song “Itty Bitty” which alludes to the risk of being stalked at home or a relationship gone wrong because of a possessive ex. Crime stats show the prevalence of blondes being stalked is higher and I didn’t realize this growing up but I learned later from crime shows. I wrote Itty Bitty before moving to a new apartment complex, where I was stalked again and it was much worse with people trying to sneak inside my place at 3am on multiple occasions, so I must have foreseen this while writing the lyrics. Being blonde is fun but it can also come with additional risk of violence so you have to be careful and lock the doors. https://open.spotify.com/album/2QeXXxuhIH7KGjsLQ5v8jv?si=nH8qwlllQRKI93Z1-eqlxQ What are your plans for the coming months?

After being stalked again, I am planning to move. I have a performance at Package Menswear on March 14th which is an underwear store so it will be sexy. Do you have any artistic collaboration plans Yeah, I’m still working out details and making demos. Dazmin D’leon is working with me on a few tracks. I’ve also gotten in touch with Tying Tiffany and C+C Music Factory through instagram so we will likely collab too. I listened to both of them growing up and am stoked about the possibility of us making collabs together now that they have expressed interest. What message would you like to give to your fans? You can make a lot of content on the cheap and do it on your own. The corporate scene has little integrity and that’s why I don’t feel like any of them are real competition in songwriting, because most can’t write. I’m dropping new books on Amazon and you can check out the channel for my latest show in Hollywood at The Viper Room and dope music vids: YouTube.com/c/SageSuede

[frankbedbroken]

this is frankcore 2023: january

recently decided to make a playlist for the stuff i've been listening to in 2023 over the course of the month, so before i update it in a couple of days i want to go through what i had for january's rendition of the playlist! it's somewhat sorted by bpm but its mostly a free-for-all in terms of genre, though you can definitely see some biases for more electronic music and such.

dean blunt - london tonight freestyle (feat. skepta, novelist & a$ap rocky) uk hip hop, neo-psychedelia hypnagogic pop, trip hop, cloud rap

this will probably the year i get into dean blunt for real, what i've heard from him (as a solo artist and his many projects) i've very much enjoyed, and i need to give a relisten to bbf and one nation by hype williams because i'm sure i'm gonna like them even more now. as for this track specifically, it's about what you'd expect from the combination of artists at hand. very nocturnal and driving sample on an instrumental very reminiscent of unkle's psyence fiction, skepta and novelist delivering verses through a lo-fi haze, and rocky's crooning closing out the track (the "who loves me" refrain paired against the instrumental feels so melancholic, really good stuff).

nevermen - treat em right (boards of canada remix) downtempo synth funk

it's a bit funny that i found this song through chaeyoung from twice of all people, lmao. what's interesting about this beyond the fact that this is one of boards of canada's few releases in recent memory, is that rather than presenting the hazy, atmospheric blend of idm and downtempo that you would expect from boc, this evokes a funkier, smoother vibe, almost sensual, and i feel it's pretty weird to say that about a boc track. certainly fits the vibe of the original track, definitely get sleazy motel vibes out of this. very interesting stuff.

towa tei - technova (la em copacabana) (with bebel gilberto) shibuya-kei, nu jazz bossa nova, trip hop

you might know this one because dilla sampled it on a tribe called quest track, but to give a brief summary of where this comes from: towa tei, producer and dj originally from deee-lite, creators of the one-hit-wonder classic groove is in the heart, links up with bebel gilberto, daughter of joão gilberto who would later go on to crave a niche for herself as a lounge and downtempo artist in the early 2000s, to make one of the most blissfully chill songs i've ever heard. sure, you're bound to expect the most sunshine happy energy from a shibuya-kei song by default, but the bossa influences here definitely gives this one a distinct vibe that i haven't come across in other shibuya-kei i've heard so far. amazing chill.

baths - iniuria palace glitch pop, ambient pop

sorta rediscovered this one while i was going through my mp3 library to genre tag all of the files (very ardous process but it's probably gonna help if i want to look up a specific genre and that kinda thing), and found out that the version of baths' cerulean i downloaded had two tracks that were not on the official release of the album! one was mecha joy, better known as the instrumental for glow by charli xcx on super ultra, and then this one, under the name palatial disappointment, lasting like twenty seconds. interesting melancholic vibe paired with the production that you would usually expect from baths, feels kinda like the glitch pop equivalent of a midwest emo track lol.

