Saturday 31 December 2022

Wrapping Up 2022

Left it a little late to do a year's end roundup, but I'm going to return to a tried and tested tradition: the good old fashioned track dump. I never really felt comfortable posting a sea of players with no commentary, so this one is going to be broken up a little with thoughts in-between, so apologies in advance if it gets a little long.

First things first, if you're after a real Nostalgia-fest, BBC Radio 6 has you covered. That right there is a playlist straight out of the 2010s featuring many of the Ed Banger crew and other indie darlings of the time. It's available here for about a month if you're interested, tho with some limitations if you're not in Europe but I can't confirm that
Michel Majerus - Untitled (2000)

Now with that out of the way, let's take a look at what I've got. I've made no secret of my love of Eurobeat over the last few years - the sugared up evolution of Italo Disco colliding with J-Pop. I had a fair few lined up, but on listening to them back I whittled it down to just a couple - it's pretty hard to find legal streams of a lot of them anyway and in hindsight some of them were a little bit OTT. Which is an absolutely stupid thing to say I now realise, as the whole point of Eurobeat IS that it's over the top! Keeping it low key to start with, Switch really highlights those latent disco traces inherent in the genre, which makes it a good dipping in point for the curious.

I've managed to skirt one of the more silly parts of Eurobeat with these two selections, being mostly written by Italians, you do get some... interesting lyrical choices that don't quite make a whole lot of sense. On that note though, Eurobeat does a fairly decent job of maintaining a good ratio of Male to Female vocalists, it'd be very easy for the genre to fall into the latter much like the Vocal side of trance did way back when. That said, there are definitely tracks that evoke that same kind of euphoric vibe - enter So Fragile

Some Tofubeats next, I picked up some of the man's soundtrack work a while back and had been meaning to check out his works ever since. His Bandcamp is weirdly bare with releases there but not for sale (that clearly used to be as well), and releases like this one here that don't appear on Discogs or anywhere else really. Synthesizer is a prime example of why I felt the need to check his work out, a real head bopper of a slow jam, topped with liberal use of Vocoder to make the whole package complete for me.

Going total nostalgia bomb for this next one, it comes back out to play every so often, and rightfully so as it's damn good. Potentially one of the finest remixes ever from the era - Thomas Bangalter (1/2 of Daft Punk for those not in the know) spins out what was a ~1 minute interlude from DJ Mehdi's Lucky Boy into one of - if not the - electro house anthem. It hurts a little knowing that we won't hear any more Mehdi productions, I always liked the man's style and was excited to see where he'd take it, but what better way to celebrate the man than belting this one out.

Let's go a little deeper next with some Soichi Terada. Terada's return under his own name was a release I was extremely looking forward to, I first got turned his way off the heels of the (legitimately fantastic) Ape Escape soundtrack, and was pleased to find even more Drum & Bass on waiting for me. But the man actually got his start making (equally brilliant) House tracks - and that's what Asakusa Light is all about - paraphrasing Terada's own words: he's trying to capture that same feeling from those days. And on tracks like Double Spire, he really does. It helps I'm a real sucker for pitch bends though!

Speaking of capturing the spirit of yore, we have DMX Krew, who has been dwelling in that space for a long long time now. Now with DMX, you often will get some cheeky playful self aware elements in the mix, evoking old school electro of the early breakin'/electropop era, it's a genre than can be quite funny after all so why not embrace it? (see also: Chromeo). Party Life doesn't really do that, at least on the title track. The thing comes out a little more like an electroclash record, lamenting the shallow nature of the said Party Life. But you don't have to delve that deep into the analysis if you don't want, the Dub mix has an excellent groove on it and is as relentlessly catchy as the original.

Couple more to round us out, starting with what is one of the oldest digital files in my collection - Misstress Barbara's Never Could Have Your Heart. A relic of my first serious forays into the world of electronic music circa the early 00's, the first version I had of this was a naff one I pirated at like 96kbps or something like that! But even then, I was totally entranced with it. That melody (which I would later learn is pretty much a cover/sample of Move D's In/Out) is just gorgeous, and the beat work is surprisingly frantic for a House record, with machine gun hi-hats and flurries of handclaps. I reckon it'll be about 20 years I've had it in my collection next year, and I'm still as in love with it as I ever was.

