what's up music lovers? it’s so freaking hot. even at night. i think i can rustle up a few recs for you, bear with me.&nbsp;{{ subscribe_form }}<hr>tomu katsurada and jonny nash - At the Emerald Pool&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="https://tomokatsuradaandjonnynash.bandcamp.com/album/at-the-emerald-pool">https://tomokatsuradaandjonnynash.bandcamp.com/album/at-the-emerald-pool</a>pure magic from the dutch duo. if you aren't familiar with jonny nash, his pair of gentle guitar LPs <a target="_blank" rel="noopener noreferrer nofollow" href="https://jonnynash.bandcamp.com/album/point-of-entry">point of entry</a> (2023) and <a target="_blank" rel="noopener noreferrer nofollow" href="https://jonnynash.bandcamp.com/album/once-was-ours-forever">once was ours forever</a> (2025) are among the finest mellow records in my collection; both in heavy rotation usually played one after the other. immaculate healing music. here he is joined by tomo katsurada, formerly of kikagaku moyo. together, they push the gentle soothing guitar palette of nash's previous work just a bit further, still as all embracing and warm but with more diverse terrain. if the previous pair of LPs is a glide above infinite grassy plains, this one is a cruise through a dense jungle, serene but full of wonders.&nbsp; whatever it takes to get you to press play. just wonderful music.&nbsp;<hr>detente - 2006&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="https://moimemedetente.bandcamp.com/album/2006">https://moimemedetente.bandcamp.com/album/2006</a>i guess we're doing gentle guitar today. what to say about detente. the french producer is a bit hard to pin down. here we have a collection of heart aching instrumental guitar. the style owes to emo, the intricate kind, and it’s not far off from hearing a skilled guitarist noodling in the other room but like on his previous album 'ghosts', every single moment is bursting with emotion, and mostly the same teary melancholy. do check out <a target="_blank" rel="noopener noreferrer nofollow" href="https://moimemedetente.bandcamp.com/album/ghosts">ghosts</a>. a fantastic record with a bit of a more diverse palette. see also the scattershot remixes of the project, including a recent EP that stretches the gentle tracks into mid 90s styled jungle tunes. a thrilling artist to follow, and he doesn't disappoint here.&nbsp; <hr>pugilist - found sound<a target="_blank" rel="noopener noreferrer nofollow" href="http://pugilist.bandcamp.com/album/found-sound">pugilist.bandcamp.com/album/found-sound</a>lovely debut LP from pugilist. i had always respected pugilist, but his output was usually a bit too dry, a bit too heady, a bit too sound design to slot into my sets or even my regular listening. i put off listening to this album for a while, assuming it'd be too self serious, too dull, but instead he has put together a lovely undulating collection of tracks drawing from various corners of mid 90s early 00s electronica. it plays a bit like a mixtape, with different tones and textures poking out. a bit jazzy at times, a gentle sprinkling of vintage cheese, but always with heavy bass and exotic atmospheres. highly recommend.<hr>there’s a few for you. say hi if you enjoyed ;)

euth rustles up the gentle guitar music of jonny nash, tomu katsurada, and detente, alongside the airy dub of pugilist in this blockbuster edition of the weekly download

