rounding up some odds and ends this week. giving you a break&nbsp;from long reviews after last week’s tome on the new cfcf. <a target="_blank" rel="noopener noreferrer nofollow" href="https://blog.not-real.net/letters/euths-weekly-download-late-june-2026">web version</a>{{ subscribe_form }}<hr>cassius - 1999 dj tool&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="https://cassius1999.bandcamp.com/album/1999-dj-tool">https://cassius1999.bandcamp.com/album/1999-dj-tool</a>came across this on bandcamp. it was originally released alongside the LP in 1999, and is comprised of dubbed out dj tool versions of most of the albums tracks. it was reissued on vinyl last year and i think also made available digitally for the first time. it's maybe strictly better than the original LP, the ideas teased out tweaked and stretched presumably for their own DJ sets. for djs, these tools are highly functional and would sprinkle in any daytime or bar-type set adding a little bit of that cassius groove and that zdar sizzle. such a cool thing to do for an LP release. so much better than a remix package. cassius forever. highly recommend.<hr>Serkolo 7 - Maramfa Musik Pro<a target="_blank" rel="noopener noreferrer nofollow" href="https://nyegenyegetapes.bandcamp.com/track/bonkoko-bagana">https://nyegenyegetapes.bandcamp.com/track/bonkoko-bagana</a>i'm not going to front. i came across this after a video of björk djing a track from it went viral. the virality had the flavor of 'can you believe criminally old björk is aware of crazy music like this' but a little digging led me to the album which is a new release on nyege nyege tapes, uganda based label and long established source for progressive african music catered to the international audience. the track she was playing in the clip, 'bonkoko bagana' is the sparkling jewel at the center of the album. its a tightly wound blast of concentrated euphoria, the simple melodic loop hitting deeper with each refrain. the album is otherwise comprised of rhythmic fireworks, skittering swirling drums and floating melodies, which only serves to heighten the impact of bonkoko bagana's straightforward perfection. to be honest, i mostly listen to the one song, but i can't recommend it enough.&nbsp; <hr>traumprinz - life<a target="_blank" rel="noopener noreferrer nofollow" href="https://allpossibleworlds.bandcamp.com/album/life">https://allpossibleworlds.bandcamp.com/album/life</a>the prolific artist of many names has been on a tear recently, representing the last decade of his scattershot physical and vinyl releases in a more digestible form. tramprinz / prince of denmark / dj metatron / irini / dj healer / golden baby / prime minister of doom has eschewed his normal pattern of obtuse presentation, uploading his material to bandcamp under his 'all possible worlds' label and there is so much to love. the most recent reissue is 'life' released as traumprinz in 2022. it's a beautiful collection of tracks, featuring his trademark melancholy and immaculate production. well suited to contemplative drives, transit hubs, night walks. it can get a little bit spooky, sometimes more than i can take. in less capable hands the kind of soft menace wouldn't sway my mood but traumprinz has a way of reaching inside and manipulating consciousness, so his moods can be profound and must be handled with care. all the same it's one of my favorite works of his, and also one of the easiest to recommend. there's a pervasive quality of gentle healing that is hard to find elsewhere.&nbsp;<hr>frost children - satellites / dj woe singles<a target="_blank" rel="noopener noreferrer nofollow" href="https://youtu.be/AEEesEP14a0?si=Rrz_baHwlrXyqrNY">satellites video on youtube</a>the new single from the scenesters-du-jour careens through a half dozen flavors of edm with pitch perfect 10s rap pop vocals throughout. it might be their best song, bringing some of the inventiveness found on speed run to their pop dance palette. it's got that 'tonight we are young and we are never going to die' feeling that is all the more melancholy when it is referencing a 20 year old trend. i didn't know you could make the 2010s hypnagogic but here we are. while we are here, dj woe, half of frost children, has released a few unreal loosies.&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="https://dj-woe.bandcamp.com/track/never-tell">https://dj-woe.bandcamp.com/track/never-tell</a>never tell is intricate and psychedelic, softer than most of the recent frost children releases, revealing a depth of production talent that is almost scary.&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="https://dj-woe.bandcamp.com/track/on-ur-side">https://dj-woe.bandcamp.com/track/on-ur-side</a>on ur side is similarly progressive and psychedelic, emphasizing airy euphoria. these tracks remind me of the psychedelic prog of james holden and border community, with a similar feeling of expanding the sound of dance music while staying within the established form. the tracks dare you to play them in a normal set, though i haven't figured out how yet.&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="https://dj-woe.bandcamp.com/album/woe-crazy">https://dj-woe.bandcamp.com/album/woe-crazy</a>finally we have woe crazy, a pack of dance floor pyrotechnics spanning the full palette of contemporary club music. not as compelling to me as the two singles, but another window into the breadth of their production talents. no one is doing it like them at the moment, soak it up.<hr>a couple albums i hoped to write about really bummed me out. the gener8ion and the baauer. blech. love you &lt;3

