With end of year lists slowly starting to trickle out, there’s one track in particular we find that’s absent from some of the bigger sites, despite having what could be considered a decent summer. Championed by both Joy Orbison and Scuba in each of their respected Essential mixes, snippets of new untitled Endian teased the notion that a follow up to his Electric Minds and NonPlus releases would be forthcoming in the near future. Having debuted on the Radio 1 airwaves in July 2014, it wasn’t till early May 2015 that the track got a name and a confirmed release date on London based label Secretsundaze. Titled “Finish Me” the track, would go on to become one of our favourite summer anthems (as mentioned here) and acquire a near-omnipresent status in clubs and at festivals up and down the country over the summer period, while still remaining in some way an underground sleeper-hit. We’d like to think the nod to his roots, and other revered alias, struck a chord or possibly two with all the jungle enthusiasts out there, as well as appealing to the house and techno crowd. While the A side explored more club-friendly territory with its melodic aspects and billowing breakdown, the B side’s “Dusty” and “Sub Tropics” provided a much more rooted warehouse affair; taking his technical skill and experience as Commix and and channeling it into the confines of 130BPM. His use of subtle melodies and pads, reminiscent of 90s jungle/drum and bass LPs have made for well received tracks like “Birdhouse” and “Two Chords Deep“, the latter being one of his early attempts at using a proper hardware setup to explore his techno and house productions, and arguably still one of his best tracks.
With three years in between his last release on NonPlus, George is quick to mention over an email chat that his selective process is definitely a deliberate one; only being prepared to release music he’s 100% happy with, and if it takes him a few years between releases to put music out, so be it. Having been making and releasing mainly one genre of music for more than 10 years we can understand his trepidation at wanting to take a new venture with small steps. Despite this, 2015 has seen him more comfortable than ever, following up the Finish Me EP with a release on Trevino’s Birdie label, taking the Endian alias further on the road and recording his first ever studio mix as Endian for this very site. Describing the mix himself as danceable and upfront, his Truancy Volume has been a long time coming and there have been a few different iterations; highlighting his commitment in perfecting and taking whatever time it takes to reach something he’s truly happy with. With two brand new Endian tracks featured in the mix, George mentions that in the midst of expanding and developing his studio next year, he also has plans to put out a lot more music; be it on labels he’s released on in the past, as well as a couple of new ones.
Imre Kiss – Sweet Cheery Soul
Alan Fitzpatrick – Vanishing
Nick Sinna – Sidewinder
Spencer Parker – Silly Club Song 4
Shlomi Aber – Street Works
Martyn – EF40
Endian – Dusty
Fred P – Splitting Particles
Delano Smith – Tales Of Two Cities (Tobias Remix)
Ryan Elliot – Smith Lake
Endian – Global
Nicson & AN Gelo – Freek
Darkpole – Kaplan
Kassem Mosse – Untitled
Dax J – Devine Right
1800 Haight Street – 111
Kirill Mamin – Cutting
Kassem Mosse – No Peace No Love No Unity
Endian – Basement
Martyn – U1-U8
Arpanet – The Analyst
Words by Matt Gibney and Riccardo Villella, 10 December 2015. Leave a comment
If there is to be any overt or ulterior goal of bubbling-up rap crew Goth Money’s music, it’s a convoluted one; interviews of the six members frame their project as a form of positivity achieved through organic, artistic union, while the group’s material is most often somewhat a literal incarnation of their name. Either way, over the course of a few years, they’ve found themselves to be of particular interest in the rap underground even when the narrative of an eclectic, cultured, Internet-of-rap group garnering attention across the States and beyond might be an exhausted one.
Goth Money Trillionaires is the proper label debut from Goth Money; the young members of which have come to include Hunned Mill, MFK Marcy Mane, Black Kray, Kane Grocerys, Karmah, and Luckaleannn, all of whom come variably from LA, Richmond, Chicago or New York. The press release also indicates that this is the first outing for which all six members of the crew are accounted for, which is an overdue feat considering a back catalogue of dozens of mixtapes that finds the rag tag of rappers joining forces in varying numbers since the crew’s formation in 2013. But spend a day with their catalogue and you’ll realize Trillionaires is indeed an opus; an unabashed, refined iteration of what has made their rap as relatively hot as it is now: this dark, trap aesthetic framed as positive intent (there’s much talk about blue 100s, but as consequence of juggin’). Without much respect to the latter stylistic contradiction, the album still somehow fits comfortably among a short line of releases from producers Hot Sugar, James Ferraro, and Teengirl Fantasy on Break World Records, the label hopefully not nearly finished with hosting these types of projects.