euth's weekly download - late august 2026

hello ladies and germs. euth is back with another weekly download for your discerning musical palette. little extra fuel for soaking up the last drops of summer.{{ subscribe_form }}<hr>gi gi - in lieu&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="https://gi-gi.bandcamp.com/album/in-lieu">https://gi-gi.bandcamp.com/album/in-lieu</a>let's start with a real gem. i'm not going to pretend i have any context for gi gi, or this album. seems to be a guy from texas who has been producing for a little while. the record is incredible, sitting comfortably among other downtempo chill but with a unique approach. the sounds don't behave in exactly the way you'd expect, the rhythms and timbres poking out and flowing in unexpected ways. it's soft and warm, kind of squishy. one of my favorite kinds of records. you can put it on in just about any situation and it'll be recognizable enough to put the listeners at ease but there's a creeping strangeness that makes itself known as the record goes on. just wonderful, going right into heavy rotation.&nbsp;<hr>topdown dialectic - false lp a<a target="_blank" rel="noopener noreferrer nofollow" href="https://falsearalia.bandcamp.com/album/false-lp-a-topdown-dialectic">https://falsearalia.bandcamp.com/album/false-lp-a-topdown-dialectic</a>i was trying to get around talking about this one but it's just undeniable. across 16 tracks, each exactly five minutes long, topdown dialectic lures you into a chamber of (forgive me) idm tinged ambient dub. now these days i mostly use idm derogatorily, but its contours are employed well here; its sharp edges and insistent quirks drowned in a sweltering cavern, softened and squished, struggling to remain intact, to make its form known through the murk. it might take a minute to sink into this one, and i might even advise skipping the first track to get into the haze a little quicker. each track being the same length somehow conjures the sensation of exploring a series of rooms, in this case, caverns deep in some underground maze, each uniquely equipped, some with modern furnishings, some just simmering bogs, one has a crystalline lattice suspended from the ceiling. i might even say there is a backrooms-ian quality to the sequential series of spaces: an uncanny artificiality paired with a mystic hum. what i can say for sure though is that it fuels the imagination. i could probably come up with another dozen metaphors for the way this album sounds. vital, essential, stunning. despite the idm. alright did we satisfy the chinstrokers?&nbsp;<hr>exphoria<a target="_blank" rel="noopener noreferrer nofollow" href="https://exphoria.bandcamp.com/album/exphoria">https://exphoria.bandcamp.com/album/exphoria</a>came across this generous comp of one of my favorite genres, which i usually call avant trance (from the hdmirror album of the same name). i might write a bigger thing about this scene, but it has been one of the most vital scenes on the internet for well over a decade now. explorations of experimental trance adjacent music by a diverse array of web producers from around the globe. this comp&nbsp; is one of&nbsp; the strongest i've found, really showcasing the best of the style. comps are where this style happens best in my experience, where (in this case) 33 producers from around the world present a singular vision of euphoria. the style gets bent and twisted into LPs of various kinds, some poppier, some more ambient, dancier, more experimental, more hardcore, but on comps like this, and this comp in particular you feel a global collective reaching towards a vision of euphoria always just out of reach. this one is not only one of the best, but its well sequenced playing like an album or mixtape. can't recommend enough.