cassius, frost children, serkolo 7, traumprinz

euth's weekly download - late june 2026

hey everyone. hope you are good. i went kind of long on the new cfcf. probably listen to the album first.&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="https://buttondown.com/euthlogo/archive/euths-weekly-download-mid-june-2026/">web link in case of email mangling.</a> if you like the 'sletter tell a friend : ){{ subscribe_form }}cfcf - l.u.v.<a target="_blank" rel="noopener noreferrer nofollow" href="https://cfcf.bandcamp.com/album/l-u-v">https://cfcf.bandcamp.com/album/l-u-v</a>the follow up to memoryland has arrived. not exactly the album i wanted from cfcf, but good and maybe even great. it's sharp and shiny, cynical, with a bitter vein of darkness flowing throughout. sorry i wrote a lot, you should listen to the album.the production throughout is... well. cfcf is a master, and here he turns his skills to rendering a take on the kind of forgotten dance pop LP that litters the late 90s and early 00s (maybe most notably Les Rhythmes Digitales - Darkdancer, a fascinating misfire). the production is sharp, bright, sometimes hurts the teeth like a too sweet lemonade, or chewing tinfoil. his sense of orchestration is immaculate as it was on memoryland, the tracks swelling, breathing, undulating, dissolving. they move as a solid whole with guitars and synths morphing into sweeping fx, vocals drifting in and out of the dense arrangements. his take on the sounds of the 00s might hit harder if he wasn't late to the party, the basement jaxx inspired stylings already populating the supermarket airwaves thanks to charli and pinkpantheress among many others by now. he is a better producer, but not always a better songwriter, and the album is much more uneven than memoryland with a few forgettable duds across its 13 tracks. the mediocre tracks are long too, especially the head scratching 4:45 minutes of 'babes', a hollow pisstake i'm surprised made the cut.&nbsp; the albums first single, ultra-obscene, is a useful study. a pretty blatant riff on in flagranti's 'brash &amp; vulgar' (‘09) right down to the title, the track enlists argentine duo EQ for a take on mid 00s electro pop. the half-hearted provocations of both the production and the lyrics fall flat, neither convincing. maybe that's the point. an early example of the 'sarcastic hedonism' promised by the album blurb, it announces the album's unsettling tone. the flatly delivered:'i love reading dostoevsky but what i really love the most is fucking. i love fucking, stimulating my brain skin on skin you and me getting nasty spit on me i’m so smart love to read love to learn love to hate every day i build my own philosophy' manages to render nearly all of human experience embarrassing with its sneering tone.&nbsp;i heard a demo of Let’s Kill Ourselves in two of cfcf’s dj sets in the year preceding the albums announcement. memory’s hard to rely on but I swear the version he was playing had the original Pony's vocal over the instrumental present on the album, and the track was one of the best i had heard in a long time. the album version, also a single, has talky vocal fry driven vocals from Touching Ice &amp; TECHG1RLS. the album blurb insists it turns the pony’s original into a ‘fuck it let’s live anthem’ but that’s not what I get from it at all. the mocking of the inanity of contemporary existence seems to render even suicide banal. comparatively the Pony’s original emanates a real pain, and the suggestion seems almost plausible, creating a dissonance the listener has to resolve on their own. the version heard was profound on the dancefloor, with the pained vocals over CFCFs immaculate electroclash beat giving voice to the darkness inside; diminishing its power while acknowledging its presence. the sneering vocal has the opposite effect, rendering a dark reality as just another example of gross self obsession.&nbsp;i won't go through every single track but dumb song is a stone cold classic, with cecile believe lending her industry tested topline writing skills to the pop dance earworm. cfcf's production is maybe at its best here as Silver channels his deep knowledge of 00s pop dance into a perfect rendition of a lost basement jaxx beat. worth noting that cecile is the album's only real pedigree'd feature, and she shows the power of a seasoned topline writer delivering the album’s only standout vocal performance.&nbsp;overall this is a dark album, burdened with cynicism and disillusionment. unlike the dreamy interiority of Memoryland, L.U.V. exists on the streets, in flesh and polyester. i’ve come to see the refrain from My Friend Fox as key to understanding the album:“My friend Fox is a part time model. They found him last night face down in the gutter. My friend Fox pays for love with money. They bled his ass dry, left him broke for another. L.U.V. credit card sex pusher. You gotta pay up if you wanna be my lover. take you on a ride use you up throw you out, when I’m done with you you're gonna know what love is all about”&nbsp;this cold depiction of ... murdering sex workers? murdering johns? sexual violence and abuse? has a callous calm, portrayed with the same sneer as sex, suicide, and attention seeking. it’s by far the darkest cfcf has gone, showing up out of nowhere at the core of the record. the track is amazing, propulsive, exciting, approaching the thrills of peak vitalic. it is one of my favorites on the album, while also the peak of the albums unnerving tone.&nbsp;the darkness fits cfcf like a cheap hand me down suit, which is somehow all the more unnerving.gone is the gentle euphoric dreamscape of Memoryland, replaced with scenes from the dark reality of a life lived in pursuit of pleasure and recognition in a city that’s hard not to read as Los Angeles, CFCF’s home since soon after the release of Memoryland. images of sex and lust are throughout the album, presented in cold fluorescent. detached, transactional, disgusted with human pleasure seeking, conjuring demented characters to externalize an alienation from embodied experience.&nbsp;taken as a whole, the album plays like an art film exploring the seedy recesses of human experience in day glo colours. the dream of Memoryland turned nightmare, the sting of the stark reality heightened by the fantasy that preceded it.&nbsp;L.A. has a way of bringing this out of people. a kind of mulholland drive-esque, LAX-psychosis. growing up here, it takes a really fresh take to make that premise compelling, but it seems like the city’s inescapable presence in the dream realm makes the confrontation with its reality a frequent cause of existential crisis.&nbsp;this crisis and collapse leads to LUV, and then The Love Hotel, two truly beautiful songs, among CFCF’s best, elevated further by the darkness that precedes them. LUV (Is Easy 2 Lose) plays like a sunrise crescendo, our hero reconciled with the love interest, driving off into the sunrise through rolling hills, stealing looks, in awe of the glisten of the city in the morning light. it's followed by Love Hotel, a gentle electro inflected ballad recalling kraftwerk's computer love, that builds over its near 11 minutes with emotion gradually flooding in. these tracks are grounded, contemplative, connected, present, real in a way not felt elsewhere on the LP. simple elements working to communicate a depth of emotion unburdened by sneering cynicism. LUV conquers all. stepping out of the hotel into the summer sun, we have a redux of kiss me, the 'euroversion', a return to a cheap plastic reality with bargain bin vocals to match.&nbsp;&nbsp;&nbsp;it's a curious album worthy of serious consideration. not just a collection of tracks, lottery tickets for top 40 play, but a narrative whole exploring sex, artifice, alienation, exploitation, cheap thrills, and finally real connection. maybe it’s part of the whole thing, but i wish the darkness was rendered more credibly, the cheap filler a bit more novel, a bit more compelling, or at least shorter. intentions notwithstanding, the effect of sifting through filler to unearth real thrills and flashes of connection is moving, if often unpleasant.&nbsp;i hope cfcf finds real love and connection, because he has the ability to make me feel anything, and here he chose to make me feel kind of weird and bad.&nbsp;&nbsp;<hr>imaginary softwoods - center for tactical magic&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="https://imaginarysoftwoods.bandcamp.com/album/center-for-tactical-magic">https://imaginarysoftwoods.bandcamp.com/album/center-for-tactical-magic</a>another beautiful LP from imaginary softwoods. gentle twinkles and soft clouds drift by, imbuing your space with a sense of mystic calm. their previous LP is a constant go to for quiet moments, and this lp is a welcome addition to that rotation. as on the previous album, it features just enough psychedelic flourishes to push past passive decoration, asserting its will on the space as it weaves its spell. that also makes it compelling enough for focused deep listening. can't recommend this and the previous LP enough.&nbsp;<hr>shed - rave echoes<a target="_blank" rel="noopener noreferrer nofollow" href="https://shed030.bandcamp.com/album/rave-echoes">https://shed030.bandcamp.com/album/rave-echoes</a>what to say about shed? the renowned producer, known also for his work under aliases WAX and Hoover1 among others, delivers an LP of his trademark sound. it's a hard sound to define, at once archetypal, referential, and completely his own. across his aliases there's a solidity to his productions. a tangible quality, a sense of shape, material, form and texture in space. sculptural, heavy, but gentle, warm and enveloping. the tracks on the LP twist familiar forms, pushing them just beyond instant recognition into a kind of hazy dream world. his palette is familiar, if a bit misshapen, drawing from classic sounds to deliver his vision of rave euphoria. soft but always heavy. a real master at the peak of his powers. restrained and highly potent.&nbsp;<hr>digitalism - optimism<a target="_blank" rel="noopener noreferrer nofollow" href="https://digitalism.bandcamp.com/album/optimism">https://digitalism.bandcamp.com/album/optimism</a>if you're not a fan of digitalism's debut idealism, i don’t know if this will be worth your while but as a longtime lover of the german duo this return to form is irresistible. after many years mired in unconvincing edm, they return to a post rock inspired palette delivering euphoric electroclash. it’s a bit corny at times, but totally them with an unpolished untemplated quality that takes me right back to the late 00s. there’s no pogo here, no perfect gem, but the whole feels like a warm embrace from old friends.&nbsp; i think that's all for now. love you &lt;3&nbsp;