And finally, the one track I post every year without fail, The Knife's New Year's Eve. Taken from the soundtrack to the film Hannah Med H, it's from around the Deep Cuts era so is very much in that extremely electropop style - the one with super sweet synths and the steel pan work as heard on tracks like Pass This On. Does the track have anything to do with NYE? Not really, it plays in a scene in the film that takes place on the night which is the reason for the title. Still, it's become a bit of a tradition, there was many a year where we'd play this while getting ready to head out for the night. And now it's a tradition here too!

And that'll about do it for now, it did end up getting a little long but nothing too ridiculous! That'll be all for this year, but rest assured I'll be back soon enough in '23 with more. Thank you for sticking with us this year, we've had a couple hiccups along the way but I don't know anyone who hasn't. I hope you've found some tracks here to enjoy and will continue to do so in future - and of course, as always: Stay safe and enjoy the music.


Wednesday 28 December 2022

Last Minute Additions

Took some time to catch up on the old release radar, I normally miss a thing or two here and there, but there has been a real bevy of releases as of late. Naturally, in true CVF fashion, not all of these are going to be brand new but hopefully they are still at least new to you as they are me! Let's go.
Jacek Yerka - There is peace in the Block (1994)

The biggest one that caught my eye was an anniversary re-issue of Justice's debut with some bonus tracks - it activated that part of my brain that still loves all things electro house and I dove right in. The album itself is killer as ever, and the bonus tracks are a nice treat if a bit underwhelming - I wasn't expecting to have my socks blown off or anything, but even so, some of these bonuses are just 'OK'. Still, it's always interesting to hear demo versions of the tracks - some of them are wildly different. Out of all of them though, Donna is the one that took my heart. It instantly transported me back to the heyday of this sound, back when I was an absolute Ed Banger fiend. I'd be lying if I said I didn't still have a lot of love for this sound, part of me always thought that was tinged by nostalgia but after hearing this 'new' piece for the first time I'm starting to think that's not so true. Hop in this little time capsule with me!

Keeping in reissue town with a whole heap of remasters from Makoto. Makoto's been on my radar for a long time thanks to LTJ Bukem, I have a long and well-documented love of that era of D&B after all. But it's something I don't go looking for often, plus I do like to support the artists as and when I can, and a lot of Makoto's earlier work isn't readily available digitally. Enter the Yearbook Vol. 4 compilation to see to both of those - a whole heap of remastered versions and a previously unreleased track? Yes please. And you don't have to get far into the tracklist to see the appeal for me - Joy starts off a little heavy, but that sample is just so.. well... joyful you can't help but grin, and it doesn't let up for the full 7 minute runtime. Lovely stuff.

Something else to round out the selections, Ghostly were ever so kind as to email me a 20% off code for things on their bandcamp, so I thought I'd get around to picking up Ghostly Swim 3, the previous 2 I have already from when they were freebies. I do like picking up compilations like this, it's a great way to quickly get a lot of variety and potential new artists to follow in one swoop. I've not gone far in the tracklist for my choice today, but there's plenty of goodness on offer here, from the sinister seven minutes of Redux (GAD Mix) with it's Carpenter-esque stabs to onesix-four sounds like an offshoot of Aphex Twin's Analord series in all it's squelchy glory.

Bogdan Raczynski leads the compilation - another artist who was a mainstay of Aphex Twin's Rephlex records and, like DMX Krew, is now starting to make those Rephlex releases available on bandcamp. Ggowwksstane shares a lot of that AFX mentality actually if the purposefully mangled title wasn't a clue enough. There's a lot of playfulness here without going too hard into proper full on the breakcore side of IDM. Imagine an alternate universe Richard D. James Album and you're in the right ballpark.

And that'll about do it for today, I'm going to maybe put together a little something for NYE which I've missed in previous years, but failing that I'll try and get another regular post out before years end. At any rate, hope you've found something to pique your interest here and until next time, as always, stay safe and enjoy the music.


Saturday 24 December 2022

Feelin' Festive

John Everett Millais - Christmas-Eve (1887)

Let's talk the state of Christmas Music. A good chunk of it is supremley overplayed (my deepest sympathies for those of you in retail or simialr spaces) - be it Macca farting about on a synthesizer to the omnipresent Carey, you've heard it all a million times. Last Christmas is pretty great still, but I do have a love of 80's synthpop so there is some bias at play there. All of this to say let's have a look and see if we can't come up with some alternative tracks from my collection.