&nbsp;<hr>ennaria - manifesto<a target="_blank" rel="noopener noreferrer nofollow" href="https://ennaria.bandcamp.com/album/manifesto">https://ennaria.bandcamp.com/album/manifesto</a>this one hit like a lightning bolt. this popped up on my feed and of course the album art drew me in. i was expecting some paint by numbers hyperpop but instead i found maybe the most exciting debut of the year. ennaria presents as rainbow scene girl kawaii plushie kandi overload, with pastel rainbow tchotchkes and stickers seemingly spilling from every pore. the sound is essentially hyperpop, but with clever songwriting and bludgeoning production that effortlessly skates through the sharpest sounds of the last 20 years of dance music (and beyond). her voice is remarkable, shifting between cutesy caricature and convincing metal screamster with unnerving ease. the songwriting is moving, honest, detailing the neuroses and preoccupations of a young woman dealing with body image, relationships, and the perils of aspiring to fame in a niche scene. she doesn't shy away from this so i won't either... when i went to check her IG, i was confronted with some disturbing indications of suffering from an eating disorder. the album deals with this explicitly, ruminating on the risk of imminent death she faces from her condition. the sensation is intense, but its refreshing to hear it confronted so directly rather than left totally unspoken. don't let this distract though. on pure musical merits alone this is one of the strongest debuts in the genres history. the album is mostly produced by tracey brakes, who delivers distorted 808s seemingly encrusted in fine sand, psycho trap,&nbsp; complextro outbursts, some skrillexism, ukg, straight pop, convincing metal, hardstyle of course. the album is a bit uneven, with a couple duds, and a couple tracks that overstay their welcome but the highs are breathtakingly high. i can't help but think this is what something like MCR looks like now. if you have any interest in these styles, this is a must listen.&nbsp;<hr>kaikobad - cascade ep<a target="_blank" rel="noopener noreferrer nofollow" href="https://kaikobad.bandcamp.com/album/cascade-ep">https://kaikobad.bandcamp.com/album/cascade-ep</a>this is a little bonus. i havent done my research but i get the sense this guy popped off of making music for tiktok / reels. he has some ambient and then he has this ep of 2006 style hazy trancey prog. the production is sort of naive, the songs are sort of basic, but both of those things make it more convincingly 2006 than most attempts to recapture the magic of that era. i can't really justify it but i find myself coming back to this ep over and over again, particularly Freshwater and Cascade. im listening again now and, yeah this is the stuff. the ep includes 'slow versions' so you know its real. by the way, some of these acts that are popping out of the reels/tiktok music scene are extremely legit (the other that comes to mind is cult member), so dont get caught sleeping. if you like hazy melancholic mood music some of the masters are in the mines making 30 seconds at a time to be looped slowed and reverbed by billions around the globe.&nbsp;<hr>hope you're doing well. feel free to reply to this email if you are compelled, and tell a friend. or just silently absorb the recs and enjoy the music.&nbsp;love you &lt;3&nbsp;