cfcf, imaginary softwoods, shed, digitalism

euth's weekly download - mid june 2026

hey gang. here's some music for your inbox. if you like the newsletter tell a friend. in this edition we have k wata, kim petras, anthony rother, jonáš gruska, &amp; curtiss maldoon. experimenting with image links also. let’s see if your email client mangles them. <a target="_blank" rel="noopener noreferrer nofollow" href="https://buttondown.com/euthlogo/archive/euths-weekly-download-june-9-2026/">web link</a> in case of mangling.{{ subscribe_form }}<hr>k wata - give u space (2026)<a target="_blank" rel="noopener noreferrer nofollow" href="https://kwata.bandcamp.com/album/give-u-space">https://kwata.bandcamp.com/album/give-u-space</a>new lp from e wata member k wata purpose built for hazy mornings and late nights. reminds me a bit of rod modell in terms of atmosphere but with woozy dubby trapish beats underneath. quite a distinctive headspace. isolated, stark, vast, a bit paranoid, creeping. not at all unpleasant though. coming home spun to an empty house at 4am, one lamp lit in the corner, incense smoke curling in dead air, staring at the ceiling. there's a track in the middle, 'whisper dub' that's a bit out of place, throwing off the atmosphere and breaking the spell a bit, but afterwards the album gets back to its contemplative hum.not over the moon about this one tbh. i could see it growing on me. i already wrote all this and everyone seems hype on it, so you may as well check it out.&nbsp; idk why everyone’s calling it dub techno. there's nothing techno about it. it's basically dubstep, or dubbed out rap beats. i asked the pitchfork guy why he said it's 'rooted in classic dub techno' on twitter but he never responded. maybe it’s actually IDM. it's gotta be related to stuff by german guys and not the stuff from jamaica or houston.&nbsp; because i’m smart and i like it. anyways.&nbsp;<hr>kim petras - detour (2026)<figure><a href="https://youtube.com/playlist?list=PLlNDMqtCvrc7ZLM-y8coih-wbxzhKW-2s&amp;si=EZPsHDySEH19Mm_s" target="_blank" rel="noopener noreferrer"><img src="https://assets.buttondown.email/images/8c739291-a58c-4be2-9602-52b96064d320.png?w=960&amp;fit=max" width="300" draggable="false"></a><figcaption></figcaption></figure>hell yeah. petras' first mostly frost children produced album has arrived and it’s so much fun. if you're not familiar with the producers of the future, frost children have made a quick and compelling case that they are the best in the biz with back to back LPs Speed Run and Hearth Room acting as a showcase for their broad utility in the pop music machine. follow up Sister set the template for the current wave of what im calling turbopop, alongside ninajirachi. petras seems to have claimed them as the a g cook to her xcx, with their production appearing on eight of the album's 13 tracks.&nbsp;the album is just about everything i want from this kind of pop. loud, dumb, fun, with surprises around every corner. the tracks have a knack for the third act switch up, with some genre flip or melodic element materializing just when you start to hunger for something new. the album flirts with many shades of 00s/10s revivalism, with sonic references spanning dubstep, timbaland, xcx, gaga, flo rida, katy perry, and a bunch of blogged out buzz each with enough invention to progress the sound. need for speed in particular feels like an intentional mash of gaga and charli, including an a g cook impression in the third act.&nbsp;there’s some flashy groundbreaking production featured, real avant stuff, but it never takes center stage which i appreciate. the more i listen the more i ride for it. pop generally is resistant to dissection, likely to die on the table, but there is an element throughout here worth talking through a bit. this crunched quality, a deep friedness. it sounds cheap, bootlegged, limewired, cheaply manufactured. knowing the producers involved this quality was precision engineered, and it has the intended effect giving the music an illicit vitality. it probably also sounds good on a phone speaker.&nbsp;speaking of illicit vitality, i discovered something funny. the bandcamp release, which i was surprised even existed, is totally wrong, with live versions, remixes, and even a 1981 instrumental synth track mislabeled as the album’s tracks. i have to assume this is an intentional reference to downloading albums on limewire in the 00s, and getting some random assortment of tracks. i can't even imagine how this would happen accidentally. i’ve never seen anything like it, check it out while it's still up. (mislabeled version)<a target="_blank" rel="noopener noreferrer nofollow" href="https://kimpetrassongs.bandcamp.com/album/detour">https://kimpetrassongs.bandcamp.com/album/detour</a>damn it the more i listen to this album the more i like it. i dont wanna stan kim petras... ugh<hr>anthony rother - popkiller (2004)<a target="_blank" rel="noopener noreferrer nofollow" href="https://anthonyrother.bandcamp.com/album/popkiller">https://anthonyrother.bandcamp.com/album/popkiller</a>unreal. this 2004 record from the electro/clash icon came to my awareness when someone in a track id thread mentioned his track 'father', featured on this album. i went to check it out, and when i saw 2004 and that neon green cover i was already salivating. this album is useful in understanding the connective tissue between the int'l deejay gigolo brand of electroclash of the late 90s and the blog wave that followed soon after. throughout the album, templates for digitalism, boys noize, mstrkrft, tiga, lcd, calvin harris flow freely. electro pop on a 4x4 kick, with simple buzzy synths. not dance tracks with token vocals so much as pop songs boiled down and reduced. 'father' is a standout, using minimal tools to wring out more emotion than most of the lush, intricate, symphonic productions scattered across my usbs. 10,000 is another highlight, and i think Punks may be a pretty direct inspiration for LCD's 'daft punk is playing at my house.' the album is skipless. highly recommend.