A little closer – a mixtape of favourite songs from January 2015


I first thought of it as an ironic reply to the endless year’s end best of lists: To make the ultimate best of a year list by posting a countdown of one song a day for this whole year. Soon it turned out to be not so silly at all. I find it a nice way of putting landmarks on my listening maps. At the end of the first month I felt like turning it into a mix but it doesn’t really work for a dj mix. For dj mixes I have to leave out a lot of great music that just doesn’t fit. So instead of that I have just moved the 31 songs around until their order made sense: the sweet reverb guitars and melodies of Gurr and Ô Paon followed by the cutting electro clash coolness of C.A.R., the Morr Music-like Ryan Hemsworth cute’tronica, next to which the “youth is on fire” cosmic teen angst hiphop of Sirivs Black sounds even more emo as it is, the smooth hook of Nao’s R&B pop pushing up to Temi Odeyale’s great oily sister-nancy-ish vocals on the dubby goodness that the Sherwood & Pinch track is, the Zs’ taking their time to stomp their flirring dubjazznoise/post-punk out, and as contrast: the irresistable, slurring feelgood-rock of the Deers, the riot grrl-meets-britbubblegum of Joanna Gruesome, the queer/trans hardcore smack of G.L.O.S.S. (Girls Living Outside Society Shit), the rites-of-spring-but-darker energy of Pretty Hurts being picked up by the new Sleater-Kinney who really got me with that breakdown in the middle of this song, the so so good indie hiphop of Dessa, handclaps, yeah, so glad Erase Errata exist again (or still?), and Pollyester with their sweet coldblooded DFA-funkiness, Phantom Winter who blew my mind with their live show, Matana Roberts breaking my heart with her sad daring beauty, then a careful return from the abyss with Noveller’s album opener that moves so wonderfully from those single guitar tones to that wall of sound, and now it’s all calm and slow enough to bring up Htrk, who have this great guitar noise shifting around below the song (I recommend headphones), now it’s darksynthy enough for Ghost Culture who don’t even need the vocals in this song, and I’m late for the alison-moyet-gone-tomboy electro-pop of Nimmo & The Gauntletts, and that’s Theo Parrish asking if you’re okay, soul brother, and if you’re not, after this song you will be, the sexy confident swinging “be in yoself” broken up with Bottoms’ “i hate my body, don’t wanna live in this body” trans acid anthem, followed by ukrainian Vakula acid fluff, and of course: Burial’s timeless uptempo hunt, smearing into Huck Farper’s noise techno beast, A.G. Cook with a big thank you to 20jfg for understanding and explaining, now not so many songs left, what to do, hm, yes: DJ Octopus’ distorted garage house with a big heart for sunshine over the smog, now hit the breaks with Emile Haynie (who has produced some horrible music, Eminem, Linkin Park, I think buuuut this tune with Charlotte Ghainsbourgh, Sampha and Dev ‘Blood Orange’ Hynes… <3 … and last but not least Miguel feat. Kurupt: sexy slow-burning funk shit.

So. Now it feels like those mixtapes I used to make for friends to share my enthusiasm about new music I found. Hope you enjoy it like I do.

P.S.: If you want a download link, feel free to ask.


One artist’s good-bye to Soundcloud (and facebook)

I have deleted my facebook artist page and my soundcloud site for good today. Both contributed to make me feel my art as something valuable only by numbers, clicks, likes and forcing you to promote your stuff – all in all: it turns it into a bland quantifiable product. For me music is more about community than about popularity and cashing in. Those channels are part of what has made me turn more and more quiet. This is not the way music works for me. It makes me sick, tbh.

Why today? This article was the final drop that made me do what I had thought of long before: “Soundcloud Boldly Releases New App, Allows Universal to Flag Your Account, and Quietly Announces Data Mining, All in One Month“.

That’s what I have (hastily) typed into the ‘tell us why you are leaving’ box:

“Because soundcloud is slowly turning into everything I have ever hated about music platforms and from which it originally was a nice harbour. Soundcloud only became that big because of a lot of small artists and djs who used it and spread the word. They did so because Soundcloud stood for a certain kind of freedom and interaction. Those are the ones driven away by new policies that are enforced now that Soundcloud has become big enough to cash in from the big players and by a mass market that is only interested in widening the gap between bigger artists/producers and listeners/fans – smaller artists who don’t bring money are no longer welcome but get threats of acccount suspension for the very same kind of dj mixes and remixes which Soundcloud still welcomes from bigger names/labels. Music industry has managed to kill the next platform. Goodbye for good.”