euth is back with some dubby downtempo, avant trance, and a real gem of hyperpop.

euth's weekly download - mid august 2026

what’s up music lovers. live and direct to your inbox.&nbsp;{{ subscribe_form }}<hr>cut copy - in ghost colours&nbsp;<figure><a href="https://youtube.com/playlist?list=PL7ghKCRa1bE_XAH2-TUwOXAFzBWoOOsMX&amp;si=1erZvVBeCvZ9pYt7" target="_blank" rel="noopener noreferrer"><img src="https://assets.buttondown.email/images/2e56ea2c-2161-4475-b48f-5026391eee43.png?w=960&amp;fit=max" width="450" draggable="false"></a><figcaption>^link to album on youtube</figcaption></figure>get in, we're doing 2008. when this record came out it was one of many good to great explorations of dance pop with the stylings of indie rock. i threw hearts on fire and lights and music on my ipod alongside a bunch of remixes from hypem, remarked on how sick the album art was (i now see it was one of my earlier exposures to my greatest love, video feedback), and filed cut copy away, checking in for new album releases to nod along and go 'this is pretty sweet', adding a few tracks to summer and bbq playlists with each release (great discog, can't go wrong).&nbsp; i've been revisting this album frequently this last year, and increasingly think it may be the best of its era. it not only functions as a generous 15 track 51 minute album of steady dance tracks, though it does that reliably with neither a misstep nor a languid demonstration of their versatility, but also as a deeply stirring collection of songs as warm and touching as the most reserved indie of its time. with hindsight, i can see that its more new order than their contemporaries in, say, hot chip, bloc party, friendly fires. very new order in fact, and i might argue better than any full new order LP (though new order has higher highs). the real triumph though is that it manages all of this while maintaining a sunny uplifting life affirming tone, often laced with melancholy but not leaning on a sense of unease to communicate depth. i think it is that confidence of expression that shines through the most. none of the neurotic hand wringing of lcd soundsystem, nor the ironic sad boy-isms of hot chip (who i love), no need to point out and laugh at the fact they are making dance music.&nbsp; just straightfoward, joyful celebration of dance music in whatever form it takes.&nbsp;it also sounds excellent, the fundamentals of dance music hitting hard enough for the dance floor while still pulsing with that energy only found in live performance of people in a room together. i have heard they are excellent live, by the way, but have not seen them. it's a great summer album, throw it on and enjoy.&nbsp;<hr>charli xcx - music fashion filmhttps://youtu.be/hyEFDYzRYRg?si=UBfZbxvj8cJ0p4qqi'm not going to go long here, because it's kind of a one paragraph or 20 page situation. i like the album. the highs are very high and the lows are also pretty good. i think the best track is playboy bunny, b side to ss26 not on the album itself, followed by yeah, wink wink. i love the way a g and finn approach guitar production, and the tracks are bursting with the joy of experimentation. yeah in particular is thrilling, and feels like the kind of track that would be the impossible to find highlight of an erol alkan set in 2009. ultimately i'm glad we got this album, though i have to say i wish the lyrics weren't so aggressively stupid and obvious. i guess that's the thing she's doing, the statement she is making, but i find it hard to tolerate especially on repeat listens when the novelty has worn off. it honestly feels somewhat disrespectful to the songs themselves. it's in an uncanny valley of stupid, not enough that it crosses over into brilliant (see gfoty 'if i never met you would you still exist', hannah diamond 'staying alive til i die' etc.), but enough to feel stupid listening to it. from a quick scan of her lolla set, it translates well live, and i could see some of the deep cuts growing on me. all in all an effective swerve from brat, and a great way to dodge the post-hit slump. magic metal montana did get me choked up, so sweet. listen go a g cook's - britpop (at least discs 2 and 3), apple, 7g, and the thy slaughter record. maybe finn's electric/acoustic too.<hr>mikkel rev - journey beyond<a target="_blank" rel="noopener noreferrer nofollow" href="https://mikkelrevute.bandcamp.com/album/journey-beyond">https://mikkelrevute.bandcamp.com/album/journey-beyond</a> what to say about mikkel rev. this is his second LP for a strangely isolated place, seemingly his home away from home (ute.rec is his own label, with most of his other releases), and he seems to treat his LPs for them differently than the releases on his own label. this is his second, and like the first it is a refined presentation of his sensibility. sprawling, simmering psychedelic chill with a sharpness i associate with idm and psy. if you know FAX +49-69/450464 records, or pete namlook, it has something in common with that sensibility, if less obtuse. it has an unearthly quality, and is not content to sit in the background, rather pulling you into its psychic space. it's as pleasant as it is insistent gradually acclimating you to its palette, revealing the contours of its sonic terrain. i think mikkel is one of the best electronic musicians working today,&nbsp; and he is doing his most digestible work for ASIP. this record shares the shape of his last, with an album of chill out building to an epic trance track at the end. it's a great template, and i hope he continues with it on the forthcoming record, evocation due at the end of this month. if you like this record at all, check out his series of releases on transillusion, and really everything else. such a unique talent.&nbsp; that's what i've got! much love to the community &lt;3&nbsp;