&nbsp;some extra electroclash listening if you are interested - <a target="_blank" rel="noopener noreferrer nofollow" href="https://youtu.be/Xp80hcZB0uY?si=WoKQvtQG8-1fNwRW">intl deejay gigolo comps</a> (link to the first of the five cds that comprise the boxset, they are all easy to find) <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.youtube.com/watch?v=T52YCpOWlj0">dj hell presents acid rocks</a><hr>jonáš gruska - juggler (2026)<figure><a href="https://jonasgruska.bandcamp.com/album/juggler" target="_blank" rel="noopener noreferrer"><img src="https://assets.buttondown.email/images/193bef0b-3874-4b9e-81bf-874cee31ee07.jpg?w=960&amp;fit=max" width="600" draggable="false"></a><figcaption></figcaption></figure><a target="_blank" rel="noopener noreferrer nofollow" href="https://jonasgruska.bandcamp.com/album/juggler">https://jonasgruska.bandcamp.com/album/juggler</a>this hit my grid when daniel swan shared the gorgeous cd he designed for it, which was irresistible. it's put out by a field recordings company (making and selling contact mics and stuff), featuring its founder's field recording of a pachinko parlor in akihabara: a rarity as recording in these spaces is prohibited. i listened to the 11+mins in the car, and was completely captivated, levitated, transcending. totally enrapturing, all encompassing noise bath with emergent harmonies, melodies, motifs. absolute magic. one of the best experiences i've had listening to anything in a long time.&nbsp;also included are interpretations of the piece by some of his friends. also compelling, but maybe a lot to ask. please give the title track a try with headphones, or in the car. some kind of stereo environment. don't be fooled by my speechlessness, i can't recommend it enough.&nbsp;<hr>la priest - into the sky (2026)<a target="_blank" rel="noopener noreferrer nofollow" href="https://lapriest.bandcamp.com/album/into-the-sky">https://lapriest.bandcamp.com/album/into-the-sky</a>one of the world's greatest musicians returns with an uncharacteristically boisterous single. coprod with alex ridha (boys noize), the speedy dance pop number bounces and wiggles; the maestro's custom designed, soldered, wrangled electronics bursting with life, threatening to fall apart. i may get into this in more depth later on but LA Priest, UK born founder of band Late of the Pier, is just unbelievable. go check out Inji, Gene, and Fase Luna. Fase Luna is probably the best. there's also Connan Mockasin collab Soft Hair (come back connan). he makes and produces drum machines and synthesizers from his home in Costa Rica, and occasionally blesses the world with music. the single rips and is a great opportunity to listen to everything he's ever done. barely two minutes with more resonance than most LPs. also check out those synths. they are nuts. you can buy them and then make crazy music also.<hr>curtiss maldoon - sepheryn (1971)<figure><a href="https://youtu.be/BlTjjUCOG0Y?si=PryongKcqRlV65ot" target="_blank" rel="noopener noreferrer"><img src="https://assets.buttondown.email/images/5f37ac08-7f44-4d71-a2db-065bbc630036.png?w=960&amp;fit=max" width="596" draggable="false"></a><figcaption></figcaption></figure>i'm kind of sick of sample ID type stuff which is a shame because i used to really love it (still get a kick out of labi siffre - i got the...). the last decade of sample sources on playlists at hotels cafes and restaurants probably killed it for me. anyways i'm pushing through all that to talk about how fucking sick what madonna did with sepheryn is.&nbsp;sepheryn was released on english folk duo curtiss maldoon's self titled 1971 debut, buried pretty deep. it's a dynamic folk song with dramatic shifts in energy and mood. madonna lifted the lyrics, parts of the melody, but most of all the mystical sensation from the song for her smash hit single 'Ray of Light'. i'm not aware of a comparable act of musical adaptation. the way she took the raw, magical essence of this deeply buried track, cut, polished, framed, and presented it to the world, preserving every bit of the original's sentiment, while transforming nearly everything about it. it's a miracle. ray of light is the better song, but there's something so heartbreaking and pure about the way the material was presented originally. i could get really sentimental about how this message was channeled, ignored, discovered, and elevated to the highest status music can reach. how these ancillary deep trippers carefully delivered such profound beauty from the source to the whole world, through means totally outside of their control. it's the raw essence of what music can be, what it can do. the lyrics, the melodies, the sentiment packed into them. it was a spell still working its magic on dance floors all around the world. especially this month. i could cry.&nbsp;<hr>i guess that's enough for now. i think you can respond directly to this email if you want. i'd love that. for one thing i'd find out if that actually works but then also we'd get to talk about music or whatever. pretty sweet. i feel like i owe you a perfect morning coffee evening reading perfumed air album. i think i’ll talk about this one next week but here it is if you need it now. <a target="_blank" rel="noopener noreferrer nofollow" href="https://imaginarysoftwoods.bandcamp.com/album/center-for-tactical-magic">https://imaginarysoftwoods.bandcamp.com/album/center-for-tactical-magic</a>what case do you think i should use? lowercase still has some counter cultural vitality (counter substack really) but i get that it may be harder to read.&nbsp;sound off. if anyone's on plex it would be trivial for me to give you access to my music server. that might be fun. help kick the spotify habit. &nbsp;alright love you bye.

