Feel free & enter Ecstatic Dance/

A psychedelic audio journey for meditative dreaming and bopping on trippy beats.

You wil feel revitalised and born as new at the end.

Doctors and new age gurus all recommend it.

(no apples or injections needed!)

Find that inner peace. Tune in now!

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The second episode in what appears to be VILL4IN’s serialized project, likely salvaged from broadcast or constructed to look like it—the kind of thing that works best when you’re not entirely sure whether you’re listening to found material or a calculated simulacrum. If the first episode established a template, this one probably pushes it sideways, which is the only direction worth going once you’ve committed to a series. The title signals dream logic but the execution (and we’ll find out) is the real tell.

Hey!
Just wanted everyone to know we are having Episode 2 of DREAM TV premiering right now.
VILL4IN

A film score that abandons narrative duty in favor of sustained gloom: Umbreit’s field recordings of water and stone get dragged through the synthesizer rigs of Bear Bones, Lay Low until they’re barely recognizable, stretched into loops that sound less like nature documentation than like watching something decay in real time. The seams between tracks disappear, which means you can’t escape once you’re in. Electroacoustic music for people who find most electroacoustic music too melodic.

Discrepant presents the LP edition of Tales from the Source, the original film soundtrack by Bear Bones, Lay Low and Laszlo Umbreit.

Originally composed for Belgian-Congolese artist Léonard Pongo’s 2024 film of the same name, this release reworks the film's audio into a continuous, fluid listening experience.

The album is built on a direct contrast between heavy electronic manipulation and raw environmental audio. Laszlo Umbreit captured the foundation of the record through field recordings and additional electronics, focusing on the quiet, tactile sounds of water, riverbeds, and natural spaces. These recordings were then processed and expanded by Bear Bones, Lay Low, who layered the tracks using synthesizers, samplers and various effects processors.

Rather than acting as a standard background score, the music functions as a detailed piece of environmental sound art. The tracks are edited to blend into one another without distinct gaps, mirroring the slow pace and visual flow of the film. Through the use of tape loops, filtering, and electronic processing, the natural landscapes are systematically distorted and rearranged. The result is a dark, slow-moving suite of electroacoustic music that strips away traditional melody to focus entirely on texture, resonance, and the changing dynamics of the recorded environments.

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Priest in Nafplio, fretless electric guitar bending into sub-semitone intervals the way a voice does, Byzantine tuning logic applied to drone that has the weight of stone and sustained prayer. Two tracks feature psaltic vocals cutting through like a thin candle flame. Not world music, not ambient, not guitar music—just one man’s home recordings following a system older than Western pitch itself.

Fr. Dionysios Tabakis is a priest of the Orthodox Church. He serves at the Church of Panagitsa in Nafplio, the Nativity of the Theotokos, and records alone, at home.

The music made in that house does not announce itself. It arrives from somewhere older than genre, older than the distinctions we use to organize sound. Tabakis is a musician of the Eastern Mediterranean in the fullest sense: formed in Byzantine theory and practice, fluent on qanun, oud, cümbüş, ney, zurna, Politiki and Pontic lyra, kabak kemane, yali tanbur. The system he works within is Byzantine, not as aesthetic choice or cultural reference, but as logic. The scales, the intervals, the way a note moves toward or away from another: this is the operating system. What emerges is slow, heavy, meditative, drone that carries the mass of stone walls and sustained prayer. It is still Byzantine music.

Two tracks are built around the fretless electric guitar, perdesiz in Turkish, meaning simply: without frets. The fretless instrument is one of the few capable of producing moria, intervals smaller than a semitone, with the exactness the voice has and fixed-pitch instruments do not. Here the guitar does not behave like a guitar. It bends into pitches that Western tuning sealed off centuries ago, moving the way Earth moves in their slowest passages, or the way Scott Walker's later work used sound as weight rather than melody.

On two tracks, Evgenia Symela Armeni sings. Her voice is psaltic, trained in the Orthodox chanting tradition, ψαλτοτράγουδο, chant-song, and it cuts through the drone the way a single candle cuts through a dark nave. Χαίρε Παρθένε Σουμελά, a Pontian hymn to the Theotokos of Soumela. Ρόδον Ψυχής, Rose of the Soul. Both devotional. Both immovable.

