Saturday 31 January 2015


I am currently watching The Land Before Time 2 because it's on TV and I've never seen it before. I literally loved the first one when I first saw it when I was like, however old, 3 or 4. To see Littlefoot and Cera and Petrie and Spike and Ducky together again is making my heart bounce a little bit. And what else is making my heart bounce right now is this track right here.

It's a strange soundtrack for small dinosaurs running away from a scary big dinosaur, but it kind works in a strange way. What's this track? It's by Saitama, Japan-based producer Yu Uchida aka quietfunk and features LILI on vocals (I can't find any info on her) and a guy called flatcastle – v cool name (irl: Daisuke Hirajo) – on slap bass. It's entirely groovesome, founded on a smooth popping bassline courtesy of Mr. Hirajo and gradually more accented disco-style beat with shuffling hi-hats and the occasional stroke of a cymbal.

Called 'house of loaded people' it takes its name from the samples it uses. Well, more correctly it takes inspiration (and samples) from 'Loaded' by Primal Scream and aside from a bit of brass that hazily fades in and out every now and then, the quietfunk track also uses the dialogue that appears in the Primal Scream original, "We wanna be free… we wanna get loaded!" – itself a sample taken from weird film Werewolves On Wheels. It's an exploitation film in which an outlaw bike gang stops off at a church in the desert, parties, falls asleep, one of them gets drugged by the satanic cult that actually runs the church, wakes up as a werewolf. Normal.

I keep thinking about the bassline, robust and silken at the same time, but there's more to this track than just this fragmentary funk. Thin tremolo synth begins to wiggle pulsar-like overhead, swathes of white noise building to a whispering crescendo, and LILI's voice sings gently and with nocturnal party-time longing what the vocal sample proclaims throughout. Everything culminates in echoing intensity towards the end, like the frenzied end to a sweaty imagined party as wished for by the song itself.

  • 'house of loaded people' is a free download – do it!

    quietfunk Social Media Presence ☟

  • Wednesday 28 January 2015


    Here is a really nice example of concrete music or musique concrete if you prefer it en français. It arrives to our ears from a Surrey, UK / Rome, Italy-based musicmaker called Max Bonar-Law, under the moniker Wrycroft.

    If you don't know, because you don't have to know (it is not a sin), concrete music is the art of creating music wholly out of sound samples. Kind of like concrete poetry but a lot closer to found poetry, in which words are "found" in their natural environments and isolated into a poem form. If you google it, like I did, you'll see that it was first developed in 1948 by French composer Pierre Schaeffer.

    Wrycroft's offering is called 'Where I Am' and described by its maker on SoundCloud thusly: "i made this piece out of audio samples i mainly collected with my phone. no effects were used in the making of this piece." On Bandcamp it is described similarly: "a piece i made out of recordings i collected over the years. no effects/vsts/plug-ins/bla bla/silly stuffs were used to make this."

    Alternating between samples on the high and low register for a percussive, beat-like effect, the track judders onwards through chiptune-sounding fuzzy bleeps and stuttering slices of guitar chords, punctuated with a string of pulsing kicks and the slow tick of a hi-hat-sort-of-sound. The found sound/concrete music aesthetic is topped off with lo-fi samples of somebody speaking and, from what I can hear, the sound of a road or a train station with distant vehicles rattling on a backdrop of static, grey noise.

    I don't know how much work it takes to go through these various samples and figure out not only what parts to use, but where to put them and how to progress the song – it feels like Wrycroft went through a pretty long process to get to this finished result. But fun, too – fun to create a musical collage.

    If you'd like to support this producer, please head on over to Bandcamp and download 'Where I Am' on a name-your-price basis. It is also a free download.

    Wrycroft Social Media Presence ☟

    Monday 26 January 2015


    I do believe this is the first time I've written about Dot Rotten. He's a grime artist who's been floating around for a while now, probably most notably getting nominated for BBC's Sound of 2012 list. If you don't know (i.e. you've never lived in the UK) his name is a pun of a character from a London-based soap opera called EastEnders – you must've heard of it – whose name is Dot Cotton. She's about 500 years old and smokes a lot.

