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Portion out of control.

In a shocking act of extreme togetherness, and ruthless efficiency, a third Droid platter in one earth year.

The crack management team at Tape Man Enterprises have assured us this is not a temporary blip, more bacon donors will be flying through the cosmos...as sure as night follows day, thus proving that for some ineptitude can work as a lifestyle choice and pigs do fly.

Hopefully this humble offering can pierce the shitstorm of life and help replenish your joy batteries..

Join us next time for more of not the same. Dem Idjuts

Double LP documenting a realtime collaboration between Terrence Dixon (Metroplex/Tresor/Rush Hour) and Jordan GCZ (Off Minor/Minimal Detroit/Rush Hour). Finally the full results of these special sessions see the light of day (a ltd edition 12" of exclusive tracks owas released in 2020). BIG TIP!

"In September 2019, Motor City techno legend Terrence Dixon made a rare trip to Europe. He was introduced to Jordan Czamanski AKA Jordan GCZ, a serial collaborator and electronic music improviser best known for his work as part of Juju & Jordash and, alongside David Moufang and Gal “Juju” Aner, as Magic Mountain High.

The pair hit it off immediately, so Czamanski powered up his studio and the pair began to jam. Over the following five days, the pair improvised extensively, stopping only periodically to drink coffee and discuss music, life and much more besides. While in the studio, they barely uttered a word to each other, instead responding almost psychically to the rhythms, grooves, riffs and musical motifs the other was spinning into the mix.

The results of these surprisingly magical 2019 studio sessions are showcased on Keep In Mind, I’m Out of My Mind, the pair’s first joint album and Dixon’s most significant musical collaboration since the Detroiter’s 2018 hook-up with German techno and ambient veteran Thomas Fehlmann.

In keeping with the project’s improvised roots, the six-track set is notable for its immediacy, pleasing looseness – it was mostly created using outboard equipment including synthesizers, drum machines and effects units – and sonic fluidity. It offers a neat, symmetrical blend of the two producers’ trademark styles, with Czamanski’s attractive chords, melodies and jazz-flecked motifs rising above hypnotic, cymbal-heavy rhythms that have long been the hallmark of Detroit’s sci-fi-fuelled techno sound.

This unique and appealing, dancefloor-focused sound ripples through album opener ‘Fretless’, an ultra-deep chunk of heady liquid techno, and the breathless bustle of ‘Operation Delete’, where bubbly synthesizer motifs, cascading ambient electronics and urgent bass cluster around a killer broken techno groove.

It’s there, too, throughout the surging, deliciously percussive ‘Space Chime’, an alien-sounding concoction that sounds like it was beamed down from some distant galaxy, the warming-but-intoxicating minor key swirl of ‘Axis Mundi’ – a two-part slab of techno psychedelia full of trippy electronics, dystopian jazz riffs and intergalactic intent – and the pitched-down, mind-altering oddness of closing cut ‘Above Ground’, when the pair goes all-out in pursuit of leftfield techno perfection.

Created from scratch in a few days by two of electronic music’s most accomplished improvisers, Keep In Mind, I’m Out of My Mind is an exemplary meeting of musical minds and sonic sensibilities."

Matt Annis

Comes with insert with photographs by Atelier Fantasma (Jop Verberne).

Revenge Techniques presents the vinyl reissue of Tafkamp's magnum opus 'indrukken'. Originally released on cassette tape back in 2018, the album features some of the artist's deeper and dreamy productions to date, an exciting trip through the musical impressions of the artist mostly known as techno/rave producer 'Stranger'. Tafkamp showcases a selection of music ranging from slow melancholic breakbeat to euphoric uptempo electro and everything in between.

Temples is a tempting invitation into another world, full of light and movement. From the second the synth comes in this track has got us deep in its pocket. Shotter manages something that is hard to achieve - he has us floating completely, yet steadily carried by tip-toeing metallic rhythm elements and the relentless swells of bright synths. The game changer in the second half is a new, gritty bass quality, which couldn't roll in any more fiercely. At its fullest the track has us in an uncompromising trance, a relentless movement that we don't ever want to escape from. Breaking back down to pleasantly gentle hi-hat reverb-tails and inducing synth patterns Temples lets us down easy, with the unspoken promise to return.

Ueno claims the room to itself completely and immediately. The rise and fall of melodic synth lines lead us through a labyrinth at first, leaving plenty of space for imagination. Before we notice playful call-and-response rhythms are teasing our ears, until the track surrenders itself to an ever-growing wave of synth patterns and their behind-the-beat-delay. It climaxes into a haunting silence with tenuous high-pitched sounds and a clear outer space feel. Finally, all elements lock into a comforting groove, driving us forward, not too fast, not too slow - exactly right.

