TOMBZ // Trap EDM Mix

Tombz

Never have I witnessed so such dedication to the craft until I open up a mix by Tombz. Their shit regularly unleashes a vast amount of musical data on your ears which takes you to an overheated state of musical ecstasy. These guys play pretty regularly around the Wisconsin scene. If you are in the mood for some elevated sense of being then check this shit out.

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Of Mermaids // 7​:​21

Of Mermaids

I once had a little trouble finding myself back in my early days. I worshiped a few heroes here and there until I discovered the art within. They say that there is hardly an original idea left. They say we are all plagiarists. I like to think that on occasion there are exceptions to this rule. These tracks right here are in a category all their own. They may hint from time to time, but I am liking how this duo is forging their own way, doing it how they want to do it. Listen to these tracks right here and take the road less traveled.

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European Power // Poppies U Smoked

european power

I have been gravitating towards vocal based sounds lately, but this one pulled me right back into the experimental journey domain that is ever so ambient in scope. This Portuguese act has been at it since 2013 with a huge gap since their last release going all the way back to 2013. This 4-tracker is perfect stoner music though and gets me in the mood for binging with some elicit street magic. I have been having some taste for the salts lately, but they are hard to come by in these parts. This one right here though suggests Poppies to be the preferred method when indulging. I will see what I can find.

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Sidewalks and Skeletons // WHITE LIGHT

sidewalks and skeletons white light

Sidewalks and Skeletons have brought March to its knees with this beautiful release here by employing vocal contributions by the likes of Emily Hall, Masha Petrova, Crossparty, †LOΛΣΓS† and Lauren Greenwood. From the cinematic instrumental opener entitled “Fall” to the various ups and downs of this post-witch player, the darkness is ever so eloquently fallen upon us here on the planet when this bitch plays. Goth, which is track #4, is probably one of the most purest heart lifting tracks I have heard, a definite title track for me. After months of self-isolation and experimentation, S & S have brought a worthwhile follow up to their 2014 album ‘Future Ghosts’ which was a top album for me last year in 2014. Some will call this a very natural progression which includes some new styles and themes that are new to the palate. I find this release a very rewarding listen and hope you will enjoy this the same way I have — by playing the tracks in the album order preferable under the canopy of some white light.

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I Vacation at SxSW: CVRRENTS 2015 DARK ELECTRONIC RITUAL on Tuesday 3/17/2015

CVRRENTS

The whirlwind of parties, dancing, and music pretty much began when I landed in Austin, TX on Monday, and hasn’t lessened any since then. It’s exhausting when I think about it, which is why I’m not going to. The CVRRENTS 2015 DARK ELECTRONIC RITUAL on Tuesday, 3/17, at the Chain Drive Austin, was a nice escape from all the hustle and bustle one finds at a conference/festival like SXSW. As soon as I walked in the Chain Drive, it felt like home. As I arrived none other than Mike Textbeak greets me with pleasantry to the ears via his DJ mixology.

I got there kinda late, having come from a party. Millennial Grave was the first complete set I saw, which is a one man synth project from Houston curated by Eric Castillo, full dark delicious disco beats. It was pretty fucking good.

millenial grave at sxsw 2015

The next group up was a duo from San Antonio, †LOΛΣΓS†, which consisted of a female on vocals and a guy on synths. Their live set I really dug. It was pretty down tempo and sort wrapped around you like all the cloudy haze coming from the fog machine that night. You sort of just want to lose yourself for a moment in all that sound.

lovers sxsw

After †LOΛΣΓS† I went outside for a bit then came back as GOST came on. This was another one man project who had people on the floor dancing to his sick beats.

gost

The final act I saw before heading out was Mr. Kitty, a synth duo that had the sweetest, most purrrfect guy on vocals. He was like a bright sprite in a dark world. He was full of energy and had people dancing.

mr kitty sxsw 2

mr kitty sxsw

I’m glad I was able to check out this fucking fabulous party. I went to it last year when it was at The Loft and had a great time then. Anyway, I’m suddenly being whisked away into all the madness again.

