The first freeform Patreon I’ve seen, this is a new project from Substanced that’s already well worth your support. The initial $10 collection of older tracks is fantastic, ranging as it does from Wonderland to more recent bootlegs, along with Hyphen/Le Dos-on’s classic Permission to Die remix.
More to come in this vein would be welcome of course, but if future packs help to fund the production of brand new material then it’s still a very worthy cause. Sign up here, and check Raqhow’s CODEX blog for the full tracklist.
Some housekeeping for the comeback post, as In Praise of Shadows is available again via the bigcartel page. Of course it was offline for a while during my Europe wanderings so that potential orders weren’t on hold for a month and a bit, rather than having sold out. Although the compilation has sold repectably by recent (or 2016) standards, the print run was closer to 2007 golden era numbers, meaning there’s plenty of stock left. That also means, sadly, that there’s a long way to go before costs are recouped, but as a labour of love I’m not so worried about that part. Financially idiotic or not, I’m glad to have kept the quality bar very high for all aspects of the release.
Anyway, I thought I’d also use this post to say a massive thank you to everyone who has ordered so far. Even this year there has been a small but pretty steady flow of orders, which is especially amazing considering my lack of action here or promotion elsewhere. The compilation has now found its way to 18 countries, and I can’t tell you how inspiring it is to imagine it being played around the world. A second release might only be wishful thinking at the moment, but keeping the TYFTH sound alive in some form or another is I hope a decent way to start repaying you for the support so far.
While you’d be forgiven for thinking this latest TYFTH quiet spell is the terminal one, here’s a quick update to keep remaining readers in the loop and let you know about some plans for the rest of the year.
The recent absence has been partly enforced, and in a related move I decided to spend the summer outside Japan. What I hadn’t bargained for was the lack of wifi at any of my destinations – I haven’t been able to keep track of anything in the freeform world, while the TYFTH SoundCloud needs a renewal. At least before leaving I thought to change In Praise of Shadows’ status to ‘Coming Soon’ as a last-minute idea to stop orders coming in while I was away.
This time next week I’ll be back at TYFTH Towers, when those housekeeping bits and pieces will be sorted out. The site will also be waking up again, but depending on the amount of news I’ve missed there probably won’t be a flood of updates. One thing I had been thinking about pre-disappearance was that with so few TYFTH-esque tracks appearing these days there’s a chance the site will lean more towards a place to collect my own projects and TYFTH-centric information, at least for the time being.
The break has done me some good musically, I think, so all being well I’ll be back to tinkering with tracks and mixes very soon. At the very least there’ll be one mixed set to appear this year, and more if one of my related plans comes together. With more of a focus on TYFTH stuff there’s a higher likelihood of some longer posts showing up now and then, as well as some shorter updates on what I’m up to.
Many of us seem to agree that polaritia is a name to watch this year, and he’s probably on the wider scene’s radar too after the impressive Sanctuary Infested. That wasn’t his only release last month though, as the end of May also saw the surprise appearance of some older tracks as an EP. Given his unbelievably fast development I was expecting quite the gulf in quality compared to this year’s productions, but not a bit of it.
Although Holy War and Disaster have their moments in a modern-FINRG-meets-Japanese-freeform style, Apocalype and Genesis were what really caught my attention. Both could nearly pass as tracks by Nomic himself, while the second biggest compliment I can pay is that they have gone immediately into my ‘possible tracks to play’ collection, something that certainly doesn’t happen very often these days.
Even with a lot of catching up to do after recent weeks this guest set for Hardcore Junglists United by Shimotsukei has remained top of the to-post pile. Definitely the best I’ve heard from her in a long time, this is one of those sets that was obviously a labour of love and manages to bring together just about all of my favourite freeform elements.
I’d roughly divide the set into three sections, as things start with a very aggressive and genuinely dark opening, followed by some more melodic, uplifting tracks and a finale that makes a decent fist of blending all the previous styles. That opening is quite the thing though, setting a tone that Shimotsukei does a quality job of never straying too far away from. The mixing throughout is excellent, very rarely overdoing things and keeping it simple when longer transitions wouldn’t really work out.
If you can ride the wave successfully, mixing the aggressive filters of two different tracks does wonders for the atmosphere and can give a lot of flexibility in terms of which tracks you use. That proves to be true here at least, with combos like Kadotettu Todellisuus 2009 and Fear Myself working out incredibly well – other highlights might be Adversary – Reign of Terror, and Attacker – Daemons, even coming from a listener who usually struggles to get into Lost Soul’s tracks.
There’s a lot more going on here though, including a fine section of Tyranoid/Strongstream transitions and the mid-set use of Raindrops. It hasn’t shown up in a mix for a very long time, but Nightforce’s melancholy breakdown is a lovely choice as a set centrepiece. Personally I might have slightly shortened the melodic section pre-Attacker, but that’s present-day PD speaking and for many I expect it’ll be a nice break from all the aggression. Even having said that, the limited use of vintage Substanced and only one Transcend track shows that Shimotsukei was clearly going for an atmosphere that wasn’t stretched by too many different styles of melody. Really impressive stuff.