The track starts off with a blissfully nostalgic vintage-feel - slightly muffled, like the humbling quality you get from an old Technics playing your favourite LP. But don't be fooled, Cube March is bold. And unexpected. Stomping rhythms take over quickly and full-blown gritty synth-stabs cut the air effortlessly, like blades. An unapologetic and careless pumping bass line makes us want to move with every cell in our body. Shotter demonstrates his fearlessness in experimenting with heavy contrasts and elements from different genres here. A break with tastefully placed repetitive rhythm elements is complemented by the constant ebb and flow of melody lines. Both in volume and presence they fluctuate, one handing over the spotlight to the other seamlessly, keeping us hooked until the very end.

This remix lures you away from reality in a matter of seconds, with Definition's signature heavy hitting bass dominating. He expertly weaves shimmery fills into buoyant synth lines and brings us a skilful mix of dark minimal techno, breaks and infectious monster synth lines. Every so often, he adds a new layer, increasing the depth of the track, before letting it all crumble in a breakdown where time stops and tension grows, as we impatiently await the next rise to carry us away. The lengthy build-ups give this remix the energy to fill any room, easily. It is subtle, yet propulsive, too - a lane that Definition seems to manage regularly.

On his new release on Deep Shopping, Mister Bellini will take you on a trip with 6 fresh tracks packed with - funky homegrown bleeps - 100% organic vocal chops - crispy claps - fat basslines - 100% fresh beets* Whether you cut them, scratch them or just fade them in and out, this DJ-friendly record will help you drive the crowd crazy and take it to the next level! - Highly compatible with other tracks - 45rpm-ready - increased banger per record ratio Say yes and get this in your bag - don't sleep. *includes 1 fat electro beet and 1 gritty dubbed out beet

Organic Cloudy Rainbow Fest

Domestic Exile warmly welcome the return of Grim Lusk, coming full circle to follow up 2018’s ‘sunp0101’ after releasing under their Dip Friso and Sunny Balm aliases in the interim. ‘Diving Pool’ is a hallucinogenic concoction of marshy, aquatic, oscillated dubs and skittering, microtonal beat experiments. Grim Lusk's signature production style is in full effect, often occupying some liminal space nearing offbeat discordancy, but beautifully pulling together on the brink. Gelatinous machine funk rhythms and sweet, syrupy dub bass ooozing with a vibrant convergence of bright psychedelic greens, yellows and oranges, akin to bubbling sulphur pools and lava lakes, are present throughout the 6 tracks; Nuovo takes late 80’s drum machine patterns and twists them up with rough-cut vocal chops and long-form sampling of a 60’s film on the first iteration of ‘Il Gruppo”. Striding into the turbulent sea, Partans is kept jovial by rim shots, cymbals and snares fed back over the forward bass buzz. Not Enough is a bizarre, primordial, stretched-out gloop sludge half-speed version of the B-side track Too Much, twisted into new rhythmic territory by an off-kilter breakbeat sample. Diving Pool takes crushed, bouncing drum machines and loop-focussed experimentation to find incidental interplay between the two, whilst somehow retaining ebullient make-you-movable gusto. Angular rhythm and zealous sample manipulation seep through in Too Much, live drums patched, extrapolated and pulled further out in the mix, where jump cuts between familiar vocal chops and distorted tape delay contort manically- a warped, swinging echo of Slum Village's ‘I Don’t Know’. Wazoo rounds things out with the most club-leaning moment of the record, a saturated, throbbing atmosphere hanging over a beat-up, lurching drum sample layered with malleable pitched percussion and fuzz guitar. Peculiar shapes, fragmented shards of rhythmic patterns, crushed, crystallised snares, and congealed, jelly-like dubs; the music embodies a sense of carefree fun and playfulness, where dissolving layers of organic echoes, warm, slippery reverbs, and expansive phaser EFX stretch out into nebulous space…

We welcome Stasis to De:tuned! UK techno pioneer Steve Pickton has dug deep into his DAT tapes collection to unearth 2 previously unreleased recordings from the golden era '92-'93. Both rarities offer a trademark lush and retro-futurist Detroit inspired sound that is totally unique. Fellow Likemind legend Nuron provides a stunning remix. The track was built up from scratch as no stems were available, giving you another sneak peek of the genius musical mind that is Nuron. The vinyl version comes with impeccable sleeve and label artwork by Abdul Haqq (Third Earth). Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl. A separate digital release will also be available at the usual digital shops. Stay tuned!

