Browsing Tag


Ariana Rodriguez & Guap-O Unstoppable brought luxe grooves to the airwaves with ‘Forever Invited’

With the eclecticism in her discography, there’s no telling what Ariana Rodriguez will pull out of her bag of sonic dynamism next; her collaboration with Guap-O Unstoppable on ‘Forever Invited’ didn’t disappoint. It’s a showstopper of a downtempo vibe-spiller that takes the Jersey club sound to the next level.

After a smooth, steady and syncopated prelude that drenches the listener in atmospheric reverb, the track seamlessly picks up the pace ensuring not a drop of the stylised soul was lost along the way. The way Ariana’s effect-laden vocal lines sink into the glitchy ethereal soundscape is a guaranteed ticket to transcendence; as for the authenticity, you’d be hard-pressed to find another artist as committed to keeping in their distinctive lane, but if you’re a fan of Kate Davies, Ada Lea, and Squirrel Flower, you won’t go far wrong hitting play.

Forever Invited was officially released on November 3rd; stream it on Spotify.

Review by Amelia Vandergast

Juracán reached the epitome of caressive seduction in his downtempo trip-hop track, Ya Te Olvidé

Trip-hop’s sultriest evocateur, Juracán, allowed raw emotion to pour into his most sensually sublime single to date, Ya Te Olvidé. If the intimate Spanish vocals don’t leave prickles of heat under your collar as they sweep across the mellifluous guitars, glitchy percussion, and trumpets, the caressive seduction in the trip-hop instrumentals will turn up the heat.

Ya Te Olvidé injects a brand-new context into the adage “gone but not forgotten” by alluding to how memories made with ex-romantic partners fade like old Polaroids, regardless of how much we want to cling to some of the sweetest moments in the bitter-sweet dichotomies that relationships inevitably traverse.

If you’re looking for solace after experiencing the obsoletion of inside jokes and watching pictures lose all meaning, you are sure to find it within Ya Te Olvidé. Either that or you’ll start a new sonic love affair with Juracán.

Ya Te Olvidé was officially released on November 3rd; stream the single on SoundCloud.

Review by Amelia Vandergast

Timothy and the Apocalypse’s Love in Stereo Remix will leave you in a euphonic utopia

Timothy and the Apocalypse’s most popular single to date, Love in Stereo, which has racked up a quarter of a million streams on Spotify to date and worked its way into seminal chillwave, deep house delight and electronic chillout playlists, has been masterfully reworked by the electronica phenomenon in his own right, Erik Buschmann.

With the dark and nuancedly despondent glitchy elements dialled back to make way for the more transcendently deep textures (it’s a paradox, we know), the new reworking delivers a dreamy new universe of depth that will leave you as high as the ever-ascending melodies.

If it weren’t the ethereally reprising whispers of ‘our love is in stereo’ bringing you back down to amorous earth, you’d be forgiven for thinking you’d ventured into a celestial videogame with a cathartically directive soundtrack when you hit play.

The Erik Buschmann Remix hit the airwaves on the 18th of August; stream it on all major platforms, including Spotify.

Review by Amelia Vandergast

Gaze into the entropy abyss with the catharsis in Static Null’s latest downtempo release, Void

The prolifically playlisted alt-electronica artist Static Null drenched the airwaves in downtempo catharsis with their latest scintillatingly textured instrumental soundscape, Void.

Voids typically are synonymous with abyss-like phenomena, but there’s plenty of sonic salvation to be found in the artfully composed single, which allows the darker proponents to cast a shadow over the splinters of light to reflect the complexity of the human experience.

If we never acknowledged the redeeming qualities of our mortal coil, we would never mourn their absence while caught in voids, which mostly happen to be of our own making. Static Null’s latest synthesised orchestration is a demonstration of all that and more. Losing yourself within it’s tender warmth is wholly recommended.

Void was officially released on March 23. Hear it on Spotify.

Review by Amelia Vandergast

Make your perspective as luminary as abstract.ortiz’s latest single, Lighten Up

Even the sky won’t be blue if it is lucky enough to be exposed to the soul in abstract.ortiz’s latest single, Lighten Up. The alt-electronica downtempo manifestation of euphoria enmeshes you with its colourfully-hazy tones before the artist and producer prises you away from ennui with his sticky-sweet vocal lines that will be all too efficacious on fans of Grandaddy.

Bringing his art into this era, there is a trappy feel to the release through the cadence of the vocal melodies and how the harmonies bleed into the synthetics of the soundscape that ensure that by the time the single reaches the prelude your perspective will be as luminary as this release.

Lighten Up was officially released on March 14. Hear it on Spotify.

Review by Amelia Vandergast

Timothy and the Apocalypse pushed the boundaries of apocalyptic perception with his ambient trip-hop LP, All Busted Up 

Since 2021, the Australian artist and producer Timothy and the Apocalypse has been taking over the ambient trip-hop scene; the cinematically lush layers in his downtempo discography soundtrack society as we cling to the precipice of our destruction. In his fourth album, All Busted Up, written between the dystopian motifs are memorandums of what it means to be human on the edge of blind capitalist collective masochism. 

After track one, Speed of Life, which mournfully ponders how much sand stands between our demise, inspired by the loss of his mother, the LP slams into the sexier than The Deftones groove-driven piece, The Reckoner. The angularly harbingering guitars and fervid breakbeats cloaked under reverb definitively prove that visceralism isn’t out of the producer’s remit. 