For its sonics, Trillionaires culls from just about every underground rap subset heard from 2012 to the present, but the one underpinning facet of the album that has the best chance of drawing unanimous approve from listeners who portend to anyone from Raider Klan to Awful Records is its rough, basement-cut finish. Whether leaning toward brutal GBE trap (“Been That N****”, “Movie”) or effortlessly adopting the blunt-toting sing-along rap of Yung Simmie (“Brick Walk”) or anything in between (we liken Hunned Mill’s meandering drawl to that of Yung Gleesh) Goth Money’s sound has been marked by ear-piercing, scuffed 808s. It’s tough to attribute the production to anyone in particular as these productions go un-credited, but MFK Marcy Mane is most known to take the producer role out of the whole group. In no way a takeaway from what they’ve done here, each side of the board is cultured and inspired by someone or somewhere; a testament to the geographically dispersed group’s coming together. Among the album’s standouts is “Gucci Racks”, the opener that was cut ahead of the LP back in September. The beat is thumping and cerebral in equal measure (it would nestle perfectly somewhere in a mix from The-Drum or Supreme Cuts), and the catchiness of its hook is a precedent for the rest of the neck-snapping and finger-waving album.
Goth Money Trillionaires was released on October 31 on Break World Records.
Our latest Truancy Volume comes from producer and DJ, Henrik Koefod (aka Erosion Flow), an emerging talent out of Copenhagen. Erosion Flow first grabbed our attention in 2014 with his electric debut EP on George Fitzgerald’s ManMakeMusic label. Garnering quick support, tracks like ‘Bedroom Jam’ saw airtime on Ben UFO’s Rinse FM show and George Fitzgerald’s BBC Radio 1 Residency. This month, Erosion Flow released the energetic and percussion laden Spectrums Vol. 1, first of a two part EP on Martyn’s 3024 label. Inspired by the ‘sound of colour’, each track ‘represents specific sonic and colourful spectrums.’ Featuring slithering synths and murmuring samples, the EP subtly blend elements of house and techno, shaping them into something unfamiliar. Close listeners may have heard the B side ‘Emeralds’ in Amy Becker’s recent FACT Mix, where its inclusion highlights his productions’ range as well as applicability to the dance floor. The tracks are no doubt influenced by his diverse Copenhagen club night, Rare Nights, which books artists from various ends of the spectrum. It should then come as no surprise that his Truancy Volume is a high energy affair that incorporates a multitude of genres. Featuring remixes from DJ Fett Burger, Blondes and Kowton, and unreleased material from Central and Jeppe Willumsen, the mix shows Erosion Flow’s breadth of influence and strength as a young selector. We asked Koefod a few questions about his musical influences, production process and the status of the Copenhagen club scene, and are excited to share his thoughts along with this mix.
Your latest EP, Spectrums Vol. 1, is a bit of a stylistic departure from your first EP on ManMakeMusic. Would you say this was a conscious decision or simply a reflection of your interests and growth as a producer? “I think it’s been an unconscious decision, just getting new inspiration from doing club nights and from staying open to different music. I also feel that I’ve become better at turning my ideas into more concrete tracks since my first record. With Spectrums I believe I’ve come a step closer to a more full-fledged expression as an artist, which I hope people can hear.” Have you made any changes to your studio or process since the creation of your first EP? “I’ve been bringing in a bit more hardware to the process, but I still pretty much work the same way as I’ve always done – based around finding sounds to begin with by sampling records, synths or whatever I can get my hands on.”
You seem to pull elements from many different genres for your own productions. What music did you grow up listening to and how have your interests changed over the years? “I grew up listening to a lot of different music, my older brothers would play me everything from The Roots to Jamiroquai and Fugees. As far as I can remember, I’ve always had an interest in discovering new music, whether it was through video games, at the public library or on the internet. I started getting into electronic music when I was around 13-14 years old. When I make music, I think I unconsciously mix elements from all the different genres I’ve been into, but like, it’s not something I’ve ever been planning to do.”
You seem to enjoy using vocal samples in your work, at varying quantities and for different effect. How do you go about choosing samples and at what point in your production process do you work them in? “The last few years I’ve been finding it harder to sample vocals off of random records. I think it makes it harder for me to feel the music I make, if there’s no relation to the sounds I use. It’s quite intuitive with vocals and it’s often either mistakes where I flip the vocal in some weird way and it suddenly works, or if I just come across something I think would fit into the track and add something to it.”
