It’s rare that music can feel ‘new’ anymore. But sometimes an artist comes along with an unusual mix of sounds and something bigger happens. So of course, Nightshifters brings something deep, menacing – and yes – something new.

Talk is Daniel Lewis. His music is an intoxicating mixture of the mystical and guttural elements of strange late night lifestyles. Talk’s music is surprisingly cinematic yet, at heart, everything he produces is dark bass-filled club music. With an ear toward dubstep, gutter house, grime and tech-house, Talk is always moving forward. He’s constantly presenting audiences with his own atmosphere, constantly on the lookout for seductive new sounds.

The Holy Mountain EP is Talk’s debut release and it’s pretty challenging. The title track is an epic bass music anthem and an ode to the 1973 psychedelic film by Alejandro Jodorowsky of the same name. “Finland” finds haunting choirs melding together over a percussive backbone, while “Burning Alive” is a dark, artful tech house wasteland of delayed voices and synths. “Walking Disease” finds Talk at work with lazer sitars, cinematic strings and haunting synth stabs; it’s a dark journey through dark places.

And then we have the remixes. Hot as hell Distal brings even more heat with his tense organ driven Dubstep remix of Holy Mountain. UK mystery man Skinnz made a skittery garage inspired take on the title track while LA/Canada duo LOL Boys push up the 3Ball Club. Last but most assuredly not least, Deathface gives you a kidney punch with his screaming Dubstep version of Walking Disease to round out the release. ­­­
Talk is also the first of a next generation of producers we’re proud to be working with. Together with Canblaster (he’s next in Nov/Dec), Distal and Magnum, they are a new generation of producers that are pushing the limits in a big way.

BONUS:
Talk’s Burning Alive Video

Quite into the new Drums of Death video for his Won’t Be Long off his excellent Generation Hexed record that came out last September. Have a look:

Brooklyn’s KOTCHY is a dark horse. His music – blending elements of hip hop/pop/experimental electronic/et al – is some of the most original stuff ever to grace my ears. With his forthcoming follow up, TWO to his phenomenal 89 is definitely one of my most anticipated releases of the coming year. It drops February 11, 2011. In the meantime, check out his AMAZING video for “Sometimes I Get Down” and be sure to check out all the free downloads on his site (especially the recent Baggy Spandex EP). If there is any justice in the world of music, Kotchy will be a massive massive mainstream success in the coming years.

Kotchy – Sometimes I Get Down from Kotchy on Vimeo.

We at Subdivision are massive fans of Tomb Crew, so it imagine our excitement when they sent us their remix of Alex Winston’s Choice Notes to share with all of our readers!! Definitely a standout remix from the Crew, who, by the way, are a MUST FOLLOW on Twitter. The daily madness from legendary wizard Illman brightens even the most gloomy days.

As hype for Slit Jockey’s newest release, THE ART OF WAR by Bristol’s Kaiser, the Slit Jockey family provided this stellar Kaiser track – RIDE ON TIME.

After DJ’ing and producing for only 3 years, Kaiser has shared the bill with the likes of Joker, Gemmy, Raffertie, 16Bit, Stagga, Taz Buckfaster, Hot City and recently dropped a remix of Kanji Kinetic on Senseless Records. In addition, Kaiser is the co-owner of Hivemind.FM, which is a quickly rising Bristol based streaming radio station. On Hivemind, Kaiser and Sduk co-host the Slit Jockey Radio show.

The sound presented here on “The Art Of War” is lush and epic future bass, with hypercolour synths and intricate beats creating true compositions, equally enjoyable as club music or home listening. You can hear elements and sensibilities of dubstep, tropical, rock, 2-step and more; all fused together to create a cohesive and unique vibe.
You can listen to streaming audio previews of the tracks on “The Art of War” EP at these pages:

http://world.idolweb.fr/slit-jockey-records/kaiser/the-art-of-war—ep/3700551708154.html

http://soundcloud.com/slit-jockey-records

artwork by: yulcore.com

“They exchanged the truth of God for a lie and worshipped the creature rather than the Creator…” Romans 1:25

This Scripture captures the entire essence of what occultists have been doing for almost 5,000 years. Today’s New Age adherents, who pride themselves so greatly on their sophistication and “spiritual knowledge” worship all sorts of created objects rather than God.