Until next time…

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BLVCK CEILING // Bombay

Blvck Ceiling

Blvck Ceiling always hard at work providing the populace with finely crafted tunes. Hitting the vibe and never disappointing with each and every track. This is the new one entitled Bombay and it does have a little element of Bollywood to it in a dark sort of experimental way.

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Eyeshadows // Exclusive Interview, Mix Tape and Remix by In Death It Ends

Eyeshadows exclusive interview with I Vacation In Your Hell

Eyeshadows exclusive interview with I Vacation In Your Hell

The ever so enchanting Eyeshadows has been all in my hell lately. If you are a frequenter to these parts then you know I don’t hold back on my admiration for the duo. I nearly blow my shit every time I hear one of their finely tuned tracks play eloquently across the medium. They have the capacity to make a beat player sound somewhat like the Sydney Opera House on its best day.

Eyeshadows finished songs are of the accomplished variety. They have a certain vision, darkened soul and quite a bit of hook that pulls you in with much magnitude. It is moments like this where you can admire what a great future these cats have in store for them. I have seen a lot of shit come and go over the years, but this is some quality shit right here. Dagger Forest the label behind the duo were so smooth about setting up this interview. I can’t help but get a sneaking suspicion that everyone kind of knows how particularly special this outfit is. Very honored to be interviewing them just in time as they release their gorgeous as fuck EP titled EP1. They even graced us with a custom mix-tape exclusive for this very interview titled Bullet Park. Go ahead and press play and make it the background soundtrack as you read their truth:

Here is the Man Made (In Death It Ends Mix) —- an exclusive remix of Eyeshadows track made by postpunk/WH occultist In Death It Ends!

Also, here is E Y E S H A D O W mixing Brandy and Monica // The Boy Is Mine!

Let the interview begin…

Please Introduce Eyeshadows, and what each of you contribute to the project.

E Y E S H A D O W S are myself, Mark Rodenhurst who provides vocals and Y.O.T.I who writes and produces the music. We formed a couple of years ago in London.

Tell us a little bit about your upcoming 4-song EP?

It’s a collection of tracks we’ve been working on for a while. 4 songs which in their own way detail a different facet of who EYESHADOWS are musically. We’re very proud of it but there’s a lot more to come.

There is a certain luster to you recordings that is hard to pinpoint, how would you describe your music to say someone on the street (perhaps an outsider) that isn’t familiar with your sound?

A lot of the music we create we see almost as a soundtrack. We’ve often said our music is “music for the end times” and we think of it like that. A soundtrack to the brutality and confusion and strangeness we observe and experience every day in the world around us. We want to produce music which is contemporary, political and that occasionally you can dance to.

Is there a song writing / music making process that Eyeshadows goes through?

We tend to start from a drum loop, synth sound or sample which YOTI will build and layer upon. I’ll then put some vocal melodies on top after we’ve worked on the lyrics together. Songs may fester for a while. We tend to have a lot being worked on at the same time and often we’ll leave a track for weeks or months before coming back to it and taking it apart or developing it.

The video for Man-made was provocative enough to get some concerning hell mail, tell us a little bit about the film clip.

Well it’s a quite powerful film. We talked for a long time about whether we wanted to use it and why we were using it. There’s a reason we do what we do and use the imagery we use. It’s not a cynical attempt to shock or go viral, merely an attempt at communication. A lot of music produced today says very little about the world around us. It seems to consciously aim to ignore anything other than its own existence, degenerating into a watered down copy of a copy, regurgitating the same tired lines and the same tired world view and that’s frightening. The fact that we’ve had to defend the imagery we use on more than one occasion says to me a lot about what it’s generally believed can and can’t be said in popular culture and music at the moment. I think it’s very sad that popular music has been diminished to such an extent that it serves no other cultural purpose than to provide the soundtrack to commercials.

Can you give me an example of a song you consider perfect?

We have quite disparate tastes in music but we’ve recently both been enjoying Canadian singer Chinawoman. Her track Party Girl is as perfect a song as you could wish for. Beautiful, simple, and communicates something relevant and moving in just over 4 minutes, using the minimum of fuss.

Can you describe your most emotionally moving moment involving music? Or, the moment of live music that has had the greatest impact on you?

Yoti: Watching Tuxedo Moon play in London a couple of years ago brought about an incredible euphoric experience and I was completely sober.