    Anyway, my ears were on like, red alert or whatever when I heard this new-ish song from Dot Rotten. It was new when I first heard it, around a month ago, on Charlie Sloth's Saturday night show on BBC Radio 1/1Xtra. It's called 'Check Me Out' and it's real cool. But the one I heard on the radio also featured fellow grime MC JME and now I can not find it anywhere. Please, if you can find it, or if you know where to find it and you see this message washed up on the shores of the internet in months or years to come, please direct me to the Dot Rotten x JME version. Thank you.

    'Check Me Out' is dark and narcotic, a lazy haze conjured by Canadian producer Sevn Thomas. Bubbles of growling synth switch in the grime style between a repeated few notes, a muffled crunch that accompanies fittingly directionless bleeps which echo into the darkness. Fragmented percussion features lone snares for the verses before rattling hi-hats summon booming columns of sub-bass for a decidedly sordid beat that fits the subject matter.

    Over the track, Dot Rotten assumes the role of an overprivileged member of the upper class, affecting a posh / aristocratic accent with a genius bit of nonchalant smugness thrown in for good measure. Essentially he paints a picture – and perhaps quite rightly – of the debauched and arrogant upper middle class (yeah we love classes in the UK). The words themselves are brilliant, I want to write them all down. He talks about drinking chamomile, scones with strawberry jam, eating caviar whilst the lower classes are in Malia. Little things, too, like posh, fake laughter fluttering in the background alongside non-posh words like "swag" as the narrator says how the-shit he is – I love it!

    A couple of choice lines: "Fuck that business meeting / I shall not be showing up / Father says I'm childish / Fuck him, I'm not growing up" and and also "Red wine from '08 / Been here for a century / Strolled into my mansion / And there's four girls with four friends for me," not only demonstrating great imagery but also punchy and effective rhymes, too.

    Dot Rotten Social Media Presence ☟

    Saturday 24 January 2015


    Who is MINO MINO? Who is MINO MINO? Who is MINO MINO? Who is MINO MINO? Who is MINO MINO? Who is MINO MINO? Who is MINO MINO? Who is MINO MINO? Who is MINO MINO? Who is MINO MINO? Who is MINO MINO? Who is MINO MINO? Who is MINO MINO? Who is MINO MINO? Who is MINO MINO? Who is MINO MINO? Who is MINO MINO? Who is MINO MINO? Who is MINO MINO? Who is MINO MINO? Who is MINO MINO? Who is MINO MINO? Who is MINO MINO? Who is MINO MINO? Who is MINO MINO? Who is MINO MINO? Who is MINO MINO? Who is MINO MINO?

    Somebody has to be MINO MINO. Obviously, someone is going to be them. You don't just… or maybe you do… but generally you don't set up a SoundCloud and then almost overnight get like a zillion plays. I reckon it's the side project of somebody already established. I went back to see the first people they followed, and the very first one was Maxo. Maxo… Mino… Hmm. But that can't be it. Then again, maybe you really can set up a SoundCloud, follow the right people, get noticed quick-fast. BUT I am not a detective! What do I know! I know absolutely nothing! Who am I! GRAAAAARRRRGH!!1

    Anyway, MINO MINO or Mino Mino or mino mino is a new musicmaker and their name is a repetition of the word Mino which is the name of a number of places in Japan as well as the name (kanji: 蓑) for a traditional Japanese straw cape, see here for details. It could also be a truncation of 'Minogue' maybe that's it. Etymology and identity aside, the music itself is really interesting. Most recently they put up a track called 'TBH' which kinda sounds like an electronic djent track vaguely crossed with the suspenseful music from Monaco: What's Yours Is Mine.

    However, I first stumbled across them thanks to a track called 'GLOWING' or 'Glowing' or 'glowing' so, yeah. Again there's this atmosphere of tension, a impending threat, a mist of grit to it, sonically illustrated with schizophrenic insectoid synth rapid-chirruping high up the register, a bulging bassline – the type from Goldeneye (N64) – enacting a few notes of threat for some sweaty-palmed terror.