Some more from Bonuts to start with, I've been hanging onto this one for a while for just such an occasion. Christmas Morning is, much like the rest of Bonuts, a short, sweet (if a little raw) treat. Starting off surprisingly pschedelic with a wave of hazy noise, that soon gives way to some lovely keys drizzled with distortion. Sprinkle a nice beat on the backend of it and you have your first of many Bonuts. The things comes out feeling a lot like some of FlyLo's demos, especially with the sloooooow doooooown outro.

And what's Christmas Morning without some Sledding eh? By comparison this one shares much more similarities with the actual Donut County OST, following that tried and tested formula of guitar based noodling that gave the original that fittingly indie feel. Surprisingly frantic in parts, Sledding feels very much more fleshed out tham much of the other content here on Bonuts, especially in comparison to Christmas Morning. There's a lot of layers to get stuck into here that I've only really come to appreciate on repeated headphone listens, a lovely little addition to the Bonuts list.

I am admittedly strethcing the definitions of 'Christmas Song' a little, but that's part of the fun! That's going to continue for a little while longer with the next track I have here, a little bit from Susumu Yokota's Love Or Die. The first thing you'll probably notice about Lov Or Die is that all the track titles are especially wordy - some of them even read like cliché light novel titles, but that's something that Yokota only did for this album. Look beyond the titles though, and there's lots of lush electronics to get stuck into here - A Song Produced While Floating Alone On Christmas Day being the one in question here. I just adore it, that main synth melody is a total earworm and has this lovely warmth to it.

Let's get a little serious for the last one with some actual, factual Christmas song content. Released as part of Röyksopp's 'Track Of The Month' series some 12(!) years ago now, it's one of the first tracks that came to mind when thinking up content for this list. Hailing from that Junior / Senior era of their sound, the ToTM series has a nice balance of poppy moments and the more subdued, alomst ambient they;d explore on Senior. And this track is a prime example of that: it builds slowly over the first minute and a half before a simple, almost whispered "Happy Christmas" ushers in a blizzard of electronics that is just divine. This is Röyksopp doing what they do best.

And that'll about wrap it up for now, hope you've enjoyed some of these alternate offerings free of twee sentimentality and overplayed guff. We've only really scratched the surface this time around, but that just means more to go at come next year! And I'm sure there's plenty more to discover between now and then as well. On that note, I'll be back soon enough with more but until next time - as always, stay safe and enjoy the music.

Tuesday 20 December 2022

Warming Up

Rupprecht Geiger - Leuchtrot orange - leuchtrot warm (1965)

Things are warming up after a touch of really cold days - which is fitting given the first track on this list. It's one that I've been sitting on for a while and isn't part of some grander theme though, this is gonna be a return to the good old fashioned roundup of random tracks as in days past.

Starting with some Mitch Murder from one of the Selections series. I say every time Mitch comes up that his work feels very sincere in its love for the genres that so clearly inspired it - Melting Point really captures that retro anime ending theme vibe on its intro (as displayed on the cover art, doubly so going by the original cover art), which is what made it stand out to me on a recent shuffle. From then on, it's a standard Mitch Murder affair. Not to sound too reductive mind you, Mitch is one of my favourite Synthwave artists and is very, very good at what he does.

Dwelling in similar circles for the time being, a little bit of Macross 82-99. I mentioned Sailorwave III way back in some Bandcamp Friday summary but not so much since, not for a lack of things to talk about though. Macross' anime influence is a little more pronounced if the name didn't give it away already, but as I've said in the past when I've covered the other Sailorwaves, you don't need to be a fan to enjoy what's on offer here - the Sailor Moon trimmings are mainly for show. Macross' style is a blend of lotsa genres, a touch of Vaporwave, a bit of disco and a splash of House to name a few - the highlights from III for me are the slow jams like this one here, they do a fantastic job of demonstrating what Macross is all about.

Rounding out with a couple from ThorHighHeels' Positive Yellow, specifically the slightly expanded DX version that has a couple bonus tracks on it. The whole idea behind Positive Yellow is that it's one big love letter to the world of soundtracks from the fifth generation of video game consoles. Think low-poly 3D models set to techno and Drum & Bass and you're mostly there. THH does a fantastic job of embodying that sound without feeling too cliché IMO, and also shows a fair bit of variety in the genres beyond just endless breakbeat or techno. Case in point here with Final Yellow, very obviously taking some cues from the soundtracks for Silent Hill with it's hazy trip hop-esque execution, it feels like it could be the OST from a survival horror results screen.