Row Records comes around with a V.A. to show the range of the label sound with five artists who go different ways in different tempos and ultimately come together. The opening track "Goose Father“ by Suh+Moon from New York embarks on a varied journey, followed by Manchester's Avernian, who taps along percussively with "Seivad". On the flip side comes Pressure Dome's Yushh from Bristol with her deep grooving "Smile & Scarper" and Row Records co-founder Kaep is collaborating with Bhed to let the woods do the talking.

Atomnation marks its 100th release with Peter, Barbara, Beth & Friends, the stunning debut album from Blomfelt & Narby. The immersive nine-track record arrives on August 26th and is a widescreen listen that fuses acoustic and electronic sounds with loose field recordings and tightly programmed drums.

Finnish-born Henrik Blomfelt grew up in Gaspar Narby's homeland of Switzerland, but the pair met on the dance floor of a pool club in Peckham while studying in London. Gaspar’s indie pop solo project was rewarded with a broad sweep of tastemaker tips from new music and electronica media alike, while Henrik had co-founded Resolution, an audio-visual collective and event series. The two eventually moved in together, but it's only a couple of years later, when Gaspar visited Henrik’s homeland of Finland, that they began making music together. They wrote half of the tracks that appear on the LP there, using an old piano, a cassette recorder found on location and their laptops. The second half was finished back in London.

Writing songs has always been quite natural and ever-present in Toby Whyle's life. And he's written plenty of them over the last decade. However, what's new is the realisation that songwriting is one of his few means to slow down the bright and fast-paced world surrounding us. Driven by the urge to create and develop something new, he started to write again. And suddenly, this feeling of being able to pause time came out more intense and immediate than ever.

In this way, the singer, songwriter, and guitarist manages to stand back from the constant rush, carving out space to move freely at his own pace. " Each song is an empty room, and I can decide for myself how I'm going to furnish it. It might get rather chaotic with stuff piled up to the ceiling, then again there's almost nothing in it", he describes his approach to songwriting. For him, creating melodies, crafting music and lyrics is not just a means of reflecting on situations he finds himself in but also a tool of handling them. Toby's music strives to affect and inspire people in all the different phases in life, as his songs are also a result of the diverse situations he's gone through.

Aesthetics and craftsmanship play a crucial role in Toby Whyle's creative process, from crafting songs, recording and producing them, and building and maintaining a particular visual language. He aims to create high-quality and exceptional music that enthuses and delights people, which sparks energy and conveys a certain feeling.

Expanded vinyl edition of previously tape-only lost techno-pop classic from Tokyo/1984 - coming with an additional fifty minutes plus of unreleased archival music from the original recording sessions.

Artwork by the acclaimed book designer Luke Bird and liner notes by the artist. 300 copies (180g).

A Japanese synth curio? A lost techno-pop classic? So might run the standard view of the electronic album Boku・Neko・Platanus, recorded in 1984 by Shinichi Omata. The facts point that way. The futuristic Platonische Liebe and Omata’s technodelic take on the traditional Greek folk track Egyptische Knabe are timeless electro tracks with a radically simple pop concept and robotic flavour that closely echo Japan’s most recognisable exports from the era.

But, focusing only on such fragments misses the greater charms of the album – an argument made more convincing by the inclusion in this expanded edition of an archive of unreleased material from the original recording period. The music spans an unusually broad and contrasting range of influences, exploring the possibilities of mood music, imaginary soundtracks and pop dissonance. How Omata transformed this vast range of influences into synth pop is the real magic here.

In Japan, Omata is largely known only to electronic music enthusiasts and connoisseurs as a member of the cult synth-pop outfit DEA, whose Metaphysical Popwas released in 1985 on LLE, a sub-label of Marquee Moon Records, itself an offshoot of the notable experimental music magazine of the same name. Yet he is the mastermind behind a daring techno-pop sound that has remained almost entirely hidden for nearly 40 years.

Boku・Neko・Platanus was originally issued on cassette in extremely limited numbers (25 only – released by the Tokyo-based Indian grocery store, Ganso Nakaya Mugendo, located in the Koenji district of the city) so much so, that it’s incredible it ever came to light at all. What we can hear across the expanded edition is not only a highly skilful instrumentalist at the peak of his powers, but also a daring experimentalist, who employed emerging computer and synth technology in innovative ways, and revitalised old school music by adapting it into contemporary settings.