    Elsewhere it glitters with nocturnal sophistication, sweeping pianos lending it a noir jazz air. All the time it is hotly dynamic, always shifting, an ADHD étude where hi-hats tick and shiver, morphing from glassy to abrasive, where toms tumble together, breaks in the low end of the track – including clusters of polished kicks – giving the track, and you, some room to breathe. It's the soundtrack to looking round the corner of a corridor you don't wanna go down. Or a road you don't wanna walk down. Or a fantasy heist. More than anything else it sounds like videogame music and that's a mega plus for me; that it can conjure so many things, I think this says more about the production (which is super-polished and fine-tuned as it is, regardless of imagination) than it does about me.

    It also does say a lot about how being an enigma or operating with a certain air of mystery makes everyone lose their shit over you, i.e. makes you a more attractive artist to want to follow / listen to.

    Mino Mino Social Media Presence ☟


    It's that time again. What time? Guest mix time. It's a bit of a different guest mix this time around because the tracklist isn't so much a tracklist as a set of "ingredients" – it's not in order, I'm not 100% certain that enough of each and every track was used to warrant it being listed as a "track", and I don't know if some of the sounds in the mix were even listed. Instead, elements are spliced and mixed together, just like ingredients. Flour and eggs and sugar and butter kinda stop being those things when you make them into a cake. And so it is with this mix, courtesy of London band Stats – in particular, from just one of its members who is called Ed.

    I stopped trying to dissect this mix after a while and just enjoyed it, trying to guess which parts came from where on the ingredients list was just getting to be impossible. To use the cake metaphor again, it's like digging into your favourite cake to try and find the original components that came together to create it. Well, it's obviously not as impossible to discern which sound comes from which song, but it definitely does show the abilities of Ed, who is the actual frontman of Stats.

    Filled with meaningful snippets from documentaries and interviews – the voices of people as diverse as Werner Herzog and the digitised female voice of the Narrator for Windows (I think?) – the mix moves through a wormhole lined with pulsing disco basslines and fragmentary electronica, the groovesome nature of the mix clear at the very outset as 'Beam Me Up' by modern-but-authentic disco outfit from Brooklyn, Midnight Magic, moves into Stats' own 'Where is the Money'.

    Music contains everything, and you can make a song about anything, so it’s like the world but bigger. Once you’re doing it, it’s difficult to remember how you first started, like when you learn to talk. It becomes second nature, which is more interesting than first nature because it’s not strictly necessary, but it feels like it is.

    ED (STATS)

    The jaunty poetry (check out 'D'you wanna eat') and art-pop sound of Stats, inspired by acts like Talking Heads, is as clean-cut as it is angular; they incorporate funk grooves and rock noise into their songs, coupled with catchy vocals and spoken word quirks that suit the urban environment in which they exist. Frontman Ed also says, "Stats songs often try to look at what’s specific about how we live right now, especially in cities." So there you go.

    Taking inspiration from the opening line to Bryan Ferry's version of 'A Hard Rain's a-Gonna Fall' (Bob Dylan), the mix is called Oh Where Have You Been? "And that," confirms Ed, "is loosely its theme."

    Playing for La Roux (whom Stats remixed a couple of months ago) on tour recently, he tells me about the experience of travelling the world, having not really been anywhere apart from the UK. "Songs people write about touring often complain about [it], on the grounds that it’s repetitive and alienating - but I really enjoy everything about it," he tells me. "Because you have so little time and control, you are under no illusions about discovering the 'real' St Petersburg or Los Angeles or wherever: your experience of a city is guaranteed to be short, incomplete and highly subjective."

    With much of Stats' lyrical output dedicated to contemporary living, traveling to many different cities was eye-opening for Ed. "One thing common to pretty much every city I’ve seen, from Berlin to Boulder, Colorado, is people saying they can’t afford to live in them any more because property is impossibly expensive," he explains, relating it back to 'Where is the Money', adding, "Many of the songs and films and stories in this mix stay in my head because they seem to relate to things like that."