k wata, kim petra, anthony rother, jonas gruska, curtiss maldoon

euth's weekly download - june 9 2026

for the second edition we have the femcels, jean-luc eldenwood, boards of canada, tiga, helllhound, a goa comp and the solo debut from total blue synthesist anthony calonico. mostly chill with a couple blasts of wildness. feel free to skip the boc blurb, i had more to process than i thought. also it's tuesday, which is what i’m gonna try to stick with. i'm still figuring out some formatting stuff so here's a <a target="_blank" rel="noopener noreferrer nofollow" href="https://buttondown.com/euthlogo/archive/euths-weekly-download-early-june-2026/">link to the web version</a> that might work a little nicer. thanks for reading, hope you find something to love. {{ subscribe_form }}<hr>femcels - i have to get hotter (2026)<a target="_blank" rel="noopener noreferrer nofollow" href="https://thefemcels.bandcamp.com/album/i-have-to-get-hotter">https://thefemcels.bandcamp.com/album/i-have-to-get-hotter</a>what a blast of fresh air. spirit of 2006 in full effect, making me feel things i haven’t felt since the heyday of dan deacon, the go team, late of the pier. 'earnest' is approaching meaninglessness, but it's hard to avoid the descriptor here. there is a specific flavor of earnestness in this record that i hear also in charli's new music (maybe i’ll save that for next week). an unvarnished view into their thoughts and feelings in real time, no matter how inane, irrelevant, vain, silly, self absorbed. sharing these thoughts and feelings unfiltered achieves a vulnerability and a closeness usually reserved only for best friends at 3am, and validates the garbage we have running through our heads all the time. its easier to talk about the lyrics and the spoken word, but the music communicates the same thing. high energy, bursting with emotion, excited, novel, upbeat and angsty, fun, rough around the edges, a little punky, blown out, diy. one of a very few albums that hits the delirious highs of peak dan deacon. it loses a bit of steam as it goes on, but as a whole is one of the strongest debuts in recent memory, from the most exciting band i’ve come across in ages. i’ve had it on repeat for months. can't recommend enough for whenever and wherever you need to freak out.&nbsp;<hr>jean-luc eldenwood - the beach&nbsp;(2026)<a target="_blank" rel="noopener noreferrer nofollow" href="https://jean-luceldenwood.bandcamp.com/album/the-beach">https://jean-luceldenwood.bandcamp.com/album/the-beach</a>a breathtaking debut from l.a. singer songwriter jean-luc eldenwood. this lp, produced by the inimitable jonathan rado, is the latest album to evoke the magic of the singer songwriters of another era, a once blockbuster artform that has been mostly relegated to retro revivalism. this is something slightly different, picking up where the genre left off rather than rehashing its precise contours. jean-luc's voice is incredible; expressive, and impressive at once. a crystal clear channel for the sensations he wants to communicate. the songs are crafted with care, their structures accenting their contents, evoking scenes, times, and spaces with ease. the songs explore sense memory, relationship, specific moments. in total, the album presents a life lived in los angeles, careening through his thirty some years with a tossed off ease. it captures the experience of the particular charms of life in this city in a way i have rarely heard elsewhere. his capacity for storytelling and evoking place is rare, and deployed to great effect. the music also sounds incredible, the arrangements lush and gentle, airy, fragrant. favorites include 'summer call', breezy and dripping with the potential of early summer, and 'tilted' whose showstopping chorus has the instant familiarity of a lost standard. highly recommended for any kind of soiree, cocktail hour, or contemplative evening.&nbsp;<hr>boards of canada - inferno (2026)<a target="_blank" rel="noopener noreferrer nofollow" href="https://boardsofcanada.bandcamp.com/album/inferno">https://boardsofcanada.bandcamp.com/album/inferno</a>lets get into it. first new boc in 13 years. its good, you should listen.&nbsp;from their very first releases circa 95, working in a fairly recent genre, their music already felt half remembered, long forgotten, dug up from another time. that capacity to conjure nostalgia out of thin air is double edged, at once creating an unearned emotional resonance, and burdening the music with a total disconnection from its own reality.&nbsp;as time has gone on, i have found it difficult to revisit my favorite boc records: music has the right to children, campfire headphase, twoism. what once read as psychedelic and boundary pushing now reads as safe, campy. spotify playlist fodder, or a relic of another era of psychedelic chill out if i’m feeling generous. tomorrow's harvest, their previous record from 2013, is something else entirely. maybe their best work, it inhabits its own space. free from sonic references, music scenes, vocal snippets, and the baggage that comes with them.now, 13 years later, boc have returned. heralded by a mysterious VHS mailed to fans, already the release was dripping in the trademark retro pastiche that was notably absent from the previous album cycle. the video, album art, &amp; poster campaign all featured retro textures, distorted faces. a perfect blend of the visual worlds of MHTRTC, geogaddi, and the campfire headphase. it was a loud, clear signal that they were revisiting the themes of their earlier work.&nbsp;the album is out now and i’ve listened to it a few times. its hard for me to avoid the conclusion that boc share my struggles with their older material. as the music landscape has shifted, the meaning of chill breakbeats has changed with it, coming to signify an almost nonmusic: totally transparent, backgrounded, potentially ai gen. nevertheless, across the 67 mins of Inferno they bear down on the habits of their younger selves, painstakingly recreating the palette of snappy breaks, woozy synths, and evocative melodies they explored for the ten years from 1995-2005. the exercise calls to mind something like synechdoche new york, gus van sant’s psycho, or nathan fielder's the rehearsal. at a moment totally flooded with surface level nostalgia, cheap recreations, moodboards of moodboards of rehashes, this deeply layered reckoning with the past is especially profound.&nbsp;picturing these two recluses taking the time to dig into their own history, investigating what animated them, salvaging what still feels vital, and representing it to a world that has changed under their feet, is deeply moving, and the core of what i get from inferno. they successfully repair what was broken in their old music. i will now turn to inferno whenever i want this flavor of boc. tracks like 'the word becomes flesh' and 'blood in the labyrinth' are among their very best, and are rinsed of the goofy moments i now bump on with their older LPs.