And, just because that one is a little short, another little bonus to see us out. This one also feels like a results screen theme, but from something a little more action oriented. I'm actually specifically reminded of the Ape Escape 1 results screen soundtrack, though THH's take is a little bit more rough sounding. This track acually originally appeared on a mini EP called Moom, a soundtrack to one of their YT videos. It's inclusion on this expanded release of Positive Yellow doesn't feel too out of place though, and brings things to a nice close - even if it does betray me saying the album isn't too cliché with that "GAME OVER voice clip sample at the end.

And that'll be all for this time, a little more upbeat that usual this one feels like. I'll be back around soon enough with more, I may take a little break towards the end of December but I will definitely get a couple more things written before year's end. Hope you've enjoyed the selections today, even if they were a little brief in parts! Until next time, as always, stay safe and enjoy the music.


Friday 16 December 2022

Break Time

Had this post waiting to go for a while, I'm about wrapped up for the year, so I figured I'd kick back with some fittingly foodie tracks. Tracks I could have sworn were on Bandcamp or otherwise readily available... only to find out they weren't. Well, kind of, I've managed to work around it. Still, wouldn't be 2022 without some last minute disruptor to a plan would it? Let's get into it.
Ralph Goings - Coffee and Donut (2005)

Kicking off with the initial inspiration for this post, the soundtrack for Donut County. I originally wanted to post Slackers and maybe a couple others, only to find my memories of a Bandcamp release were apparently wrong. However, there IS an album of bonus cuts that is on BC that I can use instead. Bonuts carries with it the charming indie vibes of both the game and its OST - especially here, but that's no surprise as it features the other half of the OST and Game's team after all. Cruising is a little hot compared to the main OST, feeling more like an unmastered demo in parts with the bassy parts almost clipping. Still, it's a great listen, even if you're not familiar with the game, a lovely if a little short number.

I thought I'd pair some of Coffee Talk's OST with the above to keep that food theme going, but once again it seems my memories of a bandcamp release were wrong, and I had a heck of a time finding some sources for this one that weren't Youtube. Coming from that era where a YT playlist from the devs was the only way to listen to the OST outside of grabbing it from Steam or whatever. The full ost is pretty hefty, 27 tracks with an average runtime of around 6 mins a piece. It can get a little cliché in parts as well, it leans heavily on that 'lo-fi beats' angle that was again quite popular some years ago. But as with all things, there are some real nice bits here and there - thankfully I was able to find one of the tracks I had in mind on the publisher's soundcloud of all places. Tenderhearted stood out from the title alone and fast became one of the standout pieces from the OST for me, it sets a lovely, delicate ambience.

Stretching the food angle a little bit for this last choice, but it is a game about farming (among other things) so I'd say it counts. Stardew Valley is an indie success story, and one that's well earned. Largely made by one person over the course of many years, it's a real passion project that you can almost feel the care and love that went into it. With updates over time the OST has hit 100 tracks so there's not shortage of tracks to get into. I've gone ahead and picked a couple favourites

The first thing that springs to mind with Stardew for me is the various Mine themes due to the sheer amount of time you can spend down there. They range from beautiful ambient to more upbeat tracks like the one I've chosen. Channeling its pixel art into the audio side, Icicles starts off with some characteristically bleepy stabs, but around the 40 second mark we get a beat and bassline introduced, quite heavy considering the rest of the OST! A nice but brief little number.

Rounding off with my original choice and probably my favourite track from the entire OST, Maru's Theme. This one could have honestly gone on the previous post, it's a lovingly crafted piece that feels oh so delicate. It's been a mainstay of my ambient playlists ever since it found its way into my collection with the rest of the OST. Simply wonderful, it even channels a little bit of Vangelis' Heaven And Hell as famously used as the theme to Sagan's Cosmos to my ears - fitting, given the title and all. Brief but ever so sweet, I'll catch myself rewinding this one for just one more run whenever it comes up.

And that'll be all for today - I should be back to a fairly regular schedule now that things have all been ironed out, maybe I'll even remember to do an NYE wrap-up or other seasonal post this year. At any rate, hope you've found some tracks to enjoy here, or even the games that the audio comes from too! I didn't really talk about the games themselves too much but I had fun with them all, give 'em a look if you're after something to play this winter. Until next time - as always, stay safe and enjoy the music.