    So, in conclusion: please enjoy the dreamy disco feels running through this mix. I hope you like it. Thank you to Ed, who also would like to thank William Bowerman, Tom Hatfield and Ali Staton.

    "This mix is by Stats.
    Stats are a minimal pop band.
    Stats are six people.
    Stats can’t dance and Stats don’t take drugs.
    Stats are a grown-up thing to do.
    Stats have big plans tomorrow.
    Stats are all over the place.

    1. It is a journey to the end of the world

    2. Remember the future (beam me up)

    1. You have to keep moving out, but remain in orbit

    2. Happy man, happy man, that's me

    1. This green world of God’s

    2. You can almost taste the hot dogs and french fries they sell

    1. Nature here is vile and base 

    2. When I’m working, or washing my hair

    1. Oh, where have you been? 
    2. It was lots of fun, the mechanics of getting together

    1. Well go on, tell me something

    2. There’s a big building, that's me.

    • I N G R E D I E N T S •

    Stats Social Media Presence ☟
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    Tuesday 20 January 2015


    Here is probably I think the second ever post I've written about lolicore. The first time around was about a super-catchy track called '4U' by maedasalt. This time the high-octane madness crash lands on your screens courtesy of Atlanta, Georgia-based musicmaker Matoakai with a track called 'Bass Star Pilot'.

    Fraught with diced-up samples frenetically staccato throughout, the track firstly booms with lightly distorted kicks with abrasive snares resembling a super-decayed kinda breakbeats. After a snippet of somebody talking in Japanese, the beat gets some supreme edits, rattling with super-speed hi-hats and minigun snares, distant cosmic sounds like the rims of wine glasses being played in space providing an otherworldly, atmospheric backdrop to the micro-fractured beats.

    A couple of times there's this wild flute sound, a kind of dead-of-night wolf-like sound (I think it's some kind of flute, maybe a Native American one I don't know), which should be out of place – a 'natural' sound in amidst the mad mechanical chops and cuts – but works perfectly; a song of instinct as a star pilot navigates their way through perilous multitudes of asteroids, warning lights flashing urgently inside the tiny starship as it zips past obstacles like a crazy insect.

    Matoakai / gomigomi Social Media Presence ☟

    Monday 19 January 2015

    ✿ RYCE ✿ – FLOWERS

    One commenter on this track said "gotta watch out the young ones are murking everyone in the game right now." And to some extent that may well be true. Not necessarily that they're already better, or that they are actually actually murking everybody, but the sentiment still stands. Why is it that a younger person might be better? Well, firstly it's easier to learn things when you're younger. Your brain is more malleable, skills and things sink in more easily. Secondly, there's less bias! If you've only just started making music at 20-something, it might be the case that you're more biased towards one sound, or less inclined to experiment with other sounds.

    If I had more time to explore the differences more thoroughly with actual evidence, etc. then obviously I would sound less like I am totally going on conjecture and "what I think" i.e. "my opinion". But I digress.

    I speak of youth because the producer of this track is, apparently, 14-years-old. Really? If so, that's amazing, big talent. But it's not the reason I'm writing about the track. I'm writing about it because I heard it and liked it! :)

    Created by Finnish producer ryce – or for brevity's sake let's say just plain ryce (no pun intended) – the track is called 'f l o w e r s' or 'flowers' and it's a slow melding of luscious sounds twisting together to a gloriously textured beat twinkling with metallic and glassy chimes of percussion. It's underpinned with supple columns of bass, a sample, with pitch-shifted vocals and slow guitar twangs, from I-don't-know-where winding its way gently across the track. It tastes like vaporwave with hints of hip hop, but it feels more unique than that. It feels like liquid treasure, a bypassing of ontological worries to simply float through life with bliss free-flowing all around you. If only〜

    The real beauty of being this young and this creative and talented, however, is anticipating how these skills and this vision will evolve over time. Here's hoping for the literal best song ever from ryce one day in the future.

