“Le Reflet de tes Lunettes” by Douleur Fantome

Serpentine and mercurial, Douleur Fantome channels perfumes and vapes that consumes you with ominously seduction and busts with perpetual obscurity in this delicious darkwave synth punk spell. Beware what you see when you become entranced by the reflection of your glasses.

“Le Reflet de tes Lunettes” is on Douleur Fantome’s 2019 EP, Foi et Travail, available on Bandcamp.

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“How To Kill” by CIRKUS

Time to attend a master class in “How To Kill”, a steady gorgeous ballad of symphonic progressive rock with bold poignant impressive instrumental arrangements infused with realized pathos and destiny-defining confessions.

“How To Kill” is the opening track to CIRKUS’s new album, VOODOOLAND, available on Bandcamp.

“Live Modular Mini-Set at Frequency Freaks (2019-07-20)” by Mike Barber

Spelunk through an ambient futuristic subterranean era, surrounded by the subtle crispy water droplets in tunnel vision, pulses of low frequency void spheres, shocks of noise energy pocket, low hums of sleeping circuitry, and distant sounds of a city lost to time. This experimental electronic improvisation was performed live by Mike Barber entirely on modular synthesizer at a Frequency Freaks event in Toronto, Ontario, in July 2019.

“Oh No The Drums (feat. Vivek Shraya)” by Shamik

Shamik pulls together an exuberant electronic beat track sweeping and fluttering with the mystic wonders of Bollywood, sampling “Kamma Kara Yoram” by popular Indian playback singers K. S. Chithra and Malaysia Vasudevan, and features new vocals by his sister and Too Attached partner Vivek Shraya.

This track is featured on Shamik’s new album, CI3, available PWYC on Bandcamp.

“Branndanbudr” by Nolan Hildebrand

An avant-garde work that impresses and implodes cognitive reason with its improvisational nature. Using a graphic score that is stylistically simply yet open to so much interpretation, Nolan Hildebrand plays processed cymbal, drum kit, live electronics and nose cues with bass clarinetist Kathryn Landano and pianist Glenn Buhr. Piano string glissandos, bass clarinet key clicks and multiphonics, and cymbal scraps are several of the colourful textural extended techniques used, climaxing at “GLITCH!” from which point the trio melts down and wreak the sonic plane. All these experimental details can be interpreted as the life of a malfunctioning electronic contraption.

“w̷E̵ ̷a̴R̸E̶ ̸n̸O̴W̶ ̸o̸N̸E̵ ̵w̵I̴T̴H̸ ̸t̶H̶E̸ ̷u̴N̸I̷V̷E̶R̸S̸E̴” by Dusts of Binary

Arrhythmic plosive clocks oozing and spitting out tunings from the noise-ambient fissure that cracking space and pulverizing time into complex fragments… One of many plausible observations that could be deduced from hearing DustBin’s latest experimental study into Post Binary application on music.

What does Post Binary mean? Dusts of Binary explains over on Splendid Industries.

“Pure Percussion Trio” by Meghan Chamberlain, Luyos MaryCarl & Razak Pirani

Three talented percussionists of distinctive music and cultural backgrounds, with instruments of unique aural pallets, united as the Pure Percussion Trio at A World Away Indie Music Festival 2019 in Toronto this past May. In a live recorded session at Revolution Recording, Razak Pirani (tabla), Meghan Chamerlain (found instruments) and Luyos MaryCarl (Lumad kulintang) crafted harmonious, intriguing, eclectic miniature works and performed them in tandem. They showcase the brilliance of each musician and their instrument, and how well they all work together in this congregation of sonic cross-pollination.