Tuesday 13 December 2022

Feelin' Fragile

'Bout that time of year where everything catches up with me and it all just feels a bit 'eh' you know? Not helped by Friday's night out I imagine, but also this year in general. Still, things are winding down so I'm taking the time to sit and write a little bit more than usual. I've been keeping rolling lists of stuff I've been listening to and have plenty to go at, so let's dive right in.
Sam Gilliam - This Time (2008)

To match the title, I've chosen a selection of fitting songs to go at - not all ambient but all very much under that kind of fragile umbrella. Starting with some Arovane. Lilies is an album that I keep thinking I should do a full deep dive on, Arovane pretty much disappeared for about 10 years after it came out which makes for an interesting tale. At any rate, plenty of tracks from this album could have gone here - it's a gorgeously produced album, very accessible and never straying to hard into hardcore IDM territory. Tracks like Passage To Nagoya are what spring to mind for me, especially considering the content of this post, but this time I've gone with the hauntingly beautiful Tokyo Ghost Stories. The sparse piano soon gives way to something that sounds very Trip Hop in its execution, I've been playing this one a lot as of late.

It ain't all doom and gloom though, the intro for DMX Krew's December Darkness sort of fits this bill as well. Tucked away around the midpoint of the unassumingly titled Bass Drop EP, it quickly became one of my all time favourites from DMX's catalogue, and remains so to this day. Once again it's like DMX had my number completely, this kind of luscious deep house vibe is supremely up my alley. I'm a total sucker for the slow introduction of new elements too, just when I think I could be getting a little tired, something new drops into the mix to inject it with a fresh coat of paint. The EP is wholly instrumental (save for some vocal samples on the title track) so there's no tongue in cheek lyrical content like you might expect from DMX if you've heard his other work. That said, this EP is still very much a love letter to his influences, there's a whole heap of electro and acid to get at on here.

And finally, I've fallen back in with Everything But The Girl, as I seem to do every winter. Tracey Thorn's delivery is impeccable and twins oh-so-well with the Drum & Bass direction they took toward the tail end of their releases. Walking Wounded is the obvious highlight, and an album I've talked about at length before, it's the album that marked that hard shift into the electronic side of things. Unfortunately it's a little difficult to post legitimately, EBTG are one of those artists where a lot of it is gated off behind Soundcloud premium otherwise I'd probably mention them more - I'm going to make do though. I've gone with Above The Law once again, a previously unreleased demo of what would become Before Today given the shared lyrical content. It's a little more raw feeling than the rest of the album as you might expect from a demo, but it sounds incredible regardless - the production and Tracey's vocal are absolutely perfect together.

And that'll be all for now, as I mentioned up top I'm going to try and write a little more in the coming weeks, I have plenty to go at as usual - I still have to do this month's Bandcamp findings after all! I might even try and get something a little more long-form down as well, I'm starting to feel the itch a little again. But I'm going off track once again so I'll wrap up here - as always, stay safe and enjoy the music.


Tuesday 6 December 2022

Playing catch up (November's Friday Results, continued)

Yes, I am well aware it's December, but between tech issues™, life™ and being a li'l sick for the first time in a long while over the weekend I am way behind schedule. An entire month later, here I am finishing up the November's Bandcamp Friday scoops. To be fair, it was always going to be two parts because November was a particularly big entry but I never expected it to be delayed this much. But at any rate, let's get stuck in.

Maynard Dixon - November in Nevada (1935)

Keeping in theme with heavily delayed, here's an artist I've been meaning to post here for months - Sound Synthesis. Long enough that I don't quite remember how they came up in my recommendations, but I knew from the get go I was going to enjoy pretty much everything I'd hear from them. Much like E.R.P., it's that very specific kind of spacey electro that really really appeals to me. There are releases where the two are quite close in terms of sound, on Orbital Frequencies though, Sound Synthesis does a fantastic job of carving their own image. I was torn between choosing Thinking Of You or this track - this one keeps that hi-tech vibe but feels a lot brighter than the other electro I've posted in this vein in the past. Lovely stuff.

I got around to picking up some more from Sense too, another artist on the more obscure side of the IDM world. I've gone back to A View From a Vulnerable Place this time, his debut - coming to us from Neo Ouija circa 2001 originally, I knew what I was getting into from those facts alone. It's a label with a short, sometimes sparse release history but equally is home to some real quality among those few. Coming back to this LP, it's perhaps a little generic in parts, but it is the better part of 20 years old by now and as you all know by now I have a lot of love for the genre either way.