    ☟ ✿ ryce ✿ Social Media Presence ☟

    Thursday 15 January 2015


    Meishi Smile has shared a song via Ryan Hemsworth friends-only-not-a-label Secret Songs. Who is Meishi Smile? I hear you cry. Don't worry. His real name is Garrett Yim and he is from California and he makes music so sweet you'll want to cry, so bleakly sad that you'll want to smile. At the beginning of last year he released his debut album, LUST, which I really enjoyed – a high-energy whirlwind of J-pop flavours that was as wistful and introverted as it was all-encompassing and euphoric. A lovely mix, in short. Oh and he is also the head of alternative pop label/collective, Zoom Lens.

    Anyway, the track is called 'Blank Ocean' (the title alone is the first tearjerker – even that speaks to me) and it's really good, basically. The intro is a real killer, a 27-second gradual slide into the track's candy-coloured bounce featuring cold, fizzing synth with hints of the Amen-style breaks. The main body of this track is all breakbeats, with zithery plucked instruments plaintively echoing the melody of the vocals, which are vocodered to good effect, almost as a detachment from the true emotion of what they're singing.

    Mr. Meishi Smile has kindly provided the lyrics and with lines like, "let's end our lives in a sentimental way / let's echo our youth like death in poetry," the fearsome despair and hopelessness at the heart of this song become more evident.

    In true Meishi style, he's also added some brilliant pan flute sounds, the hollow quirky sound of them conjuring the otherworldliness of one of his influences, the soundtrack of Bomberman 64. Add to this the blooping (almost like Sonic jumping circa 1991) synth hook and breezy guitar chords, and you have a whole lot of disparate and perhaps even conflicting elements.

    But Meishi Smile weaves them all together with a finesse that not only results in a well-crafted piece of sugary and emotive pop, but that also, in its loud and bustling way, harks back to Meishi's roots in harsh noise music. Top marks!

    Meishi Smile Social Media Presence ☟

    Wednesday 14 January 2015


    Not sure where this guy is from but I'm going to make some sort of half-educated guess. So… yeah, I think he might be from Paris. And in fact – could be male or female. So let's say… them. They might be from Paris because they tagged the song as 'Paris' (also a Parisian musicmaker commented on the track, too, so…). Then again, they've also tagged it with The, Imaginarium, Midnight, Beats, 2015, and Hadrian. So who can say anything for sure? Not I. Not I.

    So anyway, the track is called 'Past Midnight' and it's by somebody making music under the name GHOST CRUISE. The etymology of the name… a ghost cruise I suppose. Either a cruise for ghosts or a cruise you go on to see ghosts. Sorry, too much talking.

    The track itself is gloriously wonky, owing not only to the skipping off-kilter beat that thuds and thumps along, nor just to the the seemingly arhythmic synth bass bouncing throughout, but also to the sounds higher up the scale. Harp flourishes sweep as if endlessly conjuring a flashback, backdropped with phasing sounds and punctuated with zither icicles and delicate strings. Something wholly fitting the title 'After Midnight', summoning the unreal moods and atmospheres that effuse from the heart of night itself.

    GHOST CRUISE Social Media Presence ☟

    Tuesday 13 January 2015


    Here is a song from a Japanese producer Ryuma Miyamoto aka Dragon UMA. Now, UMA could stand for a lot of things (Universal Music Australia, Union du Maghreb arabe, uniform memory access) but I like to think, given the preceding 'Dragon' that it's a reference to the game Little King's Story. The enemies in the game, for the most part, are classified as "UMA" – Unidentified Mysterious Animals; though I can't remember stumbling upon a dragon-based one, unless it refers to the Worker Onii (onii = a kind of pun because "oni" is demon in Japanese and "onii" is means something like older brother or "big bro"), or the Blue Dragon Guardian (boss).

    Anyway — enough of this!

    I stumbled across this track called 'COSMOS' today and was pretty much intent on writing about it all day and I MADE SURE I DID. SO HERE I AM WRITING! WILLPOWER!