&nbsp;the album reminds me of returning to places i have gone to for years. an old burger stand i visited at 8, 18, 28, soon 38, the full moon gathering i go to a half dozen times per year, the record store that's been selling me bargain singles since i was 12. places that are static enough that i can use a visit to feel how i have changed, how i am changing. on inferno, boc revisit an old sound, but as new people in a new world. that they managed to restore it, to make it resonate again is a triumph. thanks boc. highly recommended for all purposes.&nbsp;<hr>helllhound - here in the valley (2026)<a target="_blank" rel="noopener noreferrer nofollow" href="https://ctatsu.bandcamp.com/album/here-in-the-valley">https://ctatsu.bandcamp.com/album/here-in-the-valley</a>wedded lovers and recent parents nailah hunter and cadmar fitzhugh have released their collaborative debut as helllhound; a short album of lush, gentle, beguiling music that couldn't be better suited to your morning coffee — ideally outdoors on a misty morning as the world wakes up, and the critters in the idyllic valley begin to stir. if you are stuck in a dim apartment, fear not. the music will transport you, enveloping with a mystical warmth. over the course of the album’s nine tracks, a surreal fantasy dissolves into a terrestrial reality. this sonic grounding ritual pairs beautifully with waking up, calling the spirit back into the body from its nightly adventures. there’s a heartbreaking tenderness throughout, laced with melancholy, connection, and understanding. a beautiful, timeless record. highly recommended for all gentle purposes.&nbsp;<hr>tiga - hotlife (2026)<a target="_blank" rel="noopener noreferrer nofollow" href="https://tiga.bandcamp.com/album/hotlife-2">https://tiga.bandcamp.com/album/hotlife-2</a>tiga is back in a major way. his new LP HOTLIFE, produced mostly with priori and patrick holland (jump source), featuring boys noize, maara &amp; fcukers, puts the goa bred canadian rave avatar back on top with an LP of 80s inflected talky pop club workouts. leading off is HOTWIFE, a boys noize featuring yello referencing opener which sets the tone for tiga’s straight faced ridiculousness, with surprising dancefloor heft. the track hints at the roots of goa trance, the world in which tiga was raised by his hippie parents, and which i'm going to get into more in the next blurb. highlights include MRD featuring IAMWHATIAM, fcukers featuring SILK SCARF, recalling the sartorial preoccupation of previous smash hit Shoes, I AM YOUR DETROIT SUNRISE, which is well suited to its namesake setting, club monster CHERRY, and unearthed 80s cult classic ECSTASY SURROUNDS ME, which has timeless anthem potential. more broadly, tiga is one of the most important DJs of the 21st century, connecting 80s pop, 90s rave, 00s electroclash, 10s tech house, and now&nbsp;20s pangenre rave revivalism. his Last Night on Earth podcast was one of the best documents of the modern era of clublife (if you listen to two episodes make them <a target="_blank" rel="noopener noreferrer nofollow" href="https://soundcloud.com/tiga/first-last-party-on-earth-09-erol-alkan-1?in=felixdahouseboat/sets/podcasts-interviews">Erol Alkan</a> and <a target="_blank" rel="noopener noreferrer nofollow" href="https://soundcloud.com/tiga/firstlast-party-on-earth-07-four-tet">Four Tet</a>). this LP stands among his best, and is playable for just about any dancefloor loving audience. recommended for all your dance music needs.&nbsp;<hr>kicking dust: the goa way - a full circle compilation&nbsp;(2024)<a target="_blank" rel="noopener noreferrer nofollow" href="https://fullcirclereleased.bandcamp.com/album/kicking-dust-the-goa-way-a-full-circle-compilation">https://fullcirclereleased.bandcamp.com/album/kicking-dust-the-goa-way-a-full-circle-compilation</a>finally, there's a comp i can point people to when i want to blather about the true roots of goa and psy trance. the now crystalized sound characterised by squelchy 16th note basslines and cheesy fx started in the indian seaside tropical hippie mecca known for its nonstop beach parties and lsd infused lifestyle. in the 80s, as mdma started to work its way into the previously acid fueled culture, the local DJs were digging deep for dance music to satisfy the throngs of seasoned psychonauts with a new appetite for repetitive beats, searching through ebm, industrial, disco, new wave and beyond for a certain palette: squelchy synths, psychoacoustic effects, delays, echoes, twinkly arps, lush pads; all the building blocks of what would come to be known as trance music. in time the djs started producing their own tracks, and the 'goa sound' became its own thing, which is worthy of its own investigation but this comp gathers some of the gems from that source material. skipping some of the obvious pop hits that were in heavy rotation (yello - oh yeah and frankie goes to hollywood - relax, notably), this comp drops you on anjuna beach at sunrise circa 1988 and lets you feel the roots for yourself. if you want more, check out <a target="_blank" rel="noopener noreferrer nofollow" href="https://youtu.be/g34Rjl7g9Vs?si=8HxVMjWdkscfNpzJ">celestial object on youtube</a>. for your time traveling needs, essential.&nbsp;<hr>anthony calonico - spacious heart&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="https://music-from-memory.bandcamp.com/album/spacious-heart">https://music-from-memory.bandcamp.com/album/spacious-heart</a>the debut LP from anthony calonico finds the total blue synthesist exploring the kind of gentle jazz for which label music from memory has become renowned. lovely, rich, and enveloping, the record serves its primary role as DLC for Total Blue enthusiasts whose copy of the eponymous debut has started to wear thin, and scratches the itch for more from the same well of vaporwave informed smooth jazz (complimentary). unlike total blue however, are the vocal tracks which find a raw and vulnerable calonico recontextualising the instrumentation, pushing into a space that recalls the cds at starbucks in the early 00s. the adult contemporary stylings force a partially irony poisoned fanbase to confront the source of a sound that can sometimes be mistaken for tongue in cheek pastiche, cementing the group and calonico in particular as bona fide practicioners of the marginalized artform. as an aside, at a theo parrish open to close dj set i mistook calonico for john tejada, and said hello only for him to reveal himself as the total blue guy. i must have crossed wires from staring at him on stage with total blue at the lodge room, and assuming tejada, the la based tech house icon, was more likely to attend theo parrish. they do have a similar aspect. embarrassment aside, calonico's presence confirmed him to be a real one, and now hearing his debut, he and theo share a love of earnest virtuosic musicianship that isn't afraid to border on sap. recommended for your mornings, evenings, solitary walks, &amp; contemplation.<hr>really enjoying doing this. it’s so much better than posting. send to a friend &lt;3