Tabakis is also a writer. His books, among them Into the Abyss with a View of Paradise and The Mad Forerunner, move between Athonite monastic thought and the texture of contemporary life. The music moves the same way. Alienation, depression, isolation, not named as modern problems but as ancient conditions, long described, still present. The stillness of Athos and the noise of the present sit in the same frame, unresolved.

Fr. Dionysios Tabakis is of Asia Minor descent, 53, married with three children. This is his first release.

Released jointly by Elhellel, a Thessaloniki-based entity of uncertain coordinates and Athens Heat Crimes.

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German trap flexing through a Latin American fantasy, all designer cigars and narcocorrido posturing. KAISO sits in that weird zone where street-rap machismo meets resort-bar aesthetics—a lot of name-dropping, some crude humor, beats that want to sound menacing but keep getting distracted by club energy. It’s the kind of record that feels completely of its moment and probably won’t age gracefully, which is exactly why we’re running it.

[Intro]
(Kaiso)
Taschen voller Flous
Ja, Frozen schmeckt gut
Blue Magic, mein Saruch
Dieses Leben wie ein Fluch
(Kaiso)

[Hook]
Sie liebt weißes Coco-Jambo (Coco)
Ich zünde ein'n Hattori Hanzō (Hanzō)
Mein Connect heißt Fernando (Torres)
Er kommt aus Puerto Rico (Arriba)
Die Bitch trinkt San Pellegrino
Und sitzt dazu noch auf mei'm Schoß
Fernando bringt beste Colo (Colo)
Nebenbei mach' ich die Bolo (Bolo)

[Part]
Worker-Dry ist ein No-Go (Eh-eh)
Ich rauche lieber Premium (Blue Magic)
Spiel'n Champions-Liga, nicht Verbandsliga
Ich mein' nicht FIFA, die Bitch ist Latina
Ich zähl' Para lila, sie gibt den Tequila
Hola Señorita, ¿qué pasa Amiga?
Ich trag' kein Wifebeater, die Bitch heißt Karina
Ich pack' ihn aus, sie sagt: „Madre mía“
Du bist nicht mal Auswechselspieler ([Bist?])
Spiele Stamm, erste Liga (Liga)
Ich rauch' ein'n Saruch, mir geht es prima (Blue Magic)
Heißes Klima

[Hook]
Sie liebt weißes Coco-Jambo (Coco)
Ich zünde ein'n Hattori Hanzō (Hanzō)
Mein Connect heißt Fernando (Torres)
Er kommt aus Puerto Rico (Arriba)
Die Bitch trinkt San Pellegrino
Und sitzt dazu noch auf mei'm Schoß
Fernando bringt beste Colo (Colo)
Nebenbei mach' ich die Bolo (Bolo)

[Outro]
(Kaiso)

Gang of 404 builds from Detroit and Berlin’s cold-steel fundamentals but doesn’t genuflect—instead it’s a functioning machine, all crisp snares and locked-down grooves that recall Dopplereffekt’s clinical efficiency without the concept-album baggage. Posthuman understands that electro doesn’t need depth or emotion, just precision and a certain grim refusal to soften the edges. This lands somewhere between a workflow and a threat.

This album is a journey into our love of electro.

Respect and thanks to all those who led the way: Drexciya, Aux88, Anthony Rother, Carl Finlow, Keith Tenniswood, Dopplereffekt, Egyptian Lover, Stingray 313, Cybotron, Plastikman, A1 People, Si Begg, DMX Krew, Transparent Sound.

Digital is 11 tracks, Vinyl is 8 tracks.

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A micro drama by Die Antwoord.

Nikolais was scoring his own weird theatre before most synthesizer owners knew what they had, and this collection proves he wasn’t just padding out interdisciplinary gestures with electronic wallpaper. The Moog work sprawls across textures—metallic drones, percussive sequences, abstracted melodic shapes—that feel neither quaint nor retro because they were always in service of movement, never about the synth itself. A genuine precedent for anyone making sound to accompany physical or visual work, which is more than most electronic music from this era can claim.