The lack of Alek/Nomic/Betwixt means it isn’t quite the grand tour of the scene you might be expecting in two hours – instead it’s a simply superb set that flows as well as any I’ve heard this year or last.
Almost perfect timing for a comeback post, what with 16 Years of FINRG clips appearing daily and the release set for the 25th of this month. Thanks to the FINRG grapevine I knew this compilation was in the works, but lost track of things since the initial murmurings and am as much in the dark as everyone else re. the remaining previews.
Such a strong lineup suggests there is still plenty to look forward to, as the tracks so far are keeping standards very high indeed. There’s also a good range, leaning towards uplifting sounds with a welcome strain of FINRG nastiness. Alchemiist’s Cybernetics might be the best example of that so far, while the return of Cyrez with the excellent Downshifter is my overall favourite at the time of writing. Another very welcome return to production comes from JNKS – The Game Needs Me sounds like a really impressive mixing of his DJing influences.
Notable of course to have such strong Japanese representation from Hyphen, Kokomochi and polaritia – after probably contributing the strongest track to Lucky Lotus’ Before The Dawn I’m excited to see what polaritia’s come up with this time.
A slight change of pace to highlight a fine set of NRG from Unknown Kill producer Risa. I really have to be in the right mood to enjoy this brand of NRG, but this was definitely a tracklist to catch the attention.
NRG has to be up there with schranz as one of the easiest genres to mix, so here the focus shifts to selection over elaborate transitions. Risa keeps things solid but basic, allowing the tracks to play out in their entirety – as some of my favourites like No God and Oblivion are in here that was no bad thing.
The end of the set alters the atmosphere slightly with a sequence of Asylum tracks, nicely leading into Take Down as the finale. Risa missed a trick for a more manic finish (as Shogun seems to be in the same key), but who knows, a change in the mixing style at that late stage might have sounded out of place.
A tracklist that has had obvious influences on Risa’s production, this is a fine set and should be required listening for those into the grittier side of the genre.
Here’s one of the main reasons it’s been a bit quiet around here recently – fitting a set around Other Things these days isn’t always easy. No way I was going to turn down a chance to contribute to the FINRG podcast series though, so here’s my first full freeform set since the In Praise of Shadows mix.
Lately I’ve been thinking a lot about how it wasn’t only the dark, melancholy atmospheres of freeform that initially attracted me, but also a strangeness that I hadn’t really heard anywhere else. Play tracks like that in a club setting and you have the other-wordly atmosphere of NRGetic Romancer, of course, and so this set was an attempt to capture some of that with a tracklist of slightly less common tunes. The key was to avoid throwing in unusual tracks for the sake of it, as well as putting the usual effort in to construct a cohesive whole.
To that end I built the set around three main sections, resisting some old, obvious transitions in favour of keeping things headed in the direction I wanted. Hence the use of Twisted Freq early on, and a pretty basic introduction of Godd, for example. I wasn’t desperate to use promos here, but it turned out that GULD’s little-heard City of Solitude remix and Re-form’s Intro both fitted in nicely. Alabaster’s Awakening remix is still under construction, but this is the latest version and not too far from completion (and used with permission, obviously).
The 2023 remix was supposed to mark the big finale, which is probably my favourite part of the set. I’m quite pleased with the shift in atmosphere from there to Blackmailer, then into the Alek-Mellow Sonic combo. Those two beautiful breaks threaten to bring a tear to the eye every time, and I was hoping the contrast with the rest of the set would make them sound even better.
As always there are things I’d like to improve, but having already spent an outrageous amount of time planning this one the deadline was probably a good thing. Hope everyone enjoys it!
There’s more Shimotsukei to talk about soon, but before that a quick mention of this three (!) hour NRG session that ticks plenty of the TYFTH boxes. Although there’s already an endless supply of recordings on Shimotsukei’s SoundCloud, it really does add to the enjoyment of live sets when you can see what’s going on. Plus in this case there’s the very helpful overlay to answer any tracklist questions and a pretty lively chat that’s worth keeping an eye on.
If NRG’s your thing then this really is an essential listen – it’s very likely you’ll hear some forgotten classics as well as some more obscure selections. As things move into freeform territory it’s also a good chance for fellow DJs to check a few Before the Dawn tracks in a (well) mixed environment
I’m all for Ominous Digital’s mission statement, so it’s nice to see some freeform appearing on the label too. Keep in mind that Neoform’s A remix is one of those semi-speedcore freeform tracks, but the hope is a precedent is now set and we’ll be seeing a wider range of artists and tracks on OD.
The track itself is a pretty ferocious rework of Le Dos-on/Hyphen’s original, and a step up in production quality for Neoform. Though we’re still to see an original track from him, I’m hopeful that his Android Lime-esque focus on remixes will lead to the same steady improvement, especially with the support of labels like Ominous. The track was released yesterday on allthesites you’d expect.