euth's weekly download - early june 2026

the first weekly download, your alternative to algorithmic recommendation by yours truly euth. new to me music, stuff i've had on repeat, or stuff i just want to talk about. the format, timing, and everything else about this newsletter is likely to wiggle and shift as time goes on but thanks for reading. i'll respect your inbox <3 

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gupi - ever since (2026)

now this is what i'm talking about. gupi has long been one of the best musicians working, but their music has been (imo) pointedly inaccessible, with enough zoomercore hyperpop to scare away the chinstrokers and enough idm breakcoreism to dodge getting played at the furry rave. no longer. gupi here has put out a precision cut gem of turbopop perfection, scratching all the itches and layering in some meaning for good measure. a highlight is 'kiss me thru the phone' cover/remix '360 900', which has been on repeat for me. another is 'gaia', which finds spencer hawk interfacing with hippie adjacent spirituality in a way i find deeply moving, and broadly lacking from the contemporary music landscape in general and hyperpop adjacent material in particular. whole album is excellent, gupi finally figured it out. pushes boundaries of creative distortion, with plenty of production tricks packed into a shiny bouncy package. check out the other albums too. some of the best music of the last decade. 'i am hot as fuck there is no stopping me' is the energy we need. recommended for your happy hardcore sugar rush mindfuck needs.

<iframe style="border: 0; width: 400px; height: 472px;" src="https://bandcamp.com/EmbeddedPlayer/album=1255326162/size=large/bgcol=ffffff/linkcol=0687f5/artwork=small/transparent=true/" seamless><a href="https://gupi.bandcamp.com/album/ever-since">ever since by gupi</a></iframe>

matthewdavid - rare music (2026)

wow. matthewdavid makes a triumphant return to mind bending beats here with this compilation of b sides, remixes, collabs, and unreleased material. he took the time to finesse the transitions, morphing a bundle of tracks into a cohesive reflection on the history of beat music in los angeles, particularly the music surrounding low end theory. we got a tease with 'uncleared', which skewed a bit more chill and lofi, but 'rare music' is is the genuine article. this is one of a very few albums that sound like low end theory felt (another being daedelus' 'labyrinths'). the beats breathe and bend, sometimes break, but always reform, undulating on the periphery. boundary pushing in a way i rarely hear. essential.

<iframe style="border: 0; width: 400px; height: 472px;" src="https://bandcamp.com/EmbeddedPlayer/album=1490149973/size=large/bgcol=ffffff/linkcol=0687f5/artwork=small/transparent=true/" seamless><a href="https://matthewdavidmcq.bandcamp.com/album/rare-music">Rare Music by Matthewdavid</a></iframe>

hekt - forever (2026)

i've struggled to get into hekt before, but here the abrasive dance meister has channeled his impressive production abilities and mastery of grating sonics in service of trance pop pleasure in the LP format. where previously the queasy metallic timbres prevented me from accessing the music, here they lace the sugary trance pop with menace, providing a counterpoint often lacking in similar material. like the lingering burn of alcohol in a tiki drink, the pervasive wrongness is what makes the package work. the whole lp plays beautifully, but highlights include deviations from the formula 'beautiful', a fidget adjacent club track, and 'but i can't really show you', which explores the intersection of trance and dubstep. 'up in the air, so' may be the best representative of the gestalt of the album, where uncanny valley sonics offset the sugar rush of the material, calling attention to the excellent production and lending it extra depth. not an easy album to talk about. like cotton candy made of razor blades. highly recommended for dedicated listening, or a private dance session.