Rare Nights is a club night you co-run in Copenhagen. How did that get started and what is your level of involvement? “Rare Nights is a club night I’ve been running together with five of my good friends for nearly five years now. We started doing parties after we met in high school, because we all were into either DJing or producing. There weren’t any clubs or places that would play the music we were into, in the city we grew up, so we just did our own thing. We’ve been doing parties in Copenhagen since we’ve moved here and it’s still a collaborative effort between all of us to make the nights happen.” How has the music scene in Copenhagen changed since opening Rare Nights? How would you like to see it change in the future? “I feel that we’ve really established ourselves over the course of this year by consistently doing solid bookings. The club scene in Copenhagen is really healthy at the moment and I would like to think we’ve helped contribute to that. This year we’ve brought over a quite diverse list of artists such as Mumdance, Hodge, Koehler and Florian Kupfer. We just want to book the artists that we are into, and we’ve never really been to keen on sticking to any specific genre of music.”
Did you start as a DJ before producing your own tracks? Has DJing affected your outlook or production methods? “I started DJing around the same time as I started producing, around six to seven years ago, but it wasn’t until some years later I started to invest as much time in it as the production side of things. When I’m making the tracks, I never really think about how they would play out, so I wouldn’t say I’ve let DJing affect my production methods. But I definitely think DJing has helped me a lot in finding which direction I wanted to go with my own music, just by becoming familiar with and playing a lot of different genres of club music.“
How did you go about selecting the tracks for the mix? How does it differ from preparing for a DJ set? “I started out with picking some of the records I’ve been playing out recently, whereafter I started puzzling everything together. I wanted the mix to have a natural increase of intensity, while still making sense and fitting together from start to finish. I would definitely be aware of not fucking up the vibe if I was playing at a club, so that’s probably where this mix is a bit different from a club set. I guess the beginning of the mix shows that with some more like eclectic and I guess weirder house tracks, before it slowly dives into more atmospheric techno and drum machine workouts, which would give a more straight up idea about what I would play in a club.”
Pelifics – Capitello (DJ Fett Birgers Mosseporten Ghetto Mix) [Full Pupp]
Central – Mercy [Unreleased]
Scott Grooves – Nitty Gritty [Natural Midi US]
Henning Baer – 14VAC [K209]
Steve Simpson – Chicagocid [1ØPILLSMATE]
DJ Assassin – Beats For Ya Feat [Cross Section Records]
Jeppe W. – Untitled01 [Unreleased]
Max McFerren – Hunting (Blondes Remix) [Allergy Season]
Roberto – Tiziani [Fossil Archive]
Erosion Flow – Emeralds 
J. Tijn – HEHF [WNCL]
Lo Shea – Root Causes (Kowton Remix) [Transit]
Answer code request – Calm Down [MDR]
Lee Gamble – Steelhouse [PAN]
Jackmaster Hater – Drum Track [Warehouse Box Tracks Records]
Fear Tha World – Houz Mon [Anotherday Records]
Basic Channel – Radiance II [Basic Channel]
Tim Hecker – Rainbow Blood [Kranky]
Words by Taylor Trostle
Words by Truants, 24 November 2015. Leave a comment
Before gaining broader attention for the Raw Energy EP on Lobster Theremin last year, Slovakian-born Hungarian producer and designer Imre Kiss released his debt Midnight Wave on Budapest’s Farbwechsel in 2013. A limited cassette release (we’re talking 50 copies), it was a mournful, shadowy work and it didn’t stick around for long. One owner, however, was LT boss Jimmy Asquith, who felt that limited release wasn’t enough. Last month his label reissued the album on vinyl, describing it beautifully as the vision of a “lonely individual boarding the 5am night bus home”. We spoke to Imre Kiss about the reissue, night-time colours and the scene in Budapest.
You’ve spoken before about how you got to know the guys at Farbwechsel and Lobster Theremin, so I’ll start by asking: Why now? Why reissue Midnight Wave? “Jimmy [Asquith] was planning to re-release it since we did Raw Energy more than a year ago. He felt like the record deserved bigger exposure as it was originally released on tape limited to 50 copies only. It was re-mastered for the vinyl and we got an amazing artwork by Mikey Joyce so it was treated as a new material. We had some delays in the production but now it came out exactly two years after the original tape.”