ORCHID + brandnew mix

I plan on making monthly mixes this year. Here’s the first one of 2014, including queer tearjerkers and feminist fist-punchers, rather sophisticated synthpop, not srsly overweight bass / beats, a hint of vaporwave, dirty pre-gentrification techno and fluffy cloud house to help you forget about troubles and help you to dance the pain away …

stream on mixcloud   /  download from zippy



Angel Haze – Same love
Doshy – Cybergrime industries
Future Brown feat. Tink – Wanna party
Witchney Houston – Body touch
Spazzkid – Weird girl
Preditah – New York
Nguzunguzu – What dance
Visionist – Snakes
Beyoncé – Flawless
Mala – Changes (Distance remix)
Iggy Azalea – Work
The Bug feat. Flowdan – Louder
Tokimonsta – Clean slate (Nightizm remix)
Miley Cyrus – Wrecking Ball (Meth Dad remix)
Wantigga – Like that
M.I.A. – Warriors
Angel Haze – Same love (skit)
Mapei – Don’t wait
Bot’ox feat. Anna Jean – Blue Steel
Planningtorock – Human drama
Warpaint – Disco-Very
Naum Gabo – Galena
Vessel – Not for design
Marie Dior – Once upon a time at Panorama Bar
Bonobo – First Fires (Maya Jane Coles remix)
Jon Hopkins – Open eye signal
Factory Floor – How you say
Hackman – Blacksnake
E.M.M.A. – Shoot the curl
Mixhell – The way
Ssion – Psy-chic
Beats For Beginners – Kill DJs

If you have been there before you know that “We dance the pain away” also is a kind of motto for ORCHID, my little indiedanceriotpopelectrobass queer club night. The next edition of which is this Friday. Here’s my flyer for this:


TINKER mix for Electronic Beats + SEVEN DAVIS JR. ep

My last blog entry had 11.000+ characters so I’ll keep it extra-short in this one, just two music recommendations for the bass/hiphop/funkiness afficionada/os:


TINKER (Berlin/San Francisco) has made a really great mix for EB, incl. tracks by Cashmere Cat, Flako, Flume, Souleance et al.

I really hope we can get her to dj in Nuremberg one day – Beat Thang, I’m looking at you! Or do we need another edition of Sissy Bass to invite her to our shabby old town? ^^

The other recommendation is one of my-most enjoyed EPs of this year although it only has been released in November: SEVEN DAVIS JR.’s ‘The Lost Tapes Vol. 1’ on Kutmah’s IZWID, excellent (star)dusty sexy purple soul funkiness:

Beastie Boys sue GoldieBlox

In a slightly glasshouse/stone-move sample-happy Beastie Boys sue the makers of a parody of their song ‘Girls’ that was made for girls-empowering toys by GoldieBlox, in a quickly gone viral video:

Someone suggested on twitter last night that the reason could be that the Beasties do not want any of their songs in advertising. Not sure if that’s true? That’s something in which I usually am 100% on the artist site, as you might know. But of course it’s not that simple black/white subject.

If it comes to parody or creative remix use I’m on the parodists and remixers side though. This ad is an example of how good advertisement should be: It doesn’t feel like a commercial. It’s entertaining. It sells an empowering gender-role-crashing message just as well as its product.  The whole Rube-Goldberg-machine thing is brilliant but I actually like the use of the song even more:
The original song by the Beastie Boys is plain sexist, having lines like “Girls, to do the dishes, girls, to clean up my room, girls, to do the laundry, girls, that’s all I really want” or another nice line: “I asked her out she said, ‘No way!’, I shoulda probably guessed her gay”. It’s a sweet smart move to use that kind of song and have girls – not women (that makes it an even better reply to the original, by taking up the belittling way in which women are called girls) – and have them girls snottily shouting/singing fresh girl-empowering lyrics over that song: “Girls to build the spaceship, Girls to code the new app, Girls to grow up knowing they can engineer that, Girls, that’s all we really need.”

Hope the Beasties will think this over again.