    Beginning as a beat-heavy piece of robust pop that seems to sample some Japanese singing, the track soon slides into a unique foray into distorted trance-flavoured sounds. Piercing glassy chords lance outwards from a booming soundscape of fuzzy kicks exploding with bass, which become more frantically frequent as the melodies become more energetic.

    In particular this is a synth symphony, a sweeping exposition of sounds from blissful solos to clustered bleepings, from syncopated grinds of bass blasts to high pitched sounds that are kind of like sneakers making that squeak sound on a polished floor (or the high pitched sound you can hear in the Graveyard level from Super Mario Land 2: 6 Golden Coins). Overall it's packed with as much alternative dancefloor leanings – the bouncy yet abrasive kicks made me think of Pictureplane, as a comparison – as it is with not necessarily atmospheric but certainly scene-setting sounds.

    Dragon UMA Social Media Presence ☟

    Tuesday 6 January 2015


    Ah I found this ages ago and have been meaning to share it ever since. I'm not usually a fan of crazy jazz, or maybe I don't know what jazz is. Can jazz be anything? Does it have to sound jazzy? Hmm. Maybe this is "contemporary" jazz. I found this because I don't really subscribe to many people on YouTube and the one person I do subscribe to is this guy from South Korea who films lots of music and culture stuff.

    Anyway yeah, this is the Sungjoon Kim Quartet (or 김성준 쿼텟) performing a track simply called 'No. 2' – except this time around it's a sextet, with an additional saxophonist and a zither type thing. This is actually called a yang-geum, which is a traditional Korean instrument, and this would make more sense in this instance given that SJQ (as they are known) is a South Korean entity of jazz.

    It's headed up by jazz saxophonist, Sungjoon Kim. After graduating from Berklee College of Music in Boston, he moved to NYC and sat in on many jam sessions, taking the new experiences back with him to South Korea in 2010, where he makes music and teaches as a professor at Soongsil University and Baekseok University. Jun Kim is on guitar, Doc Skim is playing synth bass, and Woongwon Hahn is on drums. This is SJQ. The girl playing the yang-geum is possibly Hwiseon Choe and the additional (tenor) saxophone guy might be Jeeseok Kim.

    The track, performed live at VELOSO in Seoul, is a mad slice of bustling energy, a large helping of hot and sticky music, sultry and humid, permeated with cool calm in the form of constant laid-back guitar chords, all the while the bulging bass supports beneath it all. It begins with saxophone flourishes, a kind of brass call-and-response, the yang-geum solo is particularly fresh, hearing it in this jazz context gives it a whole new meaning, a twist on tradition.

    The guitar solo is a break in the craziness after some crashing dynamic punctation from the drums, a soothing oasis from the screaming saxophones, which soon itself bleeds back into high-energy, rapid-fire playing, building to a crescendo which drops us off full circle, to the ascending saxophones that played at the start.

    Whew. I don't ever write about jazz and I'm sorry if you don't like it but you should give it a listen anyway, it's really cool. It's 11 minutes long but I'm sure you can deal with it.

    Sungjoon Kim Quartet Social Media Presence ☟
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    Monday 5 January 2015


    HAPPY NEW YEAR! It's 2015! Imagine that! We made it! We're still here! And to kick-start this year – whose numbers, if you're into numerology, add up to 8 (v lucky number) – we have an exclusive tasty guest mix from a producer whom I admire quite a bit. What a New Year's surprise this is!

    First time I stumbled across music created by this man he went under the name Snorlax. As any good Pokémon fan, I followed my nose and leapt into his pool of music and found it to be like, well, just a delight, if I'm allowed to say so. Now creating music under Goodnight Cody, a moniker little closer to real life (his name is Cody Farwell) this producer and bass-player from Los Angeles creates music that at once introduces groove and atmosphere in scene-setting unions, tracks that jiggle your body and your mind at the same time – take, for instance, the wonder that is 'Full Count (Bases Loaded!)', it conjures an actual baseball game, a cartoony, Peanuts-esque baseball game. And that bass, right?!