Not to say your other releases aren’t, but Midnight Wave is super emotional. Was it tough to record that feeling and keep it so coherent? “It felt natural at the time I was making it. It wasn’t really planned. I was listening to a lot of music that had these simple chord changes and I thought it’s cool how instantly they can affect your mood. I was trying to achieve something similar on the album.”
It really treads a fine line between murky haze and your more beats-heavy stuff, but stays outside the club for the most part. Have you plans to work more in that mode in future? “I always liked that duality in music. I know promoters were a bit confused in the beginning if they should book me to play in an art gallery or a club. Even I was confused so I always prepared my set so that it could work both ways. After releasing Raw Energy I got to play more clubs which had an effect on my music, so my next release will lean more towards that. But to answer the question: Yes, I’d like to work more on a similar mode.”
You mentioned the orange tinge of night-time street lights, which really affect the colour of everything around you. Were any other colours important to the making of this release? “Interesting question! Not a particular colour but I used to watch tons of YouTube clips of old VHS tapes. Sometimes ripping them and adding my own music to it. I love the faded colours and the distortion is something that I tried to bring to the album too, hence the smudgy sound.”
There seems to be a nice collective working across labels like Lobster Theremin, Farbwechsel and Crisis Urbana — what is it about this bunch that seems to stand out do you think? “They’re very open in terms of releases and discovering new talents and also put great effort in the artwork without being over the top. They’re definitely more approachable unlike some bigger labels. There’s a lot of respect between artists and I’m friends with many of them so we help each other and hang out when we can.”
What’s the scene like in Budapest, can I ask? “It feels like there’s a lot happening in Budapest at the moment. Promoters from like Nightdrive and Bounce always have great acts. There’s also a new generation of producers who are finally getting the attention they deserve. We’re still not the new Berlin or whatever but it’s an exciting time to be here right now. I hope we can add something positive of how people think of Hungary despite the dreadful governments we have/had.”
What music are you listening to late at night at the moment? “Jonnine from HTRK did a four-hour mixtape for a winter road trip. It’s full of amazing music and is perfect soundtrack for late nights. I also picked up a fantastic 7” while I was playing in Copenhagen. It’s called New Gothic by Generic Face. Shout out to Apeiron Crew for the recommendation!”
How do you balance working on music with your design work? “It’s hard sometimes. I work from Monday til’ Friday as a designer and it’s difficult to find time to work on music. I need some days off work so I can fully concentrate on writing new stuff. I also often play abroad on the weekends and I’m completely knackered on Mondays but I wouldn’t want to do anything else!”
Imre Kiss – Midnight Wave is out now on Lobster Theremin. Buy here.
Words by Aidan Hanratty, 17 November 2015. Leave a comment
Functions Of The Now is a mix series charting modern developments at the innovative edges of dance music. Originally conceived in 2013 to shine a light on the once-again fertile grime production scene and its influence, the remit of the series quickly widened to incorporate all manner of interesting manipulations of existing club modes. Whether it’s Air Max 97’s “oblique club trax”, M.E.S.H.’s gaseous abstractions or DJ NJ Drone’s hyperkinetic take on Jersey club it all has a home in Functions Of The Now. We hope to draw connections between these often disparate forms.
On the last edition of Functions Of The Now we met Rushmore from the essential London club night House Of Trax. Continuing that theme, this month we travel to Sweden to meet Malin (FKA M. Wrecker), who runs the excellent Stockholm party Evolver alongside Al Tariq and IINATTI. In just one year the club night has hosted a swathe of Functions Of The Now favourites: Janus members Lotic and Kablam, Endless/Bala Club affiliates Endgame and Kamixlo, Oxford noisenik Grovestreet, recent Halycon Veil signing Why Be, standout kuduro producer Nidia Minaj and Staycore’s new shining star Toxe. It goes without saying that it’s our kind of party.
It’s through the last of those names that we discovered Malin. Earlier this year we came across the essential collective/mix series Sister: “a platform created with the aim of solidifying a network of women within underground club music. Every instalment is mixed by a woman and every track in every mix involves a woman in its creation.” Seeking more music from group co-creator Toxe, we came across her set for Don’t Watch That. In the accompanying interview Toxe was matter-of-fact in her response to the question of who her favourite DJ was: “I would say [Malin], she’s based in Stockholm and makes amazing mixes.” A cursory investigation revealed this to be an understatement if anything: Malin makes incredible mixes.