There's still plenty to get at here though, the main barrier to entry is going to be the length of a lot of these tracks which average around the 6 minute mark. The track I've chosen, View From Another Place, is no exception to this rule, clocking in at a hefty 12 minutes. It is by far and away one of the standouts though, despite me saying it suffers from being generically IDM, this one in particular sounds quite a bit different from the rest of the LP. Among the classic juxtaposition of broken beats and airy synths are lots of lovely delicate touches and flourishes that make it a joy to listen to.

Swinging from hi tech to something comparatively lo-fi - Komëit have been on my radar for a while, hot off the heels of my lo-fi dive into the world of Casiotone For The Painfully Alone I was ready for more. Komëit's work is a lot less raw than CFTPA's, but still carries that unmistakable bedroom production. Following a tried and tested formula of simple, sampled guitar backed with these tinny drums that lovingly contrast with the acoustic elements. Top with some distant, incredibly softly spoken vocals and I don't think you could come up with a finer recipe for a indie electronic pop record from 2000.

It can be a fairly intimate experience, sometimes cinematic in parts, I've very much enjoyed my time with it. As if to illustrate how thorough the formula is, I wrote the above with the intention of posting Thanks + No, but changed my mind just now to Don't Call and I haven't had to alter a single word. Don't Call is the track I first heard from the duo actually, and I think is a fantastic intro to the album as there's a lot going on beyond my basic description above. The rest of the album comes highly recommended if you like this one naturally, you'll find yourself in familiar sonic spaces throughout!

And that'll be all for this quick roundup of last month's scoops, I still feel like I need to take a deeper dive into the other releases I mentioned in the prelude post, but in the interest of catching up I think we can swing back around to them some other day. It's been pretty enjoyable to write this up after my little break, doubly so as I didn't really get to immerse myself in these records too much before wading into the sea of tech issues - it's been a bit like putting on an old jacket and finding a bit of cash in the pocket! I'll be back soon enough with more but until next time, as always, stay safe and enjoy the music.


Thursday 1 December 2022

Flying Visit 2

Monique Orsini - Untitled (from Collection Resonance) (2011)

Another quick one to tide things over - I'm probably not going to get my last Bandcamp Friday roundup done before the next one comes around! No matter, that just gives me even more to talk about as and when. I've got a couple others in mind as well, I'm going to see if I can finish them up and schedule them out over this weekend. In the meantime, I've been drawing up a list for this upcoming (and final) BC Friday of this year. I don't think it's going to be as big as last times, but it is shaping up quite nicely.

I've been diving back into the archives and seeing if there's anything major I've missed - and n5MD makes up quite a significant chunk of that, they keep coming out with albums faster than I can pick them up! A great roster of artists and a fairly complete archive of their entire label on BC means that I have plenty to go at for a long time to come. I've gone way back to the very first thing I picked up from the label, before I really looked into them and saw that they were the current home of many of my favourite artists operating in the 'IDM' sphere. Light As A Feather is an album I found way back in the Grooveshark days. There are a few tracks that always stand out to me from it, and I'm surprised I haven't posted Resonance as of yet - it embodies the sound I think of when I remember this album, a unique kind of gritty yet airy IDM. This one in particular reminds me of some of Clark's work, albeit a little lighter on its feet than the sometimes grinding melodies of Clark.

Keeping things in an IDM style lane for now, with another cut from Touched Two, the massive charity compilation I've mentioned a few times now. I am still no closer to plumbing the entire depths of it's 200+ strong tracklist, but every time I come back with more gold. There's no shortage of big names on the comp, but I'd like to shine a light on Ochre - another discovery from my Grooveshark days, go figure. Ochre is the one who actually put this compilation on my radar way back when with Rowing to the Riverhead. The player on the original post is broken now, so I thought why not talk about it again here? A lovely meld of glitchy percussion and gorgeously smooth melodies, if you are at all a fan of IDN, you will find yourself in good company. My only complaint is the same one from that past post - I would have liked to have spent a little more time in this space.

And that'l be all for today, another short one I know - but I promise I will be back soon enough with more. After all, like I mentioned up top I owe you all a full breakdown of last month's Bandcamp scoops, and I will be adding even more to that come tomorrow! Until then, as always, stay safe and enjoy the music.