Often credited as the father of multi-media theatre, Alwin Nikolais (1910-1993) took complete creative control over his productions - including cutting-edge approaches to lighting and costume that transformed human bodies into shifting sculptural shapes, while also composing wildly innovative electronic music as accompaniment.

After initially experimenting with musique concrète and tape manipulation (as demonstrated on the 1959 LP Choreosonic Music of the New Dance Theatre of Alwin Nikolais) Nikolais became the first owner of Robert Moog's synthesizer at the Audio Engineering Society convention in New York in late 1964. Relying heavily on the Moog and later the Synclavier synth/sampler, these 21 tracks document Nikolais' highly-prescient compositions across the mid 1960s through to the late 1980s - existing not only as extensions of his other-worldly choreographic pieces, but standalone pieces of foundational mid-century American electronic and experimental music.

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"Born in Southington, Connecticut in 1910, Nikolais’s early years and early career were in acting, music and puppetry. It was not until the late 1930s that he began his work as dancer/choreographer in Hartford, Connecticut, where he was commissioned by the Avery Memorial Theatre, a part of the Wadsworth Atheneum, to create an evening-length work to the music of Ernst Krenek. Previously his work and study as a pianist-organist found him accompanying silent films. This sort of accompaniment required from the musician not only a playing skill but also a versatility in improvisation, matching movement to sound, and evoking mood to situation.

Nik was drawn initially to dance by his involvement with the percussion scores used by the illustrious early twentieth century German dancer Mary Wigman. In trying to learn more about percussion, he was lured into dance class and thus his career began. His development of music and dance occurred simultaneously. His introduction to the twelve-tone technique opened his mind to the expanding areas of atonal music, and his dealing with music as sound per se. In 1948, after being appointed director of the Henry Street Playhouse in New York, Nikolais formed the Playhouse Dance Company, later known as the Nikolais Dance Theater, and began his aesthetic orientation toward dance as a study of motion. By the 1950s, he had ceased creating literal dances and began his explorations and eventual milieu as an abstractionist.

Sound became an important part of his abstract theatre. For his first dances, which involved his new thinking of dance as both a visual and kinetic art, he used live percussion scores in which he directed his dancers to play instruments of all nature. There was a combination of children’s toy instruments as well as harsh and resonant automobile brake drums, and other pitched auto parts which he also used to accompany classes. Once he installed his own tape recording machines, he quickly used the limited range these instruments provided in a new way, slowing and increasing speed and reversing sound. He also made the sounds adhere to the choreographic structure (not the other way around), thereby giving the dance its independence from the musical phrasing. But the real need remained: the search for new sound. Nik made a sound library, recording noises and percussion and vocal sounds, which the French aptly called musique concrète. Needless to say, he became a master at splicing bits and pieces.

From 1956 to 1962 Nikolais composed eleven major scores for his theatre pieces using such techniques. In 1963, James Seawright, who at the time was assisting Nik in his productions and also working at the Columbia-Princeton Center for Electronic Music, recorded a sound bank for the production Imago (1963). With this material, Nikolais created his first synthesizer score. Imago won the Paris Grand Prix in 1968 and launched the Nikolais Dance Theatre towards its national and primarily international acclaim.

During the same period, Seawright came to Nik and told him of a young man who had invented and constructed a simplified synthesizer and insisted that Nik visit the electronic fair currently being held in New York. Nik did so and met Robert Moog. He was completely taken by the new machine and after making some suggestions to Moog, (which Moog made), Nik bought the inventor’s first machine with the aid of a Guggenheim Fellowship. Moog himself was astonished by what his machine could produce for Nik. This machine was later acquired by the Museum of Musical Instruments at the University of Michigan at Ann Arbor as the first Moog synthesizer. The Synclavier was Nik’s next source of sound and since the mid-1970s remained the major instrument in the Nikolais soundroom.

Alwin Nikolais has been honored and awarded throughout the world. He has received the French Legion of Honor, the Kennedy Center Honors, National Medal of the Arts, two Guggenheim Fellowships, as well as Mellon, Ford, and Rockefeller grants. He has been a recipient of NEA grants since 1966, been awarded five honorary doctorates, all for his remarkable achievements in Dance Theater. His genius has influenced several generations of artists."

—Murray Louis

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