Across sets for Rodeo, Sister and Tobago Tracks, Malin has refined a unique and abrasive DJing style, joining the dots between Quantum Natives’ noisy abstractions, the more deconstructed end of NON Records and the sound art of E. Jane and plus_c’s SCRAAATCH project – with a hefty helping of dark ‘n’ doomy club tracks for good measure. Mixing the sweet with the sour, beautiful acapellas peek out of the static, offering a brief respite before they’re submerged again. Malin is one of our favourite discoveries this year and we’re thrilled to have a mix from her in the series. We may be biased but we think this is her best yet. Warning: it starts LOUD.
Soundfile Round Up
Toxe Muscle Memory EP
Fawkes Dusk Dawnflower
First up is the debut EP from Toxe, out on the ever-reliable Staycore. Across five tracks, Toxe finds the sweet spot between propulsion and weightlessness, with playful, reverb-soaked melodies (and the occasional T-Pain sample) floating stationary above piston-powered kicks and snares. The closest comparison is the infernal machinery of Rabit’s spectacular debut album Communion – albeit with the anxiety substituted for wide-eyed optimism – but it’s a remarkably singular sound. Everything from the drum patterns to the track structures follows Toxe’s own idiosyncratic logic and it’s no surprise that RBMA tapped her up to join them for their 2015 class.
Taking some similar tropes in a completely different direction is newcomer Fawkes on her pay-what-you-want Bandcamp drop Dusk Dawnflower. We first became aware of Fawkes through her excellent footwork collaboration with Jlin on Planet Mu’s gargantuan 20th anniversary compilation µ20, but her solo work is perhaps more impressive. Stand out track “Invocatio” pulls the hydraulic drum work of Toxe’s EP outside of a club context, marrying it instead to disembodied, Holly Herndon-style vocal processing. Both tracks are as texturally rich as they are beautiful, with a depth in sound design that rewards repeat listens. We’re really excited for where both these producers will go considering how fully-formed their respective aesthetics already are.
Dread D Siege EP
Iron Soul Iron Soul EP
Elsewhere, our pals at Local Action top off an incredible year (well, we say top off – apparently they’ve still got an album to release before 2015’s over,) with an EP from T. Williams under his old grime alias Dread D. At this stage Williams is most well known for his crossover house anthems but back in the early 00s he was part of Jon E Cash’s legendary Black Ops, representing an early grime sound they called sublow. It’s a real shame that Black Ops’ presence in 2015 conversations on grime productions is generally absent as they were a key component of that mythical era. Hopefully that’s about to change though; The new EP goes straight for the jugular, revisiting the sound palette of those essential early releases and sounding no less explosive for it. Just try and listen to “Siege 1” without getting that earworm synth line stuck in your head. Last week Jon E Cash and Dread D came through on Rinse with an unbelievable set digging deep through the Black Ops dubplate archives and a mysterious EP of lost Jon E Cash productions has turned up in a few shops for preorder, so perhaps we’re finally about to see a Black Ops revival.
On a similar resurrection tip, Kromestar brushes off his old Iron Soul alias to show the new wave how it’s done on a new EP for his Soul Music label; The samples have been around for the best part of 2015 at this stage but this week the 12″ finally surfaces. It’s really no coincidence that the lead track is called “E-Motion”, with all three tracks tugging at the heartstrings in his inimitable, chipmunked-vocal way. If you’ve enjoyed the cut-up-RnB instrumentals of Finn, DJ Milktray and Gundam then this is utterly essential. There’s been some complaints about the ubiquity of square wave-wielding eski copyists, but if this recent surge of interest means we get guys like Black Ops and Iron Soul back we’ll happily put up with them all.
DJ Haram Sustained Crisis
DJ Haram & Moor Mother Goddess “Basic Bitch”
Earlier this year Philadelphia’s DJ Haram dropped her first Identity Crisis mix for Browntourage, a flawless blend of Jersey club and Middle Eastern instrumentals that reflects aspects of the multitudinous self that arises when you’re a member of a diaspora. After a busy year setting up the “club-not-club night” ATM with SCRAAATCH and Lil Island, as well as releasing a superb mix for Mask Mag (our introduction to her work), the sequel Sustained Crisis arrives. It bangs both conceptually and in the club sense and we highly recommend it. If you’d like some reading material to go alongside it, check out her truth-filled interview with Spark Mag – you can also buy her great new collab with Moor Mother Goddess while you’re there. Stay tuned to Truants for much, much more from DJ Haram next month.