blanck mass - the rat electro-industrial power noise

world eater is another album i should revisit in the future, remember liking it quite a bit when i first heard it but this was the one track i really latched onto. the driving, pummeling drums, slowly making way for wailing, distorted riffs and the blissful but frantic synth melodies, every part just seems to come together beautifully and it ends up creating this raw, intense feeling of catharsis. the way it keeps building on the motifs it keeps presenting and progressing upon itself, it feels like it could go on forever but also the payoff and the way it closes out feels earned and satisfying.

clams casino - drowning instrumental hip hop, cloud rap wonky, witch house

surprisingly listened to a fair amount of clams casino in january! i should probably check out a full project from him, i really like the couple of loose tracks i've heard so far. it's a style of production that i can really get into, chopped up vocals turning into almost indecipherable somber wails soaked into hazy, very reverb-heavy production. if i recall, i was going through the remixes of deftones' white pony, and while listening to the remix of feiticeira that clams casino did, i noticed someone in the comments mentioning this track, and pointing out that it sampled a track from thursday, the screamo/post-hardcore band. it's crazy that he took a bit from what was otherwise a fairly stripped back singer-songwriter type song, and turned it into a glitched up, anxious instrumental, maintaining the melancholy of the original track but from another perspective.

slayyyter - candy electropop, contemporary r&b, hyperpop

somehow got reintroduced to this by a charli xcx and blackpink edit, lmao. and it's funny too because i completely forgot about this track after listening to the slayyyter mixtape back in like 2019 or so, most of the tracks in that just didn't interest me whatsoever aside from alone. beyond the controversy surrounding slayyyter and ayesha erotica who has production duties on this, i can't help but think that this actually really works for me. unlike a lot of the other tracks on slayyyter's debut project, this production feels extremely hardhitting and engaging, driven off a clipse sample of all things, it has a lot of charm and intensity that most of the stuff in the mixtape didn't have (i blame that on robokid personally, his overly glossy sound felt extremely hollow and unengaging, especially on that project). slayyyter's vocal performance also feels very memorable and full of personality. the track in general just pops in a way that's very satisfying.

gaelle - give it back contemporary r&b neo-soul, synth funk

incredibly interesting project, this one. from what i can gather, gaelle used to be mostly an r&b vocalist for house tracks around the turn of the millenium, including the absolute bonafide hit that is king of my castle by wamdue project. at some point, her alongside co-producer eric hobsbawm drop a debut project under the name transient in a label known as naked music, a would-be-home for many crossovers between contemporary r&b and the deeper sounds of house and downtempo, such as this project. it feels extremely forward thinking in its production and aesthetics, a lot of people have mentioned kelela while referring to this album, and while i don't necessarilly think she took inspiration from this specifically (the album appears to not have been very successful when it came out, only garnering a lot more attention years after the fact), but i definitely do see where the comparison comes from in that regard. granted, this is one of the more "conventional" tracks in its runtime, but it's just expertly constructed and soulful r&b that you can't help but admire.

meat beat manifesto - genocide electro-industrial, industrial hip hop, breakbeat

haven't checked out much out of mbm's output aside from their 1990 compilation armed audio warfare to know if their other music sounds like it, but from what i know, that scrappy, off the wall and noisy approach to breakbeat and early industrial hip hop with a somewhat ebm-ish delivery to the vocals, is somewhat present in their subsequent work but not quite in the primitive, rugged-edged state as the stuff in that release. although it would be interesting to see how their sound progressed from then on, i'd be lying if i said that i wouldn't be sad if that were the case because i've always really enjoyed this sound: it's loud, it's abrasive, it's in-your-face and bombastic, and has this certain cheesiness that's typical of some of the early 90s industrial scenes (i.e. ebm) that is very endearing.

hikaru utada - traveling j-pop, dance-pop funky house

this following three-track-run would work great in a set, i feel. first off, we got absolute j-pop legend hikaru utada. the only project i've heard in full from them so far was last year's bad mode which was one of my favourite records of that year, delivering wonderfully smooth pop and r&b with electronic undertones. there is a similar approach to songwriting here but in a much different mood and style: whereas tracks like one last kiss and somewhere near marseilles have a more subdued, gently progressing sound, this one is a lot more immediate and hooky, heading towards brighter styles of house and a more soaring vocal delivery. this got viral on twitter around january iirc (that's how i came to know about this song in particular at least), and with good reason, it's a fantastic song.

