And as much as I like your idea @Rockman I think a go to Bandcamp thread that was actively updated would have a place and flourish too

It can't be me because I haven't had access to a computer in 2.5 years and counting

Hopefully that changes this year and do work considering that all I have is my phone but yeah

Also I LOVE music and do everything I can to listen to as much as I can but I'm dealing with some health issues that make it difficult to keep up the way that the best and most passionate posters here do so as much as I want to see a Bandcamp thread and other ideas take off, there are definitely better people to take up the helm

The problem with that is people will just spam s*** that just came out on a whim. End of the month threads means you can post some s*** you actually liked. They should be low volume threads. Quality over quantity.

Highlighting the end of month component makes me get your vision in full now, I'm with it

I'll make sure to keep an eye out because I don't want to miss any of these

I'll be up soon, I promise

chaset.bandcamp.com/album/movn

Check this @Lit @iamiguel @proper @sentient_sherm_bag @p_p

February coming soon

swami sound ft

Yeah had me looking the same when I saw that

Chase T is fire though, used to be on OG KTT heavy too

Dude is a really talented musician, he can do a lot of different things but he's been in his electronic/dance bag for a while now and he's crazy with it

hex manic

when u touch me

My dawg too real, good looks on giving the record a spin

And definitely, that late night

Don't wait on me, thread just here waiting on us

If I got Bandcamp fire like that Chase T album I just threw it's coming here so all you gotta do is throw too

Bandcamp Friday so there's a lot of heat

you're tagging me just at the right time i've been listening to so much electronic lately

Mackin'

daily.bandcamp.com/album-of-the-day/daniel-herskedal-a-single-sunbeam-review

Tuba virtuoso 😳

Real for giving it a listen, hope you enjoyed the whole album

sahelsoundscompilations.bandcamp.com/album/music-from-saharan-cellphones

ktt2.com/music-from-saharan-cellphones-32568295/1#latest

Jump in the thread^ and boost that s***

Thank you so much @commonwrongdoer I LIT up seeing this

In the northwest of Spain, the bagpipe is an embattled instrument. Galicians fiercely defend the 800-year tradition of their bagpipe, the gaita gallega, from the pervasive cultural influence of the better known Scottish version. The gaita marcial, a Galician-Scottish hybrid, has caused unending controversy since its invention in the 1990s, while details like the dress of the players and the material of the instrument’s reeds are hotly debated. But the tradition also has to adapt to survive: in the 21st century, women gaiteras like Cristina Pato and Susana Seivane have reinvigorated the Galician bagpipe, rescuing it from a stultifyingly male-dominated past.

Carme López joins these efforts with a new perspective, boldly reinventing the gaita gallega on her debut album Quintela. Though she’s academically trained, she approaches the bagpipe like an alien artifact whose potential is unknown. A prologue and an epilogue demonstrate López’s skill at playing complex melodies in a more traditional style, but in between she deconstructs the instrument into its constituent parts. On “QUÉ? A Betty Chaos,” she builds a track from air passing through the bagpipe’s hide bag, with high, keening notes hovering over a whispering background. The percussion on “CACHELOS. A César de Farbán” is played with the bagpipe’s reeds clattering together, lending an improvisatory feel to the track’s gentle undulations.

The centerpiece of the album consists of two long drones that are inspired more by ambient music than Galician folk. López plays pure tones that slowly transform and evolve, deploying the bagpipe’s ability to wander across microtonal ranges to create dense layers of sound. She avoids the bagpipe’s brash, piercing upper registers in favor of a subdued, contemplative hum. At times these tracks sound like a church organ and at others a modular synth; play them for a friend and they will never guess their actual origins.

In this, López has much in common with bagpipe experimentalists like Yoshi Wada who have found new contexts for the centuries-old instrument. But she shares even more in the practices of drone pioneers Éliane Radigue and Pauline Oliveros, whose work foregrounds close, attentive listening over long durations. Tracing the subtle shifts across Radigue’s monumental drones requires intense focus; Oliveros’s Deep Listening philosophy encourages dedicating that same focus to everyday situations. Applying these ideas to the Galician bagpipe, which is steeped in rigid traditionalism, feels nothing short of revolutionary. On Quintela, López not only subverts our expectations of what a bagpipe sounds like, she opens entirely new avenues of possibility for the instrument.

daily.bandcamp.com/album-of-the-day/carme-lopez-quintela-review

Bandcamp Friday

metz.bandcamp.com/album/up-on-gravity-hill

Check your bandcamps, should be jumping for Bandcamp Friday right now

Lucas Abela / Justice Yeldham / dualpLOVER just released inconceivable by DJ Smallcock, check it out here.