    And yes: he plays bass, has been since age 12, soon after realising he was "a horrible drummer" (which he started playing when he was 8). Then he started writing songs on guitar and piano at 15. "I've always been drawn to music," he tells me, "and I believe that is what started me to create it."

    Coming from a punk background, the first electronic music that attracted him was that of Squarepusher; Cody "fell in love with his extreme sounds." Afterwards it was a case of "digging deeper and deeper for new sounds & styles, looking for inspiration."

    After I asked nicely, he very kindly agreed to make a mix for YES/NO. And what a mix. Self-confessedly "constantly digging for timeless music from all over the world," it really shows in the collection he's put together for us.

    I think what continues to inspire me is the search for the perfect song for the perfect moment


    "These tracks in the mix are very important to me," he explains, "as they are all by artists that have changed the way I perceive music." He tells me he never understood or enjoyed electro-pop until he heard Sonic Coaster Pop a few years back, and likewise with blues or gospel – "I didn't think [it] was very interesting, or that it would eventually change my life." He divulges it was listening to Blind Wille McTell that changed all that for him: "I found it to be an experience like no other."

    This selection of music – "a good look" into the sounds Cody loves, an international hotch-potch ("I also love hearing a melody or an instrument and knowing what country or region it's from," he says) – is a pick-'n'-mix of wildly different flavours, from the soul-elating gospel of 'It's Been a Mighty Good Day', penned by Dr. Maceo Woods, and its sleepy, acoustic-guitar-laden neighbour 'Doçura Forte' by Brazilian singer Joyce, to the frenetic 'Amscray' by LA producer / boss of label Magical Properties, Daedelus, and the sugary hyperactivity of international J-pop phenomenon Perfume on their track 'ポイント'.

    That's not to mention two gems from the brain of Yann Tomita, namely the heart-melting 'Some Day, That Place In Time' (by Doopees) and mix opener by Astro Age Steel Orchestra, 'Living Message From Pan Yard #2', or the v famous 1928 song 'Statesboro Blues' by Blind Willie McTell, or a spot of raï singing in 'El Fermlia' from Algerian artist Boutaiba Sghir – it's all lovingly patched together with Goodnight Cody's mixing skills, a mélange of seemingly disparate genres, jarring time periods and contrasting artists, all united with heart and soul.

    So, now it's time for you to enjoy this, the longest mix ever made for Y/N! Have fun! :)

    • T R A C K L I S T •
    1. Astro Age Steel Orchestra - Living Message From Pan Yard #2
    2. Sonic Coaster Pop - Spiral Neo Wave
    3. Sonic Coaster Pop - SOCOPOGOGO
    4. Gangpol & Mit - la comptine
    5. Gorillaz - Dub Dumb
    6. naivepop or petitfool - Chopstick Rest -休息は大事だよ-
    7. Harpo Marx - They Say That Falling In Love Is Wonderful
    8. 800 Cherries - Frozen
    9. Hello Astronaut, Goodby Television - Masterpiece Backwards
    10. Oleg Kostrow - Falling Dreams
    11. Daedelus - Amscray
    12. YMCK - 左折して右折して
    13. Soundmurderer - Awamori
    14. Bells Of Joy - There'll Be No More Sorrow
    15. Perfume - ポイント
    16. Boutaiba Sghir - El Fermlia
    17. Itsutsu No Akai Fusen - I will kick a pebble
    18. Squarepusher - Rebus
    19. Hazel Nuts Chocolate - Kitten's Breaks Dub
    20. Mount Kimbie - Maybes (James Blake Remix)
    21. Blind Willie McTell - Statesboro Blues
    22. Doopees - Some Day, That Place In Time
    23. Sam Cooke - (I Love You) For Sentimental Reasons
    24. Dr. Maceo Woods - It's Been a Mighty Good Day
    25. Joyce - Doçura Forte / Água e Luz

    Goodnight Cody Social Media Presence ☟