Occultists place much faith in the inherent power of numbers. No plan of action can be carried out without first determining two things:

Is the timing of this plan of action in accordance with the astrological lineup of the stars, moons, and planets?

Is the timing of this plan of action in accordance with the numbers it will produce? This process is “Divination” and is specifically prohibited by God. (Deut 18:10-11)

Once you understand how occultists think and calculate, you will be able to see occultism in world events. This effort to determine the correct time for an action is carried out to precise days and times. A good example is the suicide of Adolf Hitler. Hitler chose the date, April 30, 1945, because it was the first day of the Pagan Spring Holy Days. He chose 3:30p.m. because, according to occult doctrine, this combination of three’s presented to him the most favorable time to depart this life and reenter the reincarnation cycle. Note the triple 3′s present here, April 30 as the first three, 3 o’clock in the afternoon as the second three, and 30 minutes past the hour is the final three. Hitler was engaging in typical occult behavior by arranging the timing of his death in a very precise, numeric manner. Hitler wanted to exit this life in such a proper time that he could come back quickly, as the real Anti-Christ.

THE SIX SACRED NUMBERS

1. Three (3) is the first sacred number, the first perfect number (Westcott, p. 41). Three represents the Pagan Trinity.” (Westcott, p. 37). It is represented geo-metrically in the triangle, and spiritually as the Third Eye Of Hinduism. Occultists will multiply and add three to other sacred numbers to create new numbers. However, they also group threes in two’s and threes, because they believe in the principle of “intensification”, i.e., that greater power is achieved when a sacred number is grouped. In the case of three, greater intensification is achieved when it is shown as 33, or 333. 333 + 333 equals 666. Occultists have used 333 as the hidden symbol by which they present the more offensive number 666. When the details of an event are so arranged as to contain certain sacred occult numbers or numeric combinations, this is literally an occult signature on the event. Mathematically, 666 can be created when three pairs of threes are added. Thus, (3+3) + (3+3) + (3+3) = 666. Now, eliminate the parentheses and the plus sign, and you have 33 space, 33 space, 33, representing the number 666.

2. Six (6) is the next sacred number, representing the number of the soul of man (Westcott, p. 66). This shows the omnipotent power of God, as this belief parallels Revelation 13:18, where God assigns 666 to man and to the beast. Six is also believed to be “all-sufficient”. This parallels

Biblical teaching, which states that man’s great sin is pride in himself.

3. Seven (7) is a sacred number. Van Buren calls 7 “one of the most sacred of all the numbers…the Invisible Centre, the Spirit of everything”. (p. 39) Since multiplication of seven creates an even more powerful sacred number, we should not be surprised that 3×7, or 21, is considered powerful .

Thus, when Adam Weishaupt formed the Masters of the Illuminati, he arranged the timing of the event by arranging the numbers in a manner which would add to powerful numbers. He chose May 1, because May, month #5, added to the first day, equals 6. Weishaupt chose 1776, because the four numbers of this year add up to 21 (1+7+7+6 = 21). Further, the number 6 + 21 = 27, another number of power, because it is formed by the multiplication of 3×9. This date was very carefully chosen by Weishaupt; he believed the greatest Plan is doomed to failure if it is not carried out in the most numerically advantageous time.

4. Nine (9) is sacred because it is the “first cube of an odd number (3)”, (Van Buren, p.40-41)

The triple nine (999) is utilized to represent 666, because it is simply the inversion of 666.

5. Eleven (11) is a sacred number. When eleven is multiplied by the perfect number 3, the number 33 is produced, a number of tremendous occult importance. In 1933, Adolf Hitler and President Franklin Roosevelt came to power. Both these men were committed to the establishment of the New World Order, and their actions impacted humanity greatly. It was also in 1933 that the First Humanist Manifesto was issued. Do you see how Satan manipulated world history to produce three New World Order events in 1933? Thus, a powerful 333 served as a framework for world events in that year.

6. Thirteen (13) is deemed sacred. It was also no accident that Hitler chose the year 1939 to begin World War II, because 39 is formed by the multiplication of 13×3. Thus, you can see how human history has been shaped by the occult belief in the power of numbers. We have provided much detail as to how history has been shaped by this belief in the power of numbers. You can get this information in our Cutting Edge Radio Program dated May 9, 1992, entitled, “33 33 33 = 666 New Age Numerology”.