euth relitigates cut copy, assesses charles xcx, and recommends mikkel rev

euth's weely download - early august 2026

hey all. i missed the weekly download but here’s something of another kind. with kavinsky’s untimely passing i’ve been thinking about his music, and that naturally led to a dive into guy-man of daft punk. some stray thoughts barely held together. kavinsky is a fascinating case. from his first releases he had a somewhat interesting perspective on the french house sound of the time still being honed by his buddies at ed banger and institubes (he released exclusively on air’s label, surprisingly). what was really compelling about kavinsky though was his visual identity. right from the jump, his persona was fully formed. letterman jacket, ferrari, glowing robot eyes, an element of danger, the threat of violence. you can point to a few other figures, but he immediately made the connection between the kind of synthy dance music he was producing and a hazy, 80s, night time neon aesthetic. without kavinsky i don’t think we get the aesthetic pictured below, or synthwave, or the movie drive frankly.<figure><img src="https://assets.buttondown.email/images/fb8fea5d-1bc6-4858-8ca0-0a67c4dd5308.png?w=960&amp;fit=max" width="600" draggable="false"><figcaption></figcaption></figure>one of the many kavinsky eulogies came from the weeknd, maybe the single person who owes the most to kavinsky’s pioneering visual identity. <figure><img src="https://assets.buttondown.email/images/987dc96a-1479-46ee-ac9a-85e37e1e5d5a.png?w=960&amp;fit=max" width="447" draggable="false"><figcaption>the weeknd, starboy press shoot</figcaption></figure>https://x.com/theweeknd/status/2082437725509099664not only his visual identity though. after a string of singles which, aside from the bombastic testarossa autodrive are mostly middling, kavinsky released nightcall, his greatest track and one of the greatest songs of the century so far. guy-man from daft punk is credited with music, lyrics, and production on that song, leaving kavinsky with credit only for the persona. but with a persona this strong, that’s enough. <figure><img src="https://assets.buttondown.email/images/65417932-7a92-4490-bfff-aea0377ca4dd.png?w=960&amp;fit=max" width="316" draggable="false"><figcaption></figcaption></figure>i won’t linger too long on noted phantom of the paradise obsessive guy-man blessing kavinsky with a perfect song from the shadows, channeling his music through another robo-voiced identity before receding to his studio deep in the paradise, but it undeniably made kavinsky’s career, and i might argue it made nicolas winding refn’s as well. <figure><img src="https://assets.buttondown.email/images/fabbf7e3-c54e-4536-96f9-5bd5a84f6623.png?w=960&amp;fit=max" width="410" draggable="false"><figcaption></figcaption></figure>it’s hard not to read drive as kavinsky fan fiction right? anyways back to the weeknd. daft punk are credited twice on starboy, on the title track and ‘i feel it coming.’ you’ll have to indulge some speculation and gossip, but let’s focus on ‘i feel it coming.’ to my ears, it sounds like its from the same well as nightcall, with a similar simmering pulse, and a similar mood, if a bit less melancholy. bear with me a bit further.when daft punk each started their side project labels, bangalter started roulé, and guy-man started crydamoure with his closest friend eric de chedeville (combined they were prod duo le knight club). together they released some of the best house music recorded, and more than that one of the most cohesive discogs of any dance label i know, as well as two perfect compilations. you will not regret listening to the discography in its entirety, but the comps represent it well. the label name stemmed from their love for one another, eric and guy-man, and the label was their ‘cry of love’ to translate the french portmanteau. not to dwell on crydamoure’s perfect summer soundtracks too long, but do listen. https://www.youtube.com/watch?v=NK0upW1zUR8i saw an album called <a target="_blank" rel="noopener noreferrer nofollow" href="https://cometrecords.bandcamp.com/album/cri-damour">cri d’amour</a> pop up on bandcamp a while back, and in the liner notes i found out it was released by eric de chedeville’s wife, and was about the love her husband shared with guy-man, and their eventual explosive breakup. digging into it a little bit, it seemed the spark of the schism was guy-man presenting the beat for ‘i feel it coming’ , purportedly made by eric and guy-man, to the weeknd as his own, and boxing out eric from any royalties or credit on the track. this schism seems to have isolated guy man even deeper in the chambers of the paradise, trading his last friend for one more hit. it’s a compelling story if you indulge some of the speculation. i hope this doesn’t come off as disrespectful to kavinsky. what he did with his image is as impressive as what others do musically. having just revisted his discography after his passing, the way his persona comes to life when animated by guy-man’s music is profound, and otherwise the shell feels somewhat hollow. he was an actor first after all, and what is an actor without a great script? guy-man is a fascinating, maybe tragic figure. it’s hard not to think he identified too closely with both swan and leach from phantom of the paradise, both puppet master and musical genius locked in the studio, hidden from view. for more of his production genius, see sebstien tellier’s ‘sexuality’, animating his perfect, and perfectly french, persona with some of the best music of the era. notably tellier has the writing credit, but the production is unmistakably guy-man. tellier’s own identity is compelling but the blend of both was magic. the weather is right for a dive into guy-mans production discography, the crydamoure catalogue, maybe some weeknd for good measure. soak it up, and maybe the emotional intrigue will imbue it with more meaning. thanks for indulging, love you. &lt;3

euth barely organizes some scattered thoughts on kavinsky and guy-man of daft punk