miranda! - bailarina dance-pop, funky house synthpop

🇦🇷 ARGENTINA MENTIONED 🇦🇷 coming from arguably one of the most important pop acts of latin america, this track has a similar approximation in sound to the previous track: enrapturingly energetic and driving pop music with an inclination to the funkier, dance-floor ready sounds of house, though in this case it has more of a sensual feel in terms of songwriting (as far as i can tell at least, i haven't checked the lyrics for traveling and i don't know japanese lol). it makes sense after all, both albums where the respective songs are from came out the same year! speaking of, i'm glad es mentira is reaching a lot more ears beyond latin america and getting its dues, it's an album that feels of its time in terms of the aesthetics and sounds it goes for, but considering the resurgence of ~~~y2k vibes~~~ in recent times, it definitely feels very current still and absolutely worth a look for anyone that enjoys pop music.

dreamcastmoe - bend backwards deep house, neo-soul, synth funk

to wrap up this run, here's something a bit more recent, and possibly a bit more lowkey! i'm not super familiar with dreamcastmoe as an artist unfortunately, i think i found this through a clip from a dj set by dazegxd or gum.mp3, can't recall which right now, shoutout to the nyc garage crew though. anyhow, this vibe is absolutely immaculate. the strong sense of groove coming from a more organic approximation to the classic 4/4 house rhythm, the laidback delivery of the vocals that almost feels off-the-cuff while still managing to be catchy and memorable, and just a generally inviting atmosphere to the song as a whole. very apt for summer, i'd say.

shades - exultia dubstep, hybrid trap

and now for something completely different! i am a big fan of both alix perez and eprom as producers on their own, one delivering absolute classics of mellower, more atmospheric sounds of drum and bass, and the other being a boundary-pushing master of sound design doing anything and everything under the increasingly vague umbrella of "bass music". their output together is, naturally, also very much to my liking, with their first album being firmly based on the darker sound of halftime dnb, and their most recent outing having more of a balance of that and classic uk dubstep, all with some sound design inclinations from edm trap. pretty much every track in the album is fantastic but i was really into this one during the month because of that synth progression in the buildup and an absolutely menacing vocal refrain on the drop. shit's evil, it's good.

mark pritchard & steve spacek - turn it on neo-soul, uk bass broken beat, future garage

i recently went through this rym list of (mostly) electronic music releases with not many ratings and the selection was in general pretty good! found a lot of really interesting music from it, including this track right here. i originally wanted to add the track dollar by steve spacek, because of the absolutely crazy production from the legend j dilla, but for some reason it's not available for me on spotify. this one is no slouch in comparison, though. the production in this is extremely engaging, with its driving basslines and synth flourishes alongside the skittering broken beat drums pairing wonderfully with spacek's smooth soft-spoken vocals. will definitely have to look more into his other output, the few tracks i've heard from him have been great and this is definitely no exception.

deep sky objects - lethwei uk bass dubstep, funk carioca, post-industrial

second eprom project on the list! this one, a collaboration with andrew doubek feels not quite as approachable as some of the other material i've heard from eprom, veering into the more formless sounds of uk bass and darker approximations to tech house. this one falls more into the former of such categories, but it does so in a way that feels very interesting. the drum pattern feels very brazilian funky to me, pounding and heavy barrages of percussion sunk through distortion and grit, with not a whole lot in regards to melody to distract you from the driving, dark groove (not a negative in my opinion in this case). that last drop with the "lord 'ave mercy!" vocal sample followed by the classic eprom sounds you'd expect is excellent, as well. definitely a very singular track that's worth checking out.