“This was the kind of music I had always wanted to try”, he recalls in our sleevenote interview. Omata’s angle was that he was writing modern music, informed by contemporary developments elsewhere but without the stiffness of the formal academic scene. It’s all pop as far as he’s concerned.

Kübler-Ross is a minimal synth/wave/industrial three-piece from Glasgow, Scotland, featuring Craig Clark, Katie Shannon, and veteran electronic producer and remixer producer Dave Clark, best-known for his Sparky moniker, and as one-half of the production/remix team Optimo (Espacio). First emerging in 2015 with a couple of compilation appearances, Kübler-Ross released their debut, self-titled album in 2020. Originally released as a limited-edition cassette on the Glasgow label Akashic Records, the album — now resequenced and released on vinyl via Suction Records’ minimal synth sublabel Ice Machine — is a collection of tracks recorded over a three year period in a variety of studios, rehearsal rooms, and gigs, documenting the musical variety and ferocity of their incendiary live performances. The Akashic tape, despite being low-key, under-the-radar, and released in limited quantity, managed to earn them a Long List nomination for SAY (Scottish Album of the Year) for 2020. Standout cut “Bridges”, first released in 2015, is synthpop perfection — sitting comfortably alongside classics from the first wave of UK electronic classics by Thomas Leer and Robert Rental, John Foxx, and even early Depeche Mode. It’s not the only synthpop track on the record, but the album is dominated by a more tough, raw, and punk spirit, featuring aggressive female vocals, live drums + bass guitar, and judicious use of crude analog synthesizers and tape delay fx. Think Liaisons Dangereuses meets Suicide, and you’re beginning to get close… Available digitally, and on limited vinyl LP in a reverse-board jacket, and includes a Bandcamp download card inside.

Sticking to the trusted format of 4 superlative cuts from equally talented producers, the quality and talent on show does not disappoint on Wgd007. Tin Man, Rai Scott, Sound Synthesis & Roger Van Lunteren.

Breaking Greedy Creepers Powerslam

Solo album by Betonkust (Dutch for Concrete Coast). The vinyl comes with a booklet containing drum patterns used on the album, together with a download link of the original samples that you can use for your own music. This record includes a Bandcamp download code for the digital files. Short bio from Betonkust: I was born in Utrecht (1988). I grew up in a very small town somewhere between Amsterdam, Utrecht, and Hilversum. The so-called 'green heart' of the Netherlands. That means there's lots of nature. It was very boring and/or normal. A typical Dutch 1990s upbringing. I've been listening to house music for as long as I can remember. On cassette tapes, on the radio, it was everywhere. Now I live in Rotterdam and there's a lot going on, mainly in the area of electronic music. There is Operator Radio, Clone, Pinkman, etc. Most of my friends are involved in music in some way. The older I get the less I care about gear. I didn't use any expensive or exotic stuff. Korg Electribes (both the sampler and the synth), Korg M1, some Boss effects pedals, a cheap mixer, a Shure Sm57 mic, a cheap guitar. For this album everything was recorded in FL Studio. Some tracks on the album started like five years ago with a melody and slowly developed into a full song. Other songs were made one month before mastering. It really depends. But most of the work was done in 2020 and 2021. I think most of this album is about transience, giving up, the infinite sadness of humanity.

Debut full-length collaboration from Jack Burton and Rory Glacken (Tourist Kid). Follows Jack Burton's solo LP on Analogue Attic and Tourist Kid's solo LP on Melody As Truth. Early support from Ben Fester, Best Effort/DJ Earl Grey, Biscuit (Good Morning Tapes), Brian Not Brian, Ewan Jansen, Kato, Merve, Sleep D & Wax'o Paradiso

A collection of brilliant modern electronica scores inspired by the Bedfordshire countryside by Jodey Kendrick. Some of the historical landmarks in this historic UK midlands county, several dating back from before the 9th century, are the sceneries for this collection of eerie soundscapes punctuated by clangy metallic beats and brutal bass. Alienating old landscapes clashing with rapidly changing modern technologies is the playground for Jodey Kendrick's musical adventures.