euth's backup bonus

its very hot. some tunes for your progressive lifestyle practice.&nbsp;{{ subscribe_form }}<hr>dj billybool &amp; eurohead - DYR part 2 (2026)<a target="_blank" rel="noopener noreferrer nofollow" href="https://djbillybool.bandcamp.com/album/dyr-part-2">https://djbillybool.bandcamp.com/album/dyr-part-2</a>this release from thaiboy digital alias dj billybool and eurohead is ~50 minutes of drain gang style autotune rap over eurodance beats. they managed to make the eurodance play like the kind you'd hear blasting from an eastern european cab, not the kind made by techno tryhards in 2026. easy for this to sit in the background while you cruise around town by transit or by car, the sun reflecting off leaves as it sets. throughout are soundalike riffs, a few notes of robert miles, a few notes of alice deejay, a flicker of atb. this works on two levels, the actual reference and the reference to how common that kind of thing has been in eurodance since its inception. the whole release has a casual tossed off quality that really benefits the music. i might have to burn a bootleg cd to keep in the car. it really wants to be in the background while you live a major summer type lifestyle, whether in love, heartbroken, or lonely. as an aside, it's been interesting to watch eurohead's talent slither around mostly out of view, their unreal talent peeking out in odd places on skrillex tracks, varg shitposts, and the odd production credit. speaking of which, <a target="_blank" rel="noopener noreferrer nofollow" href="https://stada2mg.bandcamp.com/album/in-my-heart-in-my-mind">the recent dj worm releases</a> are totally transcendent. check this out if drain gang x cab driver eurodance appeals at all.<hr>mattheis - waiting for the silhouette (2024)<a target="_blank" rel="noopener noreferrer nofollow" href="https://nousklaer.bandcamp.com/album/waiting-for-the-silhouette">nousklaer.bandcamp.com/album/waiting-for-the-silhouette</a>this one is very classic elevated electronic music, but it is a great version of the style. gentle synth washes, refined, cathartic dance beats, broad sweeping landscapes. pulsing with deep bass, shivering percussion, and a serious tone that lends itself to introspection. it’s not a mood i often find myself in, but if you need a catalyst for some realizations this album is there to gently nudge you towards catharsis.&nbsp;<hr>errol 'flabba' holt - roots radics dub (1981)<a target="_blank" rel="noopener noreferrer nofollow" href="https://flabbaholt.bandcamp.com/album/roots-radics-dub-lp-album">https://flabbaholt.bandcamp.com/album/roots-radics-dub-lp-album</a>on account of the heat and that remy solar record, i'm on a dub kick and this has been the standout of my dive back into the style. maybe the best reggae bassist of all time, flabba holt, with an LP of perfect laid back heavy dub. i want to tell you who was on the mixing board for this dub, but it's a highly disputed topic. king tubby may have been involved, maybe it was flabba himself, maybe scientist was in the mix. who knows. the dubs are immaculate and waiting for you on errol's bandcamp page (among a bunch of other stuff that is otherwise only on wax for hundreds of dollars).&nbsp;<hr>hope you're good. i've gotta listen to the madonna and the kelela properly. i know i'm keeping you in suspense. love you &lt;3&nbsp;

euth on dj billybool, mattheis, and flabba holt.

