As Nanny (Nick & Annie) travel further under the sheets, their world opens up atop of a large mollusk tower. While descending the spiraling coral staircase ahead of them, their shoes tare on the rough edges, and completely come off as they reach the sandy shores below. Seas of TEAL wash the coastline in a variety of massively crashing and subtly drifting waves. Nanny approaches and sinks their feet in the sand. Then their legs and hips, stomach, fingers, elbows, shoulders; they transpire into the next realm of merely bubbles, as the sand drifts into a wind away, and Nanny floats around and down toward a waterfall that is pixilated in HD. Riding the water down the cliffside, they land in a pool filled with dolphin shaped creatures. These creatures read Nanny’s better than any regular dolphin would have, and are nudging their bubbles around playfully in the pool, laughing. Within a minute, Nanny is up in the sky drifting between clouds as these new found friends fly them across this new world, as these creatures have sprouted fluttering wings like butterflies out their backs.

Take A JOURNEY WITH NANNY in this first volume of many. As Nanny considers this more of an adventure than a formal album or EP, they’re already pretty far along with Vol. II, and are hoping to have some animations as accompaniment to join this time. So get stoked!. Annie does art as TEAL on her own, and Nick is the (in)famous RICK RAB (PRANCE, THICK LIQUIDS). Dig ‘em:

• RickRab:

Roland Tings

“Floating On A Salt Lake”

First time I gripped on Roland Tings was the Milky Way 45 on 100% Silk. It was actually unlabelled due to the packaging I received it in (not their normal packaging), and Roland Tings was written in white on the LP middle sticker. Didn’t even realize it was a 45, so I played it at 33, and my mind was BLOWN for about 30 minutes. Just the most intricate minimal retro house music dripping out my speakers at the speed of sludge, and frying was seering across my nodes.

For a long time, I always thought it was so HARD to make music. It seemed like such a learning curved process, I’d always think, I’ve ZERO patience to learn. Found out it’s actually a lot easier than I had expected, just need a few hundo$ for equipment and then a basic idea of how to use it prior to taking flight all on your own; the creative process is really the intentional progression. So it’s interesting to see “Floating On A Salt Lake” being live produced by Roland Tings here (radically in a church). Makes the conceptualization of the mystery behind the beat.

Dance ‘til you drop, no DOUBT Roland Tings always got your back, and just this past April, Internesjonal popped off a new RT 12-inch, Who U Love, which contains the 12-INCH VERSION (!!!!!) of “Floating On A Salt Lake.” this video above is such a tease, OMG, I take back everything I just wrote!!! ;)

• Roland Tings:
• Internasjonal:


Hyle & Apophis

I’m sorta in love with Hans Dens. But as of recently, he added two more players to the INNERCITY line up: De Paepe & Colohan. Thus, now it’s much more of a ritual than spaced out. With twin releases Hyle and Apophis, it’s like INNERCITY – throughout different points in the creation of both – opened up multiple dimensional portals during each recording session and had one alien life form interact with another completely alien-alien life form. You can hear these creatures clearly fighting and incantating and dying in ever track. Is this what goes on in the depths of European urban basements throughout the vivid country? Are people just capturing alien life via dark matter smashed against sonic textures? Where do they put the carcass once everything has settled and everyone is hungry from the recording ‘sesh? Like, “Let’s go get some mashed…. wait – Fuck, the intergalactic demon body on the floor is twitching. Any ideas on how to get it up the stairs without my landlord freaking out?”

Hyle and Apophis are coming out on Dens’ label Amnesia Agency sometime, I assume, as it mentions “Amnesia Agency 2014” at the bottom of the INNERCITY Bandcamp page. Maybe it’s for the best to leave our evils in the past, thus it seems more than appropriate for Amnesia Agency to pop off these two wicked summoners of albums. Listen to both below and keep on that physical sale look-out!






Santiago, Chile’s Egglub is a beast. Slept on here in the States, he’s been churning out 404 beats for a while now. His latest offering, Primavera, is a self-released CD, filled with his damaged yet fluid take on this whole beat thang. The stream of Primavera only contains three of the thirteen tracks, but if those three are indicative of the remainder, then it’s probably safe to say it’s a gonna get good and groovy. After hearing "filicopsida" for the first time, I just wanted to cartoon myself. You know, get DRAWN!!

Warbled synths, chugging drums, funk guitar stabs, chopped vocals, kill’d Rhodes — yes please! Get down to this. Hell, strut to this. And preferably down an avenue at dusk with the streetlights low and the wind softly blowing. Or do whatever you want. I don’t need to tell you how to live. Except maybe I do!

• Egglub:


“Dub Matrix”

Los Angeles electronic mavens TRS-80 (consisting of founding member Jay Rajeck and keyboardist Eric Fensler) have just put out Volume One, a collection of tracks from their 15-plus year career, with some of the tracks dating back to when Rajeck was living in Chicago. Throughout that time they’ve been refining an analog meets digital approach to their work, and they’ve been killing it with each release (my personal favorite is 2011’s Horizons). The video for “Matrix Dub” above consists of appropriately trippy analog visuals paired with the hip-hop beats and burbling synths of the track. If you dig on this video check out their YouTube channel for more of their unique music videos.

• TRS-80:


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.