DJ NJ Drone


DJ NJ Drone creates a world of his own. There is no aforementioned genre trying to be established here. Sure, adventurism and club themes are within, but ESPRESSO SYN is something more than just another album experience. The immersion DJ NJ Drone creates from the physical to audio is that of a Rorschach test: there’s something specific there to you – a design or mentality – but the music directs your mindset furiously into scapes and scapes of thought, and as you continue to build with the audio in your mind’s eye, a conflict between reality and hallucination begins to collide. Is that a synthetically produced sound, or just a found-sound sample?

SIDE-NOTE: I have it under good authority that DJ NJ Drone’s samples are mostly recorded by him in NYC; i.e., “Two dollars a ride. Two dollars a swipe.”

And the structures DJ NJ Drone sculpts around your expectations shatters their premeditation like a hammer to a chisel. Thus, the boundless imagination beheld in ESPRESSO SYN resists no temptation or repetition. There’s totality within the seems of this reel, and as you try to associate DJ NJ Drone with some superfluous productionist, ESPRESSO SYN will switch your gears, pedal backward upon itself, and take you on serious mind-flight.

In celebration of ESPRESSO SYN and the holiday, DJ NJ Drone is performing at Bossa Nova Civic Club tonight, backed by POOLBOY92, and billed with future Bootleg player Tallesen, good pal ABBY, and the tru homies LAMPGOD & Lord SMS. So……………………………………………………

Don’t miss out! Don’t miss out! Don’t miss out! Don’t miss out! Don’t miss out! Don’t miss out! Don’t miss out! Don’t miss out! Don’t miss out! Don’t miss out! Don’t miss out!

And if you’re outta state, grip ESPRESSO SYN on the reel via Bootleg Tapes!

• DJ NJ Drone:
• Bootleg Tapes:

Electric Sound Bath

Secular Liminality

Try to listen to Electric Sound Bath, a new tape of extended drone meditations by LA-based multimedia artists Brian Griffith and Ang Wilson, in a public location and you’ll miss pretty much everything. If some other music breaches your headphone space from an outside source, if some other pedestrians plod through your view, if some lingering preoccupations triggered by the sight of the others toiling at their laptops in the cafe rise and cloud your mind, you will not be able to focus.

Griffith and Wilson do not ask you to focus. They do not demand you give them a close listen. If anything, they embrace the notion that their slowly drifting exercises in ambient restraint and tonal fine-tuning serve as perfect background music to some other solitary enterprise: yoga, meditation, zoning out, reading. For their Electric Sound Bath to serve its purpose, its hushed improvisations on bass guitar, Nepalese singing bowls, and electronics must escape into the real world with some room to breathe. When the music fills the space without interruption and the acts that it soundtracks are allowed to unfold in isolation, winding through washed out expanses of low end and tintinnabuli for +10 minute durations, the Electric Sound Bath achieves its intended effect: a beautiful state of absence, capable of grafting onto some other presence as a layer of supplementary comfort.

I listen and I try hard to think of nothing. Clearing the mind is a form of mindfulness — one which I don’t think I have ever really achieved. My brain cannot stop bubbling. Perhaps it would stop if I didn’t try to make it stop. Perhaps it stops all the time and I don’t notice. With the Electric Sound Bath dripping from my speakers, a state of mental slo-mo creeps into position. I want to let it take over.

• Electric Sound Bath:
• Thunder Cloud:

Lenticular Clouds


Lenticular Clouds is back after what may be lifetimes absorbed in photocurrents. Gorgeous and abundant, HEALTH GODS contains 6 tracks – Dian Cecht, Hygieia, Imhotep, Kukulkan, Osiris, and Tartessos – all named after gods of health and healing. The artist, Albert Zaragoza Gas, explains “HEALTH GODS is based on 6 different deities of ancient cultures related to health and healing. A personal, social and planetary healing that can be carried out according to lifestyles, ways of understanding existence on earth and rituals that are at the bottom of our collective memory. These ancient spiritual practices are key to its essence, but have to return from innovation, from the creation of new standards, not from imitation or apology from the past, take what essentially beneficial of these ancient cultures and reinvent it from the context of today.”

