Phuture is not a glitch of time, it’s real for real ! 👉⏱️👈🤖 😸😽😻
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Zidar Betonsky - I Gledam I Sanjam I Ne Dam (Various Labels)
Sometimes, the best music is also the most challenging one. It forces you to go through the entire recordings by questioning personal taste, examining genres you thought you would never bite on, and even forcing you to spin those records all over again, finding the reasons why you fell in love with releases you thought you would never even purchase in the first place. Music works in strange ways.…
Zidar Betonsky - I Gledam I Sanjam I Ne Dam (Various Labels)
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CF Premiere: RZNBAM - Fifth Coming [Message 431]
From the far reaches of the universe, Message 431 does not issue statements — it transmits signals. Its proposal does not aim to impose certainties or rigid manifestos, but rather to open spaces of experience where music becomes a territory of interpretation. The ideas behind the project are forged through listening, sensitivity, and the way each listener chooses to inhabit the sound. Instead of…
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Eamon The Destroyer – “We’ll Be Piranhas Remixes” (BS070) album review from Aural Aggravation
Anyone who’s been following this site for any time will have likely encountered the work of Eamon the Destroyer, and Edinburgh-based label Bearsuit Records, and in doing so, will have learned that the label specialises in weird shit, and that Eamon is an artist who conjures a uniquely strange musical hybrid, which is entirely free of the mores of genre-specificity. Idiosyncratic is the word.
And what better way to shed new light on all of this than through a remix album? I’ve written extensively in the past with a critical view on remixes – about how they eke out material on and on, or pad out singles into EPs and albums, and also about how they can be really fucking boring, with back to back versions of the same song over and over but with different drums, more disco drums, more aggressive drums, more industrial drums, while the vocals are dubbed out and mostly what you get is some ravey shit.
This is very much not the case with the remixes of We’ll Be Piranhas, the original version of which was released in 2023 and has already been subject to a follow -up / satellite release in the form of Alternative Piranhas EP (2024), which, as the title suggests, features alternative takes of some of the songs on the album. Since then, Eamon the Destroyer has released another album of new material, but this evidences that there’s more mileage in Piranhas yet. These reworkings are subtle and sensitive and, in the main, preserve the essence of the original tracks. That is to say, it’s a chaotic assemblage of twangy Western stuff which clashed and melts into Eastern vibes, all melted together with a filmic overlay, and none of it makes sense, but at the same time it makes perfect sense – if that makes sense. And if it does, well, good, because little else about all this does.
The sequencing of the tracks is different from the original album, and it works, taking into account the transformative reinterpretations of the songs, starting with a laid back but grooved-up take on ‘A Pewter Wolf’ by Senji Niban. The Elkeyes remix of ‘Rope’ is particularly brain-bending, with its warped jazz elements which are vaguely reminiscent of later Foetus. At the same time, it brings a weight, a long shadow of gloom, with organ-like drones. It’s a lot to process all at once. And while remixes often add length to tracks, the reworked title track is cut to half the length of the original, although with the weirdness and distortion turned up a long, long, way. Similarly, the No Mates Ensemble cut ‘My Stars’ from nine-and-three-quarter minutes to three and a half, and reframe it as a slowly evolving avant-jazz meandering. Elsewhere, ‘Société Cantine transform the low-key space-synth strum of ‘Underscoring the Blues’ into a seven-minute hybrid of quasi-operatic drama and drum ‘n’ bass.
It’s different alright, and that’s the point of a remix album, of course. But the success of the We’ll Be Piranhas remixes is that it doesn’t fall into the trap of regular remix mode. Here, the songs aren’t obliterated, but simply respun. It’s a winning formula, and this is anything but a predictable rehash exercise.
Christopher Nosnibor
https://auralaggravation.com/2026/03/14/eamon-the-destroyer-well-be-piranhas-remixes/
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REALIZATION single came out on this day 3/15/24.
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CF Premiere: Tripulante 79 - Dragon de Hierro [Rhod Records]
For many artists — and for much of the contemporary electronic music scene — club music represents a clear destination, almost a kind of mecca where sound, body, and community converge. For the Spanish producer from Granada, Tripulante 79, however, that territory has always been something different: a place approached with a certain caution, observed from a reflective distance.
His trajectory…
CF Premiere: Tripulante 79 - Dragon de Hierro [Rhod Records]
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PERZEPTIVERDAMPFKESSELQUALMTBESINNLICH: Pussy Disco
Synaptic Cliffs (RTMCD-1724)
ドップラーエフェクトやエジプシャン・ラヴァーも後押しする香港拠点のドイツ人電子音楽家初アルバム。得も言われぬスロウな余韻が後を引くアンビエントやエレクトロの変種。
【試聴・ご購入】 https://li.sten.to/rtmcd1724
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Henrik Raabe - Kingston Calcutta (Mule Musiq)
音樂製作人 ARTIST: Henrik Raabe
專輯名稱 RELEASE: LDS
唱片公司 LABEL: Mule Musiq
類型 GENRE: 環境音樂 Ambient / 放鬆音樂 Chillout
日期 DATE: 2026-02-20
更多資訊及購買詳情…
https://liaoliaomusic.com/zh/henrik-raabe-lds-mule-musiq/
More info and links to buy the release…
https://liaoliaomusic.com/henrik-raabe-lds-mule-musiq/
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It’s a real face of future ?? Who knows but Don’t Postpone it …… ⏰⌛️🔌📡😁😂😍🫰🫵
https://open.spotify.com/album/0p2kFHo8A8A3MYQFo92Y71
https://music.apple.com/us/album/dont-postpone-the-future/1281871237
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CF Premiere: Damne - Leather Bullet [Wetland]
The relationship between Wetland and Club Furies is no coincidence; it is the result of sustained curation, an ongoing dialogue between artistic vision and editorial sensitivity. Under the direction of Damne, the label has shaped a distinct identity where sonic aesthetics and visual imagination function as a unified manifesto.
Today, we welcome back one of our essential producers. Damne returns…