Weekly Download - July 21 2026

hope july is treating you well. here's the download, hot and ready.&nbsp;{{ subscribe_form }}<hr>remy solar - heavy terrain&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="https://sirenselector.bandcamp.com/album/heavy-terrain">https://sirenselector.bandcamp.com/album/heavy-terrain</a>this one caught me by surprise. an album of dub reggae in the digital dub tradition from, by all accounts, a longtime lover of uk soundsystem culture seeped in its roots, bouncing from crew to crew, engaging in all manner of soundboy things in warehouses and rec halls around the UK. the album is unassuming, not especially hard hitting, not especially 'authentic' to traditional dub sonics, not especially experimental. a set of straightfoward explorations of the palette and structure of digital dub. and in that way it shines. after a few tracks, you start to understand the elements. the bass synth, some kind of boutique echo, maybe a proper space echo, some kind of supersaw, a drum machine. soon after you feel the producer on the controls, bending and pushing, riding the wave in a smoked out home studio at odd hours, tugging at the edges of your perception. good dub has a way of making time disappear, especially when it’s simple, and this is no exception. most experimental, most unique are the big washes of synth strings, the pads. they are not as common in the style and drift over the arrangements, smearing and wobbling, rough around the edges and fit for their purpose. as it heats up here and across the hemisphere, this LP will be a valuable companion. the cassette release is backed with a mix from the producer comprised of the dubs he's collected over the years. i was sure to track down a copy and will be happy to share my rip with you lovely people when it arrives.&nbsp;<hr>picture - Eeeeeeee<a target="_blank" rel="noopener noreferrer nofollow" href="https://pppicture.bandcamp.com/album/eeeeeeee">https://pppicture.bandcamp.com/album/eeeeeeee</a>what a record. after a lengthy, slightly indulgent intro, the albums slips into its stream of skittery warm dub techno. yes more dub, bear with me. it's not particularly flashy, happy to work with the standard palette of the genre, but in minutes it hypnotizes with its subtle imperfections, its drifting delays. i've been thinking about dub a lot this week, and one thing that stands out about the term is how it calls to mind the image of the producer on the controls, the touch unobscured. rather than use production to seamlessly simulate live music, dub calls attention to the wizard behind the curtain, listening with you and morphing the sound to suit the demands of consciousness. i think somehow this is key to the genre's unique effect. its ability to slip past the discerning mind and grab hold of perception directly. it is, i'm ashamed to admit, distinctly postmodern, calling attention to the nature of its form in order to push beyond it. you might notice i'm avoiding talking about the music. it's not easy to do. it has a simple comfortable perfection that evades easy description. it shifts and sways organically, not in the vague general sense, but in the sense that every move appears to emerge from the whole, responding to natural forces, fibonacci like, but willful at the same time. not simply fractals unfolding. again the hand of the creator is ever present, bending reality for the listener's pleasure. i don't mean to overstate the impact as it's quite gentle and unassuming, but that for me is a trick of the highest degree of difficulty. the producer has a slew of aliases if you are hungry for more. the one i recognized was aquafaba, who has <a target="_blank" rel="noopener noreferrer nofollow" href="https://kalaharioystercult.bandcamp.com/album/plura">a release on kalahari oyster cult</a>. i was late to this record but am happy to say it's companion 'Uuuuuuuu' comes out this very week, so stay tuned. <hr>torus - summer of love<a target="_blank" rel="noopener noreferrer nofollow" href="https://torus.bandcamp.com/album/summer-of-love-2024">https://torus.bandcamp.com/album/summer-of-love-2024</a>rather than talk about some decent records, or rush to cover some i haven't yet listened to, here's one to suit the season from torus. released back in 2024, the record finds the enigmatic scenester bootlegging, mashing, twisting and stretching a somewhat random assortment of tracks, ranging from classics like 'such great heights' to pop dnb like matrix &amp; futurebound's 'control.' it plays more like a torus album than a mashup album, but the constant presence of music clearly beloved by the producer infuses the runtime with desperate warmth and the unique connection a troubled teen has with their ipod. the standout is 'slow break' which turns the articulated pluck from 'such great heights' into a mournful and meditative loop. the effect is pure magic, and more than justifies the whole album. an easy if heartbreaking listen which i turn to maybe too frequently on quiet mornings. there is a nifty vinyl pressing to track down as well if you are so inclined. highly recommend.&nbsp;<hr>happy summer all. it just got hot in L.A. and i always forget what that feels like until it’s here. love you.&nbsp;