kelela - contact alternative r&b, breakbeat future garage

did you know the kelela album that just came out is really fucking good?! who could've seen this one coming, right? admittedly, i feel a bit ashamed that i waited so long to really get into kelela, i definitely should've heard take me apart way earlier than i did, but i am glad i got into the bandwagon regardless, kelela is just an absolutely fantastic artist and any and all praise she gets is absolutely deserved. as of right now i personally prefer raven to take me apart (they're both great projects though, i still need to get to cut 4 me and hallucinogen to have a full opinion on her discography), if anything for the presence of breakbeat influences such as in this track. beyond the production just being fantastic, the vocals are just as amazing as you'd expect, "it's 2 am, yeah we made it, everybody faded" is a line i'm absolutely obsessed with, it's super simple but it brings in a lot of emotion in my opinion, it paints the picture of a night out with the people you love where you're actually having a lot of fun. the relaxed yet longing atmosphere of the track as a whole is enthralling, exactly as stunning as you'd expect from her at this point, go listen to raven immediately (or don't, if vibey rnb with electronic influences isn't your thing).

everything but the girl - nothing left to lose future garage, uk bass 2-step, dubstep

we've been waiting for this one. the story of ebtg is interesting, going from a sophisti-pop and folk pop act in the uk underground to an overnight club sensation thanks to a todd terry remix in the mid 90s, then moving onward as they explored the worlds of downtempo, house and drum and bass in their subsequent works during the rest of the 90s and the early 2000s. they called it quits after their last project in 2001, temperamental, and out of nowhere, they came back more than twenty years after that record dropped. while it definitely feels in line with their last offerings, there's also a lot of differences. the main one is tracey's voice having changed so much over the years, reaching a much deeper, mature tone, i'm reminded of neneh cherry's last output personally in that regard; it works excellently with the somber melancholy of the garage beat, very reminiscent of recent takes of the genre from acts like overmono or two shell. it's overall not quite as immediate as some of their other offerings, but it's smooth and inviting in a way that's very compelling.

koreless - shellshock (g jones & eprom edit) trap [edm], idm

third and last appearance from eprom on the list this month! this time a remix alongside fellow boundary-pusher in the edm trap scene, wonder producer g jones, of a track by koreless, experimental electronic producer that dropped his debut album in 2021 from which this track is from. the original track was already fantastic in its own right, rooted in this vein of progressive electronic based on taking the synth progressions of trance, letting them breathe and not incorporating much in the way of percussion, in this case also having these beautifully chopped up and unintelligible vocal lines that run through the entire track. what g jones and eprom do with it is pretty simple, they slightly tweak the track to fit with their (somewhat more) festival oriented sound, giving the track an actual "drop", but also maintaining the spirit of the original track while also going out of their way to put more of a glitchy edge in the final sections. excellent stuff.

mc pipokinha - bota na pipokinha (feat. dj felypinho 013, dj noguera & dj pablo rb) beat bruxaria hard drum, industrial techno

exciting stuff still happening in sao paulo. there's still a lot of stuff out there in regards of the beat bruxaria scene that i haven't yet gone through (it's mostly a singles genre so it might be difficult to find the really stand-out stuff), but if this is not the best song i've heard from the scene so far, it's pretty close. pipokinha's delivery is raunchy, energetic and absolutely exhilarating, but the real star of the show for me is that beat. beyond it just being as distorted and heavy as you would expect for a bruxaria track, what gives this one its edge is the influences of the harder styles of techno: the driving, distorted bassline, the absolutely massive and pummeling drum kicks, the synth sounds in the drop straight out of a monnom black track. it's an absolute tour de force, and i can only imagine the damage this does in a club setting.

skin on skin - burn dem bridges peak time techno uk drill

got into this one way too late, it's already been rinsed to death by this point but fuck, it's just an absolute banger. i'm very particular about techno in the sense that i don't really care for the more minimalist, straight 4/4 style of techno that's probably most in vogue at the moment (think of stuff like amelie lens, adam beyer, nina kraviz, marco carola, that kinda thing). the type of techno i tend to enjoy is either very heavy and distorted industrial techno, or some forms of techno that have more of a sense of tangible melody, this one falling into the latter camp. one of the more memorable vocal samples i've heard in electronic music in a while (IF IT AINT IF IT AINT GANG I'LL BURN DEM IF IT AINT IF IT AINT GANG ILL BURN DEM) put into the context of this pulsating, driving techno groove works fantastically. a sure fire hit, no other way of putting it.