Track three, When You Dream, lays the barely lucid psychedelia on thick as the Lynchian soundscape drifts through its arrestingly jarring progressions that distort jazzy timbres and soul-soaked ethereal female vocals. In all sincerity, it is enough to make Portishead sound pedestrian.

Track four, Driving Me Crazy, lends itself well to the titular illusion; the dreamy descent into surrealism drifts through subversively glitchy progressions in the extended piece, which keeps you hooked into the artfully experimental beguile. If any soundscape on the LP will make a meal of your rhythmic pulses while vindicating your own insanity, it is this sonic gem. 

Track five, Saved, introduces some darker ambient industrial tones while still scribing the sonic signature that the preceding singles have allowed you to become accustomed to before Beautiful Chaos melodically exhibits the relenting capacity of awe in times of mass disillusion. With nuanced Eastern flavour worked into the kaleidoscopic rhythms, Timothy and The Apocalypse broke the monocultural mould to deliver his staunch fanbase from entropy.

Dreaming When You Hold Me could only be described as a leftfield electronica dream for the way the transcendence binds with the experimental gravitas permitted by the strobing synths, a sonic theme which continues through to track eight, Only You; the deliciously distorted soundscape is a meditation in tranquil obscurity. 

By closing the LP on Nothing Forever, Timothy and the Apocalypse sealed the album’s fate, allowing it to resonate as one of the most seminal ambient electronica records of the year. It’s the ultimate audial space for reflection on all the instrumental introspection that preceded it. If you want to push the boundaries of your apocalyptic perception, take a dive – you won’t regret it. 

All Busted Up will officially release on April 14th; catch it on Spotify & SoundCloud.

Review by Amelia Vandergast 


Dig your way into a dystopic landscape with the dark hazy beats in Snakes of Russia’s single, Tunnel

Taken from the original soundtrack from the film, A Brush with Violence, the reworked iteration of Tunnel by the alt-electro producer, Snakes of Russia, is a harbingering descent through droningly dark synth lines and dystopically hazy laments, fed through the unpredictably rhythmic downtempo percussion.

Ambient and arrestingly alluring – to those who find comfort in the obscure – in equal measure, Tunnel is an ambient Avant-Garde work that you will want to burrow into time and time again for the way it paints light tones to cast shadows on the progressions. After all, no tale of horror can be told without holding a candle to humanity and the collective fears that show how precious our mortality is despite our nihilistic inclinations.

Stream Tunnel on Spotify now.

Review by Amelia Vandergast

Timothy and the Apocalypse orchestrated an intimately nyctophilic haven with his downtempo drum and bass hit, Late Night Call

Timothy and the Apocalypse

The latest installation of sonic transcendence, Late Night Call, from the Sydney-based sound designer Timothy and the Apocalypse, is one that you will want to answer.

Capturing the after-dark glow, the downtempo drum & bass spilling of synaesthesia extends the atmosphere of metropolitan twilight, defined by the ambience of streaming taillights and the idealized atmosphere which breeds intimacy and romanticism. For anyone who fails to find sentimentality under the harsh light of day, Late Night Call is the ultimate inky soundscape. Nyctophiles, have your fill.

Check out Timothy and the Apocalypse on Spotify and SoundCloud; find out more about The Time Meddler via his official website.

Review by Amelia Vandergast

Timothy and the Apocalypse set up a new installation of downtempo disenchanted catharsis with his latest trip-hop single, Shadows of the Lost

Timothy and the Apocalypse

Watching the Sydney, Australia producer Timothy and the Apocalypse as he becomes a rare 21st-century success story with his cinematic indie beats that are shifting him ever closer to the million streams mark with his discography has been a sense of contentment in itself.

With soundscapes crafted for the end of the world, which effortlessly gel with your own despondence, the tranquillity within his downtempo trip-hop tracks offers a breeze of disenchanted catharsis. His latest single, Shadows of the Lost, is no exception. The wavy psychedelic aesthetic of Shadows of the Lost touches on the phenomenon of disconnection which is as steady as the beats in severing connections in our isolated age.

As the synthetic vocals drift in at the mid-point mark, as though they have appeared from a black-and-white film, they remind us that the control we believe we have over our lives is nothing but an illusion. Tony Robins may not agree, but given that he’s probably responsible for the clinical burnout and appeal of pyramid schemes for his fans, we’d like to hear him argue with this compellingly chilling exposition of the end days.

Shadows of the Lost will officially release on December 22nd. Pre-save it here.

Review by Amelia Vandergast

Timothy and the Apocalypse – Voice Like an Echo: Meet Your New Favourite Trip-Hop Raconteur

After racking up hundreds of thousands of streams since his 2021 debut, the fatalistically monikered experimental electronica artist, Timothy and the Apocalypse has unveiled his latest leftfield single Voice Like an Echo.

With his knack of adding soul to synthetic textures, Voice Like an Echo is yet another trippy triumph, which carries the trip-hop gravitas of Portishead and the ardent downtempo allure of Massive Attack’s most grippingly progressive productions.

If the endlessly imploring vocals finding synergy with the mellifluous glitches (yes, I know that should be a paradox, he’s THAT good) don’t move you, you can probably consider yourself emotionally paralysed. Who would have thought end times would sound so sweet?

Voice Like an Echo is now available to stream on Spotify.

Review by Amelia Vandergast