Max Tundra, Lindsay Lowend

If a song comes to my mind these days I often am too lazy to go over to my record shelf but search for it online instead. When I listened to Lindsay Lowend’s ‘Wind Fish’ it’s effervescence and sound aesthetic reminded me of Max Tundra‘s ‘Labial’. Haven’t found it online but came across this longforgotten synth fun(k) jewel – “Jump!”. Still sooo good.

As for Lindsay Lowend: It’s the solo work of ghetto funk duo Dads On Display‘s Antonio Mendez from Washington DC and it is futurist hiphop goodness with a prog influence that reminds me as well of  wonky stars Rustie and Hudson Mohawke as of the synths aesthetic and humor of game music. The whole
‘Wind Fish’ EP (Symbols Rec.) is tasty. This is the track that brought ‘Labial’ to my mind:

This one is great too and the feminist me has already planned to edit the Lil Wayne(?) sample to say ‘boys in the kitchen’ using bits of Sabrinas ‘Boys Boys Boys’ before playing it out. We’ll see how that goes.

Earl Sweatshirt lyrics

Given the current climate of nixed rapper endorsements, it’s not hard to imagine a rhyme like that causing trouble for Earl down the line.” writes SPIN magazine in a bit on Earl Sweatshirt’s ‘Hive’ clip.

So the only problem they see in these lyrics is that they could make Earl lose potential money from advertising? Meow.

“Come around, we gun ’em down, bodies piled, Auschwitz.” 

In the same verse Earl losely drops words like ’88’, ‘death row’, ‘gas’ and ‘jewish’ and thus somehow plants a whole semantic Nazi mine field. When he says ‘if this was ’88, I would have signed to ruthless’ it evokes a double meaning: Him signing to the side of the Nazis (= the ruthless ones) and him signing to the record label Ruthless that was active in the late 80s. Ach, I don’t even want to think any deeper into this. Wonder how others read those lyrics and the whole album’s. But I know: First rule about hiphop lyrics is we don’t talk about hiphop lyrics.

Why can’t there be one good hiphop album that I can enjoy without stumbling about cringeworthy or questionable bits?! From a pure “music as sound and songwriting”-perspective I really like ‘Doris’. Feel free to recommend me edgy hiphop with great lyrics. No tame safe stuff, just not biting those who are already kind of down.

Sidney Looper remixes

Sidney Looper (also: Agent Lovelette) has put up 4 old remixes of eve massacre tracks on his youtube.



Check out his SOUNDCLOUD for more tunes by him, for example this nice juke he’s done with a Fugees sample:

Weird Friends (We Don’t Even Live Here)

This morning my excitement about two new remixes by Kuedo surfacing was dampened by one of those keeping the – as much as I understand of the lyrics – misogynic words of the original Main Attrakionz track. No big deal? Well, somehow not. On the other hand there are a few artists in that area of music I consider ‘safe’ (meaning I don’t have to brainfilter their music for hate speech) and somehow it hits me harder whenever one of those comes up with such a track.

While I like the music, as a biological woman – how could I not feel at least excluded by misogynic lyrics in a overwhelmingly male-dominated heteronormative music scene as hiphop is? What – because it’s the status quo and it’s just ‘artistic role play’ and it’s all about the beats? Meh. Lame.

Of course sometimes I give in and ignore the words because the sounds are fresh and it’s easier to shut out the meaning of words if they’re not in your main language but every now and then it hits me again how (self-)loathing it actually is to not care just for the sake of some cool beats. And of course it hits me harder when it happens with artists or club nights or venues I don’t expect it from.

At Orchid I once experienced it the other way around when I played ‘Ima read’ and a woman asked me if I really have to play songs that go ‘bitch’ all the time. I tried to explain why it’s different with that track but I wasn’t very successfull (for which I at least partially blame that it’s not quite easy to explain while you’re djing on and it’s late and loud and you’re a bit drunk.) I understand her perspective but on the other hand I sure won’t stop playing artists like Zebra Katz because they exactly are what a part of Orchid is about.

Once more I file this subject under ‘It’s complicated.’

Anyways – finding out about this new P.O.S. clip made up for it. Love it.

P.S.: Of course I stay a devoted Kuedo fangirl, too. After all it’s just a remix and I could just as well argue his cold synths contrast the lyrics in a way that you should read it as criticism… ^^