With all this being said, here’s Sticky Disco‘s 1333 Mix. It’s evil.

Track List:
1.Sticky Disco – Mama Draga
2.Mr Oizo – Positif
3.Hostage – Roll X Warm Heart of africa (Acapella)
4.Canblaster – Chickenrun
5.Mr Oizo – C.H.I.V.E.R.S
6.Caspa & TC – Wheres my money (Elite Force Refix)
7.Magik Johnson – Stand up
8.Ninteynine – L’Argent (QG Remix)
9.The Bloody Beetroots, Steve Aoki, Refused – New Noise (Mix Version).
10.ZZT – Lower State of consciousness (Justice Remix)
11.ZZT – Lower State of consciousness
12.Noisia – Machine Gun (16 Bit Remix) X D-Bag & Naan – Milk (Acapella) X Koan Sound – Blue Stripes
13.Shazam – Luckier

Yes. It’s true.
They go by the name of Greenhouse Lounge and are based out of Jacksonville, Florida.

This post has been a long time coming.
So about a year ago I moved to Savannah, GA aka the musical blackhole of the south. One night a friend of mine by the name of DJ Fonyx just happened to be opening for a band and I decided to check it out. I got there early, and as I approached the venue I heard the unmistakable sound of #WOBBLES. “Oh” I thought, “He must be sound checking…that bass is nice.” Upon entering the venue, I found out that it was the band that was sound checking and they were indeed responsible for the #WOBBLES. That night Greenhouse floored me with their talent and since I’ve been singing their praise to anyone who would listen.

The following are taken from:
Greenhouse Lounge Blackwater Music Festival in Suwannee, FL on 8.28.10

…oh and if you’re wondering, yes there is a steel drum player.

After the critical success of his EP for the legendary Scottish label, Stuff, Ewan Robertson aka Offshore presents his first EP for new home Big Dada. Four tracks deep, the “Aneurysm EP” shows beyond any shadow of a doubt what a talented musician Robertson is.

“Aneurysm” itself is the bass tune of the package. Put it on any big speaker system and feel your breastplate buzz. But despite its links back to Robertson’s earlier work it also shows a reliance on melody and detailing which sets it apart from the work of some of his contemporaries. This isn’t just music to play in a club. Offshore develops this aesthetic throughout the rest of the EP. “Hiccup” is the melancholic soundtrack to an East European thriller. “UTG” builds from a series of slipping, sliding interludes to epic electrowob-orchestral climax. And last track “Round And Round” demonstrates that Robertson’s work perhaps owes as much to the moors, mountains and even folk tunes of his home country as it does to hip hop and inner city London, where he now lives.

Bass-heavy, packed with detail and an ear for melody, this is the next wave of Cale(donian)-funk. Roberston’s debut album is expected Spring 2011.

PRESS:
“All the minimalist might of prime Neptunes productions with the flattened crunk of fellow Scot Rustie” – FACT
“Melodic atmospherics redolent of mid ’90s Autechre or Boards of Canada… the crushing bass kicks and persistent, fidgeting snare sample suggest a tough jungle influence… he has plenty more to say” – Resident Advisor

Over the past summer, I have gotten into this new(ish) artist, RxRy, not to be confused with Subdivision’s own, Rx. RxRy makes, what he calls, “dropstep” – somewhere between slow sonic shoegazer and Brainfeeder. It’s strange and chill. And makes for good listening on summer nights in a field.

In early August, he posted up a free E.P. called Memory Landscapes, which is a good introduction to his sound. I included it below for your listening/downloading pleasure.

Also, be sure to check his blog for other freebies, including the brilliantly epic Michael Jackson remix ‘Don’t Stop Til You Give Enough‘. With this recent interest in the electronically strange (a la Com Truise, Teen Daze, Baths, et al), I expect RxRy to be getting more attention in the coming months. In the mean time, enjoy Memory Landscapes.

Kastle, a being that is “older than the universe”, recently shared a preview of his forthcoming Seclusiasis EP, Time Traveler, on Soundcloud. Enjoy your journey in his Tardis

Time Traveler (forthcoming EP preview) by Kastle