Mark: If you listen to Messiaen’s “Quartert for the end of time” on headphones whilst walking through a shopping centre I guarantee you will be overcome with an overwhelming sense of connection with the whole sad mess of humanity.

If I was to vacation in your hell what would I find?

Panos: A teenage kid crying in his Mum’s bedroom listening to his walkman.

Mark: You would be working in a call centre I worked in for many months selling life insurance.

What does the future store for Eyeshadows?

We’ll be expanding EYESHADOWS to include a live drummer for our next live performances which we’re very excited about. We’ve also got some remixes ready to go including a great one from Antoni Maiovvi and we’re working on new tracks as well. We’re going to be here for the duration.

Some previously posted E y e s h a d o w s tracks in case you didn’t catch it the first time around:

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Mahr // Her Manifesto

Heir Manifesto

Self expression as an experimental artistic medium is an evening well spent in my book. I find this one particularly mellow and sincere and is just going to sound perfect with the needle hitting the vinyl. Pale Noir the label behind this has been hitting the spot lately. They seem to cast perfect amounts of tracks on each and every release. On “Her Manifesto“….8 tracks is the perfect number. This one just soothes your temple with an almost medicinal effect. Go to track number 6 “Pandemic” to see what I mean. Dark ambient layers coupled with ethereal experimental drone. Mahr creates psychological journeys without structured rules pushing creativity as far as possible while born out of raw emotion.

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GR∆V3 ROBB∆

grave robba

Some rather atmospheric other planetary incarnations on display via GR∆V3 ROBB∆. I like this cinematic experimental sound that this cat is forging. Catchy melodies sprinkled throughout. Not a reject of this hell. That is for certain.

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I Vacation In South By Southwest 2015

sxsw 2015

Each and every year, at about this time, flowers shoot forth upon the earth enveloping us in its delicious perfume, the grass underfoot is lush and green, and trees begin to bring forth its leaves while the ice melts away to sleep, all to welcome back the beautiful Proserpina from the realm of Pluto and his land of darkness and death. It is also around this time when we begin to hie ourselves off to Austin, TX to envelope ourselves in great music, great parties, and great friends, taking a much needed break from the mundane realities of this world for the annual music conference, South By Southwest. This year looks like it’s going to be a spectacular one, filled with lots of great opportunities for musical exploration. Let’s get started!

Some of the acts this year that we’ll have our eyes on will be playing various official/non-official SXSW showcases and day parties including The Levitation Official Showcase at Hotel Vegas featuring artists on the Sacred Bones label on 3/19, The Holodeck Records Official Showcase at the Madison on 3/20, The Moog/Switched On Showcase at Elysium on 3/21, The Hype Machine Hotel, Beautiful Buzzz Presents: TBD Austin, The Fader Fort, Culture Collide, Flood Fest, Austin Party Weekend, the Under The Radar Magazine Day Party, and the Berklee SXSW Day Party to name a few.

chaos in texas

moog

hype motel

tbd austin

bosbos

Some of the acts we’ll be following are as follows:

Pharmakon, Doom Squad, SSLEEPERHOLD, GABI, Marie Davidson, Thousand Foot Whale Claw, Silent Land Time Machine, The Residents, How I Quit Crack, Hundred Waters, Pompeya, Wand, Vision Fortune, East India Youth, Noveller, Lust For Youth, Uniform, Radclyffe Hall, Avers, and Trans-X

That all said, one never really knows what to expect at SXSW. In fact, the first rule of thumb is to be open to any and all experiences. The other is to have back up plans to your back up plans. The acts and events listed are just the tip of the iceberg. Also, there are times when one simply happens upon a new group or artist accidentally. Anything can happen.

Although Proserpina is doomed to return to the dark and gloomy world below, which to be truthful, our dark souls find to be just as lovely as Spring and sunshine, she’s sure to pack a lot of fun into her short time above the realm of Pluto.

Likewise, we’ll be in Austin, TX for the whole of the music portion of SXSW, 3/17-3/21, and will be reporting throughout the week on live shows, parties, and, of course, MUSIC, trying to get as much in as we possibly can.
Until next time…

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