Legowelt, Juju & PRZ and Mule Driver Remixes. Our story begins in Jerusalem 1980 – Zadik Zecharia – a folk musician whose speciality is the Zorna – a traditional kurdish woodwind instrument – recorded a cassette of kurdish melodies played on Zorna and Dola, a kurdish drum. The tape was released independently and distributed mainly around the kurdish-jewish community in Israel. Zadik mostly performed at weddings and ha as / celebrations and was also known by the nickname “Iron Lungs”, because of his ability to take only a few pauses for breath during his long gigs. In 2005, one tape found its way to “Something on the Road” – an underground CD-r Jerusalem based label which reissued the music on CD-r. Overnight, these intense melodies became a cult phenomena in the hipster-ish circles of Jerusalem and beyond. The kurdish melodies could suddenly be heard during dj sets, topping electronic beats, or adding drones to heavy experimental sessions. which later led “Something on the Road’s” founder to initiate a remix compilation with Jerusalem’s nest producers. One of them is your truly, Mule Driver. The remix has became a cult by its own. Fast forward to present time, a conversation with Legowelt about folk music led Mule Driver to dig an unreleased longer version of this techno remix. As well as ask the mighty Legowelt for his interpretation, that turned out as a killer acid track followed by an EBM – electro belter by Juju (Juju and Jordash) and PRZ (Clone).

‘Self Oscillation’ is made up of 5 club-ready psychedelic workouts swaying with natural momentum, from Ecuadorian superstar Nicola Cruz, who makes his 2nd appearance on London’s Rhythm Section Intl.

The internationally renowned producer, Nicola Cruz, has been instrumental in pioneering the sound of Andean music over the last decade. Born and raised in Ecuador, Nicola has found his own unique way to tap into Latin America’s illustrious musical past to create something utterly contemporary. His previous projects have had the 4 elements running through as major themes: Fire and lava erupted during his sophomore album, Siku, with an Ecuadorian volcano doubling up as a recording space. And now, with his second Rhythm Section release, we are met with sounds of flowing water that Nicola describes as “aqueous explorations”. On this EP, ‘Self Oscillation’, Nicola Cruz fuses experimental production techniques with underwater, bass-heavy constructions. Moods change like the tides; from euphoric highs with acid riffs and latin drum patterns, the music quickly dives to moody submarine basslines and dark, frenetic rhythms.

‘Self Oscillation’ sees Nicola’s production move to new heights as he expertly bridges the gap between natural and mechanical sounds. With the help of iconic 80s and 90s synths and the retro colours of a Roland Space Echo, his newest work is a hybrid of electronic dance music and a synaesthetic image of nature. In the spirit of his previous EP on Rhythm Section Intl, ‘Self Oscillation’ showcases the synergy - or rather ongoing battle between the organic and inorganic, the analog and digital, civilisation confronted and confounded by nature. It’s within this dichotomy that Cruz revels, and manages to say so much, without words.

Over the past few years an increasing number of bands hailing from the former Ussr have been appearing on the screens and the phones of the so-called Western world’s underground music enthusiasts. With most of them being pretty obscure and only a very few ones having established a worldwide following (Motorama, Molčat Doma) the Sovietwave tag has worked usefully enough as a tool to identify a wide range of bands each one with a different sound and yet something in common. Whether it be the harsh weather or just the distance creating an exotic effect, there is some icy-cold touch with these bands that immediately makes you know they’re from Russia, regardless of the language they perform. This goes for Blind Seagull too. The trio from Kaliningrad, a small russian enclave on the Baltic Sea between Poland and Lithuania, has been around since quite a few years now, releasing tapes and limited edition vinyls on labels like Detriti, Sierpen and Pine Hill. Finally taking up the challenge of writing a longer full-length (previous albums were seven or eight track long at best), the trio led by Denis Zarubin has created twelve new songs that shine a light on the impressive skills of this young combo to deliver very classic and yet extremely fresh and modern cold post-punk gems. Keeping it short and sweet, their two-three minutes long compositions cut right to the chase of the darkwave soul: stomping drum machines, frozen guitar arpeggios, tense bass riffs. The formula is occasionally rocked by the intervention of laser synths, noise raids and gothic chorale, while the industrial pièce of the title-track and the IDM-tinged collaboration with experimental giants Xiu Xiu ‘Fear’ will show how this band stands out and how their upcoming, new album is the best proof of this.

The second release of Distant Waters has been conceived with the idea of making something dynamic with flow and motions as a scene of sea hunting with several wild oceanic animals. So we collaborated with different inspired divers who came all around Europe to give their vision of our synchronized hunting. Solidwood the italian man behind the label Planet Tapes open this VA with a warm, stirring & progressive track. Then Sans Sucre strikes again, like a seagull who plunges into a big shoal of fish with a high energy track. The guys from Toulouse, Soyouz & Groenogen keep the flow going with a speedy micro-acid track that will make people dance as fast as a group of sardines trying to escape from their predators. English newcomer Human Logo close this EP with a shiny housy track with samples of whales which call for a hunting session.