“This is a 24hour limited edition album available to purchase on Bandcamp Friday only, after which it will become relegated to subscribers only!!

been putting my dj smallcock pants back on for the first time in twenty years am am really enjoying myself, these are some tracks i recorded preparing for the recent shows. All the remixing is kinda random as i'm making the original stems interact with each other and dependent on the relative pitch i choose you get somewhat different results each time they are squeezed through the proverbial sausage maker.”

granpa.bandcamp.com/album/inconceivable

nyegenyegetapes.bandcamp.com/album/takkak-takkak

Releases June 7, 2024

A playfully eccentric, pulsating mass of precarious polyrhythms and DIY drones, Takkak Takkak is a brand new project from prolific Berlin-based Japanese producer Shigeru Ishihara (aka Scotch Rolex) and Vilnius-based Indonesian composer and instrument builder Mo’ong Santoso Pribadi, best known as one half of Raja Kirik. The duo found common ground with their borderless enthusiasm for rhythm - hence their tongue-in-cheek, onomatopoeic moniker - and tasked themselves with hacking contemporary and traditional musics, fusing eardrum-piercing club sounds with wiry Asian traditional patterns and howling vocals. And although there are discernible fingerprints from across the musical map, Ishihara and Pribadi debut a sound that's doggedly unconventional.

Ishihara has spent the last few years obsessively producing and collaborating, working with Shackleton on 2023's 'Death By Tickling', assembling the Nyege stable on 2021's 'Tewari' and lending beats to artists as diverse as Duma, MC Yallah and Aunty Razyor. Pribadi meanwhile has developed his craft alongside Yennu Ariendra, challenging colonial oppression with deviously original music that modernizes medieval Javanese dance forms. His work as an experimental instrument builder - primarily working with found objects and trash - has set Pribadi in good stead for Takkak Takkak, where he goes toe-to-toe with Ishihara, who weaves trance-inducing rhythmic patterns, low-end thumps and dizzying effects around his collaborator's rusty twangs, woodblock clacks and xenharmonic chimes.

On the opening track (name here), rattly, tempo-fluxed percussion is caught in a vortex of brassy fanfares and thick subs, building furiously until it's interrupted with a cheeky answerphone bleep. It sets the stage for Garang, a punky, metallic tremor of guitar-like chugs, obscured vocals and fictile strings that wisp around driving kicks - there's gqom, drill and sweaty techno in there somewhere, transformed into a serrated, ritualistic buzz. Ishihara takes the mic on Amok, grunting over Pribadi's clattery beats and breathy handmade instruments, and the track mutates at the half-way point, spiraling into a hybrid of gamelan and diagonal bass music, pneumatic kicks vibrating against pinging metal.

It's an impressive balancing act; Takkak Takkak navigate their cross-continental palette with not only knowledge and skill, but a refreshing level of humor. This makes their music as infectious as it is fearless - it's experimental, sure, but Pribadi and Ishihara are having a blast, and they don't care who knows.

ooh-sounds.bandcamp.com/album/plethor-x-what-u-mean

Multidisciplinary artist Jermay Michael Gabriel and producer Giovanni Isgrò team up as Plethor X to present a debut EP of anti-colonial resistance, an unfolding experiment in self-determination.

Colonial trauma has no linear trajectory, and neither does memory. It seeps and sinks into the fibres without a temporal pattern, crossing generations, back and forth between past, present and future. Plethor X channel the multifaceted dimensions of such phenomena, exorcising trauma through sound, embracing cultural legacies and collective memories as a form of healing.

The driving force behind the record is the Habesha musical tradition, distinctive of Jermay's childhood - samples of the masinko, an Ethiopian and Eritrean one-stringed instrument, are used extensively - transposed into rhythmic structures onto which Isgrò playfully grafts elements of footwork, ghetto house, as well as gqom and singeli—a space-time gateway of complicity and experimentation.

Plethor X’s soundscapes are Afro-futurist ecosystems of explicit messages—'Don't use the N word’ is distinctly heard in ‘Negro’—coalesced with frenzied percussive textures built through destruction. With ‘Bet’ we experience Muna Mussie's hypnotic recitation of Tigrinya words drawn from a set of nursery rhymes and words emblematic of Eritrean culture. The voice of Mussie, who shares the same origins as Jermay, serves here as a vehicle to express a certain identity melancholia, the repetitive mode sounding like a soothing process of reconciliation. PAN-affiliated producer STILL makes his own contribution by reworking Plethor X’s material in 'Fendika', raising the rhythmic tension with his signature colourful, plugged-in dancehall style.

That with Europe is a bridge to an indefensible continent, with a predatory, plundering nature, sold as 'civilisation'. In ‘What You Mean’, Isgrò and Jermay conspire against their own Eurocentrism, regurgitating it from within.

The package is complemented by remixes from OOH-sounds affiliated artists nobile, Losssy (formerly unperson), Glass and WEȽ∝KER. Their brilliant versions of 'Bet' are a further investigation of the evocative potential of Mussie's voice and expression of the collective nature of this project.

@smackdab @viscera

daily.bandcamp.com/lists/the-big-playback-a-bombastic-intro-to-steve-albini-king-of-all-engineers

Bandcamp got playlists now