novelist x mumdance - 1 sec weightless

classic of the uk scene in the 2010s, and a defining statement for a new sound in grime, crazy to think that this is already eight years old. for those not in the know, grime was a blend of electronic music (specifically the rhythms of uk garage) and uk hip hop developed during the 2000s, building itself on intense vocal deliveries and skittering rhythms. weightless, on the other hand, is what happens when you take the vocal stylings and production of grime and make it as stripped back as possible, removing pretty much all percussion, leaving just unsettling synth ambiances and the mc's performance. and it works. the flows and lines from novelist are incredibly memorable and the production with its heavy bass stabs and barely discernable hi-hats. very nocturnal and atmospheric, it's no wonder why this is a grime staple.

toasty - the knowledge dubstep, breakstep

while going through the rym list i mentioned on turn it on, i came across a lot of stuff from the uk label hotflush, specialized in dubstep and uk bass during the late 2000s and early 2010s, and a name that kept popping up was toastyboy aka toasty, a producer that had a knack for incorporating elements of breakbeat in the context of og dubstep's deep basslines. i then remembered that i was actually somewhat familiar with some of his output because of this track right here! i don't quite remember how i got to this, iirc it might've been because of an eprom tweet? nevertheless, this track is really good. as i mentioned before, this blend of dubstep and breakbeat works to great effect creating this menacing atmosphere, very apt for a warehouse setting i feel, and the constant refrains of "i seek knowledge", "you need it, you feel it" are extremely catchy and memorable. speaker knocker.

dead man's chest - just 4 jungle

don't quite remember how i first found this one, it might've been either through finding it on a jungle mix by someone along the likes of tim reaper or sherelle, or by getting it on my youtube recommended feed after going through a bunch of modern jungle tracks, possibly after doing the former! nevertheless, this is an absolute tune. from the moment it comes in with these hazy synth pads and the bright, cheery vocal chops to then introduce the breaks alongside the vocal refrain of "we do this just for you!", the atmosphere is just completely set, it feels very affirming imo. and then the drop comes in and you're just thrust deep into the rave, barrages of breaks setting the scene, sirens coming in sporadically, screams of "proper hardcore" bouncing around the track. it's absolutely massive stuff, more than likely best experienced in a live set, you could probably feel the walls rattling.

chrizpy chriz - trauma neurofunk

man. shoutout to 3d gif dubstep. always a treat finding cool music through silly videos on the interwebs. this time from a producer that i was not very familiar with, released through yuku, which is a label that i have encountered a couple of times, going through specific niches of drum and bass, most consistently halftime and neurofunk, the latter of which being the case of this track. i know there's a lot of people that don't really care for producers showing off sound design as the main feature of their music (i get that too sometimes), but this really nails that balance of having insane textures and sound design while also being an absolute banger. just incredibly heavy and brutal production, it feels like you are stuck inside of a machine trying to escape. it's very anxious and frantic, but also extremely energetic and compelling.

kid606 - slammin' ragga bootleg track ragga jungle raggacore

it is very much what it says on the tin! my experience with kid606 is pretty slim, i'd say, i've only heard kill sound before sound kills you, which runs the gamut from breakcore, idm, gabber and everything in between, and this veers into similar territory as some tracks in that project. essentially a rework of tenor fly's rude boy talk with a lot more frantic drum breaks and speedy shuffling rhythms, and it's exactly as fun as that might entail; i love ragga vocal delivery and it's something i always welcome in a track, and it works to great effect here. while the main part of the track is wild and fun, the last section of the track feels a lot more relaxed and welcoming, introducing a sampled melody that appears to come from a manu chao song that feels very satisfying, it's like a comedown but in a good way. very good track, definitely recommended if you like jungle/breakcore that is actually fun.

[radiation]

referring to artists getting mad at ai as "mediocre internet entertainment" is rich when youre a funnyman on a niche social media platform and you made an unremarkable rpgmaker game. but otherwise i agree ai critical people need to have more nuance to their opinions

Its rich that you sent this without listening to Towa Tei’s 2011 album SUNNY and prefacing this message by stating your favorite track and 3 sentences about why you like it so much

[taller-de-colaje]

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Collage by Towa Tei

[joshuahowls]

Towa Tei

[myhughniverse]