A Download code is included. Veyl is pleased to welcome Marco Freivogel’s Prequel Tapes for an immense 8 song release, 'The Golden Cage'. Completing an album cycle of themes and exploration which began with 2015’s 'Inner Systems', 'The Golden Cage' is perhaps Prequel Tapes’ most diverse and expansive work - utilising the artist’s own vocals for the first time and evolving his production and sound to new, uncharted dimensions. Working off the trauma of his father’s suicide, 'The Golden Cage' was spawned from a hyper-realistic dream experience which revealed the artist’s path, catalysing new productions and techniques. The result is a striking work of unconventional electronics that journeys through rhythms, atmospheres and experimentations. A true narrative of a continuously challenging personal journey Beginning with the tension-building, free flow of 'My Turn', we then delve into grief and anger with 'I Hate You', which transforms into the pulsating tempos of 'Stranger or Lover'. The glistening nostalgia of 'Last Things' marks the halfway point before grappling with the heavy introversion of 'Alone' and devious energy of 'Mind Corner'. Nearing the end of our trip, 'Without Remission' uncovers the most dance floor tuned piece while finally the title track closes things out with an energy that will linger long after you’ve listened.

"Meth.O.Tapes' catalogue opens up on a programmatic framework in the form of Gil.Barte's first LP. Developped as an experimental exploration rather than a narrative, this object called « R.S.F » is a recollection of intriguing sonic pictures. Tracks neither really start nor they finish, pieces of an apparently unreasolvable puzzle like pages of a fantastic bestiary long forgotten.

Lawless Hovering Desert Stormers

Eduardo De La Calle and crew return with 4 tracks of deep off kilter electro and idm Big tip if you're into Bitstream, Gosub and Silicon

Parrish Smith is never one to let you breathe easy. As a globally renowned DJ, he’s become synonymous with high-velocity sets that cut and collide through his distinct array of obscure sounds. Meanwhile, however, the artist has been carefully constructing his own musical idiom. Manoeuvring his most delicate and most defiant feelings, Light Cruel & Vain (Dekmantel Records, 2022) is the first fruit of that painstaking process. A compilation of ‘imperfect music’, the record is shrouded in the artist’s characteristic veil of mystery. As always, his sound cuts and chokes – sometimes cruelly, sometimes soothingly – yet this record offers a new, longer, lighter gulp of air. Here, Parrish Smith bares his most private process so far: one of personal transformation and becoming a better version of oneself.

Light Cruel & Vain was developed over the course of nearly three years, following nearly a decade of individual experimentation. Where on the one hand, Lc&v reflects an inward pilgrimage (aka Parrish Smith facing the world and Parrish Smith facing Parrish Smith), the project simultaneously reflects the birth and growth of a band. Each track on the record is originally based on a solo idea, moulded and fine-tuned in conversation with contributing musicians Sofiane Brahmi and Javier Vivancos, then finalized by the producer. The collaborative process brought together niches that wouldn’t typically share territory or sound, allowing music to emerge that transcends each of their boundaries. In the making of Lc&v no conventional studio sessions occurred; due to covid-19, the full collaboration process was a remote affair of sharing snippets, (re)working recordings and, most of all, exchanging thoughts and feelings.

Those who know Parrish Smith a little, know his long-standing mantra: ‘No elitism, no prejudices, no genre. Hypnotic, tense, comprehensible – a state of mind.’ It’s this dictum that best describes the Lc&v sound(s). Tapping into all irreverent niches close to his heart – noise, punk, industrial, electronic, and even pop – Parrish Smith refuses to foreground one influence over another, instead layering and warping his personal interpretations of each. To categorize his seeking sound would be to limit the artist who, more than anything, thrives in limbo. ‘You could call it a concept album because the sounds are so far apart. But perhaps that’s not a concept, perhaps that’s just me…’

Parallel to his extensive musical experimentation, the past years have allowed Parrish Smith to zoom in on his writing. The resulting fragments form the foundation of Lc&v’s collage-like, soul-searching lyrics. Never, however, does the artist take his words to the front of stage; instead treating his voice as a malleable instrument, just one of many shifting layers in a bigger picture. The distorted lyrics, as such, are an statement: ‘It’s alright to be insecure about some of your qualities. In fact, the key is to embrace just that, to take matters into your own hands.