<iframe style="border: 0; width: 400px; height: 472px;" src="https://bandcamp.com/EmbeddedPlayer/album=2369449373/size=large/bgcol=ffffff/linkcol=0687f5/artwork=small/transparent=true/" seamless><a href="https://hektttt.bandcamp.com/album/forever">Forever by Hekt</a></iframe>

bladee - sulfur surfer (2026)

 i've always been amused by bladee, but in recent years i got more into the music. cold visions was really excellent, evocative and immersive, and that was what got me to finally buy into the broader draingang ecosystem. Sulfur Surfer is really good, if a bit underwhelming. it conjures a heady medieval mystical spiritual atmosphere off the top, and sustains it throughout. beats are a bit subdued, though excellent, and while the highs are not as high as on Cold Visions, the sustained vibe is better and i think i'll be turning to this one a lot in the coming months for car type purposes. also the fit bladee is wearing in the durin's bane video is insane. very exciting. recommended for your hanging out music needs.

<a href="https://www.youtube.com/playlist?list=OLAK5uy_lDndxqrdt6LoD5gy9GHQXhM3RpuRrnuOQ">▶ Listen on YouTube</a>

full body 2 - infinity signature (2023) / 2020initialsequence2022 (2022)

i came across their first album on my server, which i had forgotten to listen to. i finally did, was blown away, and then downloaded infinity signature and listened to that. unreal stuff. what an act. shoegaze with breakcore influences gets you in the area, but doesn't convey how masterful these records are. heavy, evocative, moving, everything you want from music. infinity signature is particularly triumphant, pushing into a space i can only compare to 'fuck buttons', but a bit gentler and more listenable. one of very few acts in this space operating on the same level as 'draag'. going to be on repeat for a while.

<iframe style="border: 0; width: 400px; height: 340px;" src="https://bandcamp.com/EmbeddedPlayer/album=2881174452/size=large/bgcol=ffffff/linkcol=0687f5/artwork=small/transparent=true/" seamless><a href="https://fullbody2.bandcamp.com/album/infinity-signature">infinity signature by full body 2</a></iframe>

dreamtrak - dreamtrak (2020)

i threw this 2020 album on my server recently and gave it a fresh listen. really great stuff. vague pc music affiliate dreamtrak (simon whybray did the art, a g cook remixed one of his tracks in 2014), presents an LP of euphoric dance music with a barely legible wink. listening again, the 'wink' is harder to feel than ever. at the time of its release, the very act of seriously engaging with these sounds - trance, breaks, ukg, progressive house - was in itself a bit provocative, but now these sounds grace the biggest stages at just about every festival worldwide. if you indulge my projection a bit, there is still a barrier felt between this exploration of the material and the 'real stuff'. i.e. club singles put out by journeyman producers, and that barely perceptible gap excites me. it was always the appeal of pc music and their affiliates, and as the overton window on credible dance music expression widens it gets harder to find material that pokes at the barrier between the credible, the popular, and the avant garde. highlights include trance arp bonanza 'The Funnel' and glistening club track 'On Ice'. recommended for intentional listening.

<iframe style="border: 0; width: 400px; height: 472px;" src="https://bandcamp.com/EmbeddedPlayer/album=2527654259/size=large/bgcol=ffffff/linkcol=0687f5/artwork=small/transparent=true/" seamless><a href="https://dreamtrak.bandcamp.com/album/dreamtrak">DREAMTRAK by DREAMTRAK</a></iframe>

e-talking - new yesterday (2025)

digging on bc for an upcoming set i came across this label, e-talking's 'nummer music' which led me to his latest release on the label. i find myself looking for stuff at the intersection of progressive house, techno, club, and bass music and this release threads the needle expertly for my taste. imbued with the psychedelic undulations of prog, but a bit more credible, a bit less goofy, and without some of the pyrotechnics that can interfere with momentum on the dancefloor. alex kassian is doing something similar with his productions. bringing the heady psychedelia of the genre down to earth a bit, luring more dancers into its pulse. highly recommend.

<iframe style="border: 0; width: 400px; height: 241px;" src="https://bandcamp.com/EmbeddedPlayer/album=2770910744/size=large/bgcol=ffffff/linkcol=0687f5/artwork=small/transparent=true/" seamless><a href="https://nummermusic.bandcamp.com/album/new-yesterday">New Yesterday by E-Talking</a></iframe>

the rapture (2003/2011)

for some reason the rapture hit one of my feeds (i think they are playing gigs in nyc again? or djing?) and i went back and listened to 'in the grace of your love' which i checked out at the time of its release, and 'echoes' which i had totally missed. wow. what a band. 'echoes' sells a type of cool hipster nyc lifestyle that i imagine was key to that lifestyle coming into being. totally irresistible, powerful music.

<iframe style="border: 0; width: 400px; height: 472px;" src="https://bandcamp.com/EmbeddedPlayer/album=2346686681/size=large/bgcol=ffffff/linkcol=0687f5/artwork=small/transparent=true/" seamless><a href="https://therapturemusic.bandcamp.com/album/echoes">Echoes by The Rapture</a></iframe>

lilys - the 3 way (1999)

this hit my bsky feed for some reason, and as a lilys fan i wanted to check it out. what a record. totally different than the two releases i was familiar with 'eccsame the photon band' and 'in the presence of nothing', the 3 way connects elephant 6 acts 'of montreal' and 'the apples in stereo' to the shoegaze scene of the early 90s (guitarist kurt heasley notably appears on the apples 'fun trick noisemaker'). phenomenal songwriting with a psychedelic retro palette. recommended for car type listening, chores, psychedelic drugs, things of that nature (it was gangbusters for washing my car).

<a href="https://www.youtube.com/playlist?list=PLOJWuc3CN303NCSavTHEPc2R_JREBHr9Y">▶ Listen on YouTube</a>

i could go on but i'll save some material for next week. thanks for being here. weather is insanely gorgeous in LA right now. big skies, cool breeze, sunshine. love you.

euth's weekly download - late june 2026

euth's weekly download - mid june 2026

euth's weekly download - june 9 2026

euth's weekly download - early june 2026

late may 2026