Malin Mix And Interview
Let’s talk a little about Evolver – what’s the story behind the night’s creation? Does your creative history with IINATTI and Al Tariq extend past the night? “We were in a pretty similar situation: either we moved here for the first time or as me and Daniel [IINATTI] had grown up in Stockholm, left it and now returned. I especially remember the first time I met Tariq. He was wearing a Syg Nok shirt so that immediately led to music conversation.”
You’re now almost a year into running the party, how do you feel it has gone so far? Any highlights? The night with Nidia Minaj, Kablam and Toxe looked particularly incredible. “That line up was amazing. We were so grateful to have them play. I have never seen so many people coming up after the club and desperately wanting someone to stay or come back as they did for Nidia. All of our nights have had huge atmospheric variety, and we hope for something we can’t predict in advance. We put together acts that we hope can connect socially and feel comfortable, as much as we wish them to put on a great set.”
Nowadays a lot of this kind of music is perceived to live on the internet, is it important to you to represent these sounds in a physical space? Does the global dispersion of DJs associated with these sounds present any challenges to you, especially considering you’ve booked internationally from the beginning? “I feel a great conflict in representing anyone else’s music: the responsibility to do it respectfully as well as aiming for my personal outcome. The people we book, we usually have some kind of relation to. So that they will know what we are on about, as well as we know they have some similar ideas of what a club night can be.”
I notice you’ve also used the night to showcase visual art – do you see a relationship between the music you promote and the art you’ve showcased? “For us to put forward an image to present the acts is essential, as many people may not know the acts before turning up to our parties. We like to get the acts involved. Like on our first night we booked the art collective Gallery Fist to make a performance, but they also helped create another dimension to the space picking and forming with objects and lights. Or when ECCO2K played, he had also been involved making projections.”
From the outside it looks like some exciting things are happening in Stockholm – between you guys, Toxe, Kablam and Staycore it seems like a really interesting scene is developing. Could you tell us a little bit about the club music landscape there? “I’ve changed location almost every other year and don’t really see myself as a part of the Stockholm club scene. Wherever I’ve lived, I’ve needed to create a safe space for myself and other people enjoying whatever we do. Even though Stockholm is working hard on its image putting out ads in trendy papers selling a lifestyle, it’s a heavily segregated city. Making it difficult for people to move in and get established, unless you have been on the association list for a long time. All cities (and especially Stockholm) have a non-correlating perception from the outside to living inside. It’s well different. It might have to do with too much media interference: as soon as anyone put on anything new, media will pick up on that and format it so it will become easily understandable to a wider public.”
What I love most about your DJing is how idiosyncratic and well realised your style is, especially since you don’t produce (unless those ‘unknown’ tracks belong to you). Is there a particular aesthetic you’re looking to tap into? “Nah those unknown are just unknown, not my own, hehe. For the moment I don’t have any certain aim for the music, other than to keep it as a personal thing. Cos I need it to get by but I have no interest right now in putting it out and have other people comment, analyse or review it. Hopefully I will want to share it one day.”
We absolutely adore the mix you’ve made for us: can you tell us a little bit about it? “I always do my mixes in Ableton, and edit and modulate to make it work. They all border an unpleasant/pleasurable mood and I like when it goes slightly off tune.”
What’ve you got lined up for the future; both personally and with Evolver? “I think I will just continue move around and do stuff that will make me keep progressing. I hope I will eventually find a space or community where I feel comfortable releasing my music and mixes under a banner. Obviously Evolver is a platform for me but we try to make that less about ourselves and more about the guests we invite. I’m waiting for this weird phase of ultra competitiveness in club music to pass, one of the reasons why I haven’t showed a lot of people my music is because a lot of people like to categorise and compare different artists usually because of where they’re from. I want to be my own thing, not clumped with everyone else purely because of where I reside. I’ll continue to grow my work, probably try a few other cities out and keep on putting on parties. As for Evolver, we’ll still be here :)”
N-prolenta – plastr’d, projected, purpled
Ziúr – Deeform
Darkmatter – Mu-Nma
Brood Ma – ESTEEM
Unknown – Wounded
GROVESTREET – Hazardous Child
Sasha Manik – Adar Conwydd
N-prolenta – Scream Pa Mi (for @deezius and Kola)
ANGEL-HO – REMOVALS
Brood Ma – RUBBEL BODY
Rihanna – BBHMM (E_SCRAAATCH EDIT 3)/4Serena
GROVESTREET – Metallen Soundtrack
Bladee – Reborn (prod. WhiteArmor)
Artwork: Joe Jackson