remy solar, picture, and torus feature in euth's weekly selection

euth's weekly download - mid july 2026

hey everyone. happy july.&nbsp; got a nice roundup of mostly dance adjacent stuff today, but don't worry living room loungers, the field has you covered.&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="https://buttondown.com/euthlogo/archive/euths-weekly-download-early-july-2026/">web link</a>{{ subscribe_form }}<hr>pvas - slipstream<a target="_blank" rel="noopener noreferrer nofollow" href="https://pvas.bandcamp.com/album/slipstream">https://pvas.bandcamp.com/album/slipstream</a>this one really sent me reeling. released last year on objekt's label, slipstream by pvas delivers on the functional foundations of dance music while pushing against its boundaries. listening is as exciting as the first time i heard djrum or skee mask, but with somewhat more attention paid to dancefloor functionality. the shapes of the tracks are bizarre, the ways the rhythms emerge and shift hypnotizing. the mind bending acrobatics remind me of maoupa mazzocchetti, but laid on top of more sensible foundations. terminal, ripped &amp; boba are probably the highlights, but there isn't a weak track here. boba has this mindsmearing effect that is one of my favorites and is hard to come by. kind of fixing your feet to the ground and dragging your psyche across the ceiling. unreal. as good as anything, maybe better. highly recommend.&nbsp;<hr>the field - now you exist<a target="_blank" rel="noopener noreferrer nofollow" href="http://thefield.bandcamp.com/album/now-you-exist">thefield.bandcamp.com/album/now-you-exist</a>the field returns after a twelve year absence with an LP of his signature loop driven perfection. its pure magic as always, go listen as many times as you can. since hearing it for the first time, i've been struggling to articulate the subtle but stark difference from his previous work. the field has a great discog to really dive into. you can easily cycle through it for a month or so, just living in his world of evocative loops. his past work has this sneaking menace between the cracks that really builds up as you listen. its also lush and lovely, but there is an unsettling quality. not so here. now you exist replaces that menace with a gentle loving warmth that seeps in throughout the LP. it's much needed, and tells me that the german maestro is tuned into the moment and offers this to us as a balm. highly recommend for picnic blanket or evening drive type purposes.<hr>gold panda -&nbsp; ton up&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="https://goldpanda.bandcamp.com/album/ton-up">https://goldpanda.bandcamp.com/album/ton-up</a>suprising release from gold panda comprised mostly of straightforward techno workouts (maybe chicago house? the fast crazy kind). raw, dusty, and seemingly straight out of the sampler, the tracks conjure the image of the solidly middle aged gold panda freaking out on an mpc in his home studio in london, hooting and hollering. that effect itself is quite charming, bottling the raw joy of dance music experimentation with limited tools. the music itself is good, but excels neither as dance music nor contemplative music for home listening. maybe it's my fondness for his older material, but the way he channels the joy of discovery that can be found in experimentation makes the whole thing worthwhile for me. there is a chance ill find a home for some of the tracks in a set someday, which is a nice bonus. i missed his 2022 LP which on a skip through seems to be more in the vein of 'lucky shiner' my favorite of his works. i will check it out. recommended for working out or maybe doing chores.<hr>sepehr - fools ovation<a target="_blank" rel="noopener noreferrer nofollow" href="https://sepehr.bandcamp.com/album/fools-ovation">https://sepehr.bandcamp.com/album/fools-ovation</a>i've been keeping an eye on sepehr for some time now, trying to work tracks into sets, but something was always off. he has figured it out on this release, also on objekt's label. most successful for me are the tracks that hover around 130, low slung, laid back, with shifting sleazy atmospherics. the tracks transport you from the party you are at to the party you want to be at. impresario is pleased is the standout, with one of the grooviest basslines i can recall, and perfect party starting structure. just magic. recommended for dancing.&nbsp;<hr>the field and gold panda? what is this 2011? love u

euth is back with hot newness from pvas, the field, gold panda, and sepehr

euth's weekly download - early july 2026

hey friends. not going to have the usual roundup this week as i was traveling for moontribe anniversary. instead i thought i’d link my three previous sets from the gathering. regular newsletters resume next week! &lt;3 <a target="_blank" rel="noopener noreferrer nofollow" href="https://on.soundcloud.com/sWkSAeRHhFeSecDEK9">Euth at Moontribe 30th Anniversary on Soundcloud</a>this one starts ambient and gets into some twinkly mellow house, trance, and breaks. gets a little spooky at the end. around sunset on the first night.<a target="_blank" rel="noopener noreferrer nofollow" href="https://soundcloud.com/euthchills/moontribe-31?in=euthchills/sets/mixes&amp;si=f3bf19231bb546ae916c55f778ca05ba&amp;utm_source=clipboard&amp;utm_medium=text&amp;utm_campaign=social_sharing">Euth at Moontribe 31st Anniversary on Soundcloud</a>this one is even breezier and airier house. daytime drift. i listen to it a lot still, good for a lot of purposes. <a target="_blank" rel="noopener noreferrer nofollow" href="https://soundcloud.com/euthchills/nonemore?in=euthchills/sets/mixes">Euth at Moontribe 32nd Anniversary on Soundcloud</a>this is relentless techno circa 2am. one of the sets i’m most proud of but you kind of need to be in the right mood. groovy dark and psychedelic. thanks for reading, love you!

euth's weekly download - late june 2026

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

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.