On September the 10th, 1997, Kylie Minogue* invented the typeface : "German Bold Italic" with the artist Dong-Hwa Jung aka Towa Tei and it would be almost a year later when Bill Gates would release Windows 98 with any kind of comparable typeface available on Microsoft Word. Makes you think 💾🖥️⌨️ * Text from "Thisisdisco" on Twitter (previously) / X (now)

Snapshot of Kylie 📸Stéphane Sednaoui

[princesaimposible]

rules: shuffle your ‘on repeat’ playlist and post the first 10  tracks, then list 10 songs you really like, each by a different artist.  then tag 10 people to do the same thing

tagged by @shunjiwais, thank you dear 🤎

10 songs from my ‘on repeat’ playlist:

binz - solange

save a kiss - jessie ware

come to me - bjork

constant repeat - charli xcx

how to forgive - tennis

in my dreams - kali uchis

america has a problem - beyoncé

i believe in you - kylie minogue

cirrus - bonobo

by your side - sade

10 songs i really like:

do you miss me? - pinkpantheress

unison - bjork

to cure a weakling child - aphex twin

amoureux solitaires - lio

german bold italic - towa tei ft. kylie minogue

age of consent - new order

algtr - lexie liu

i want more - can

giorgio by moroder - daft punk

appletree - erykah badu

tagging @usermavka, @videoclubs, @may-1994, @jeannemoreau, @gregg-araki, @tkaneshiro, @mia-goths, @kristensteward, @myso-calledlibrary and @bbibbico 💋

[enterfurore]

*          𝐀𝐂𝐂𝐄𝐏𝐓𝐄𝐃          :        welcome     to     l'academiae     furorum     ,    HARLAN     CONSTANTIN     &      JUDITH     “JUDY”     KWON     .     please     submit     your     account     within     twenty     -     four     hours     .      sebastian     stan     &      park       min-young     are     now     taken       !

◜          *          :          sebastian     stan     .     cis     male     &    he     /     him     .     love     by     mica     levi     .          ━━           the     legend     surrounding     london’s     l’academiae     furorum    would     not     be     complete     without     HARLAN     SIDNEY     CONSTANTIN     .     the     academy's     THIRTY    -    SEVEN     year     old     ARTISTIC    DIRECTOR     has     been     with     furore     for     TWENTY     YEARS     ,     oft     described     as     WITTY     ,     DEDICATED     ,     WITHDRAWN     ,     CYNICAL        &          has     proved     utterly     indispensable     to     the     company.     in     passing     ,     they’ve     come    to     be     associated     with     CINNAMON          &          red     ferns     burnt     by     the     sun     ;     a     forgotten     grove     ;     dark     corners     and     sharp     objects     ;     a     lifetime     free     of     sleep    .     whether     this     will     be     their     final     curtain     call     is     anyone's     guess          &           the     company’s     worst     nightmare     .          (          as    portrayed     by     anna     ,     25     ,     she     /     they     ,         &          pst     .     none     .          )

toni’s     co     director     wc     is     now     taken     !

◜          *          :          park       min-young     .     demi-woman     &     she/her     .     kasey     by     towa     tei     .          ━━          the     legend     surrounding     london’s     l’academiae     furorum     would     not     be     complete     without     JUDITH     “JUDY”     KWON     .     the     academy's     THIRTY-SIX     year     old     COSTUME     DESIGNER     /     TECHNICAN     has     been     with     furore     for     THREE       MONTHS     ,     oft     described     as     JOVIAL       ,       CAPTIVATING       ,     MEEK       ,          &     CLUMSY          &          has     proved     utterly     indispensable     to     the     company.     in     passing     ,     they’ve     come     to     be     associated     with     FEMININE     ,     LIKE     GLASS.     NOTES     OF     RIPE     PEAR     BLENDING     INTO     A     FLORAL     HEART     OF     DAHLIA     PETALS.          &     perfect     symmetry    ;     not    satisfying    but    eerie    ,     the     seamless     transition     from          the     bustling     streets     to     your     quiet     home       ,     the     memory       of     someone     you     know     and     not     how     they     are     perceived     ,     a     familiar     embrace     .    whether     this     will     be     their     final     curtain     call     is     anyone's     guess          &          the     company’s     worst     nightmare     .          (          as     portrayed     by     red     ,     twenty     four     ,     she/they/them     ,          &          pst     .     close     up     eyes      &      eye     horror     .          )