He continues with the short, spinning, 3D visual accompaniments of each track that “disentangle the relationship between the tangible and the digital. The sculptures are designed from a single frame of a .mov animation, freezing the object in digital absolution, free from the ever-accelerating culture around it. The touch of these finely shaped objects in ones hand is comforting, grounding the holder with it as the plethora of data negotiated in a single day swirls around this single moment in time. The inhabitants of the digital realm, in navigating these masses of data, develop a default and these digital netsuke like objects, developed with the deities of ancient cultures that relate to healing in mind, can sit on ones desk, or in ones pocket to be touched and fondled and felt, to become part of ones life and ground one in a solidity when information becomes oppressive.”

After immersing yourself in the world from Lenticular Clouds’ HEALTH GODS, in health and leisure, check the models for “Hygieia” and “Imhotep” which are available for purchase. Each is made to order. Hygieia’s comes in two different materials: copper or bronze. Imhotep comes in three different colors: glow in the dark, light pink, and stark white.

The album will be available free of charge beginning May 1.

• Lenticular Clouds:
• Post Religion:



Whoa, this whole hyper-pitched vocals, bass-twerked screw, trap-funhouse, pictures of drinks and straws, and timbre acousticabilities are all really going hard. Like, you got PC Music on the EURO club-pop scene. Manicure on the straight slick-mix slip. Chazzy bb having been on this sound since 1998. Shit, there’s even Pedicured on the serio-troll scene. And I’m sure plenty more where that came from. So what makes THIRSTY any different?

There’s this idea that’s been passed around for ages within the arts that you’re a character to your own work. I believe Nietzsche based The Antichrist around this idea? Jono Mi Lo related it to WWE. But at this point in the modern world, it’s attributed to an Internet personification of yourself; at high-speeds, the Internet can contribute to more than just one aspect of a single project’s art. THIRSTY is doing this well by using a simple conceptual characteristic based around the act of drinking, which is brilliant because easy to adhere to artistically. But beyond that, it’s the belief that the THIRSTY personality partakes what is lyrically being provided in their songs. Same goes for the listener, by-way of THIRSTY aesthetically transferring emotional energy through musical measure in tracks like “MY CUP.” The rest of their track names are similarly wetting their whistle in titles and lyrics too.

But what it really comes down to is the speed of culture and critique. Does THIRSTY outlast this year, having only began two months ago (as presented on SoundCloud)? Is THIRSTY a fashion being worn by someone familiar, only to fade and adorn another cloak to mask themselves behind? Will “MY CUP” sense-out your Monday? Or did someone say REMIXXXXXXXXXXXXXX? Either-way, THIRSTY presents the immediate dynamic of an aesthetic that’s becoming increasingly more popular as it grows, so participate with “MY CUP” below and flesh out:

• Love Out / In Love:

Future Islands

“The Chase”

Happy Record Store Day! Happy, uhh, a few days ago! Maybe you got something good, maybe you stayed home and played the Playstation 1 classic Klonoa: Door To Phantomile, like some people. Future Islands spent theirs at Abbey Road Studios, a recording studio in London that is extremely famous for whatever reason. The group pushed past groups of excited dads and their bored children to record their new single “The Chase” directly to vinyl for a very, very limited Record Store day release.

The Baltimore group recorded live in the facility’s Studio Three, where the audio was sent from the mixing desk by engineer Paul Pritchard to one of the studio’s vinyl cutting lathes, then cut directly to disc by mastering engineer Christian Wright. And that, friends, is how a single copy of a new Future Islands song is born. Once finished, the record was sent directly to Tiny Mix Tapes writer Eric J. Nagurney. Thanks, guys! Just kidding, it was sent to Seismic Records in Leamington Spa, UK, who won the record as part of a raffle. They will probably either keep it as a collector’s item or sell it to someone with money.

This leaves us, the poor masses. How can we hear this new Future Islands song? Answer provided: we can hear it by listening to this episode of Mary Anne Hobbs’s BBC Radio 6 Music Show, in which the song appears at around 2 hours and 19 minutes. There is also an interview with Future Islands, likely talking about how much they’d love to send the record to their favorite TMT writer, but paperwork, red tape, shipping costs, etc.

• Future Islands:



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CHOCOLATE GRINDER is our audio/visual section, with an emphasis on the lesser heard and lesser known. We aim to dig deep, but we'll post any song or video we find interesting, big or small.