Vol. 5
Not much in the way of preamble this time, fashion week prep has me quite fried professionally and we all love my reflexive "nobody wants to hear someone complain about their cool job" leanings means that's all you are gonna get on that front. Admittedly I realize now saying there's not much of a preamble is now just baked into the WYGAS house style as well, but routines are fine to have.
Speaking of routines, been bemused at just how many people in my life are mildly startled that I am a regular at a cocktail bar. No need to "gate keep" (hilarious phrase for people in their 30's to treat as a serious thing, especially in the most talked about and photographed city in the English language) it or anything, Oddball in Alphabet City, like with how Max talks about experimental stuff being quite accessible the funkiest cocktails here are the ones I get through the fastest ha, dragonfruit pisco martini's are delightful. But yeah not sure why everyone is shocked their friend who is most flippant about psych use would want to be a regular at a cocktail bar. The perks are great obviously (though at a certain point the free shots really do get in the way), but it just makes it really easy to plan out nights from there, and the location makes getting around. Also I just thought the point of life was to become a regular at places you like? It's nice having a rapport with the people there and having them learn the ways to make fun of me. I get we live in deeply alienating times and that for those who are not in big cities the mass wealth and cultural theft in our lifetimes has stolen many venues from you, but I am mostly confused at all the people I know in New York who aren't regulars anywhere..... thanks for being a regular reader of WYGAS anyway onto the music.
Boo: Prince - Head (Soulwax Re-Edit)
soulwax really really really REALLY love prince. even if you were never aware that they once interviewed him for TV, or that they've played out multiple dj sets of just his discography, you can just sense it, in every kick and snare they put down, that they're always thinking of some crazy ass funky ass choice prince made years before them. i mean hell they throw his kit in enough tracks for it. soulwax might love prince more than they love new order, which for two belgian guys has to be pretty tough You'd hope New Order understands though, they were big fans of each other and all. for all that love however it's pretty hard to find any instance of david and stephen really fucking with prince's shit the way they so often do across their body of work; there's a loop of 1999, an old cover of Pop Life floating around, but the the closest we have to a capital s Soulwax Prince Remix is their two-ish minute 're-edit' of Head, which i love very much.
for one, the original song is chock full of every soulwax funk/dance/rock hallmark. granted it's not super blown out or anything but even for prince, Head's drums are TIGHT and HARD and HOT (you may not be surprised to find soulwax mostly leaves these alone) Imagine if they had, actually don't, the solo at the end sounds like something the boys would pull fresh out of drydock for a Radio Soulwax transition, and keyboardist lisa coleman even tags in as Bored Woman With Audible Bob Cut Getting Eaten Out fresh off soulwax's cut of Phantom II. you'd think prince saw the dewaele bros coming - maybe he did!!! he did- and so soulwax ultimately step up/respond to this warm retroactive welcome in kind, adding nothing to the formula but loop rolls skipping over the main riff using the sexiest possible chops for the job (that triplet roll at 1:30... YYEW!) and now suddenly it is the most perfect song ever. i am DEEPLY envious of their chopping technique on this track, it's so simple but it adds a TON.
and look i can write another paragraph explaining prince at you fascinated by someone reading WYGAS who doesn't have very specific Prince picks or you can just go listen to an excellent track done more excellent. up 2 u baby
Jay: LA MARR - Mood Programs – Extended Play
Two tracks from a new persona of Ron Trent? Sound of the summer. It really does match my summer, kind of slight and wish it was around more but loved for what it is. Mood Programs does immediately respond when I press on it though, key difference
I wonder if he had heard Wata Igarashi's (now unfortunately named) Agartha and was inspired to go more than a little kosmische with it. Good Magic is just so timeless in that german space magic way, pure disassociate and vibe house bliss. Take a walk at night to it, fold some clothes to it, live your life to it, I love how elastic this gem is. Clear is slightly less malleable, but the Timpani hits are so soothing, with a sheen over the song that reminds me of Star Ocean 2nd Story weirdly enough. I guess the hypnosis you get in really good house music is not dissimilar to the hypnotic pull a good RPG soundtrack could be, dancing in the fog and doing random encounters on loop both elicit similarly dismissive reactions that's so polite to people who don't want to know what it's about.
Ron Trent though, what a master. Andrew's love of A Guy Called Gerald really got me going to do the retrospective and man, Altered States. Dude. Altered States. Ok my boarding group for my flight just got called so enough for me for now but I feel like this is my easiest rec! Liv peep it soon!
Max: Klara Lewis - Ta Min Hand
Recently I’ve been musing on the fact that one of the great pleasures of modern music fandom is the ease of access. Yes, this can at times be a double-edged sword, but there’s no denying that the internet era has been a wonderful accelerator for exploration, discovery and connection, and for better or for worse it feels like you hardly even have to think to do it. I think everyone who complains about this or modern reissues of "obscurities" should have to really study the reduction in funding for the arts, or how to be more interesting outside of having niche recs One consequence of this has been a wider proliferation of the “genreless” music fan, omnivorous listeners detached from sounds or scenes, no longer encouraged by circumstance to stay in a single lane. Of course, these types of people have always been about (and it’s all just a sliding scale really anyway), but in the past they were more likely to be the music nerds among us whereas now it’s become the norm. It begs the question “if everyone is listening to everything now, what have the music nerds got left?”. Now there are many answers to this question (“did they have anything to begin with?”, ”overpriced speakers”, “John Zorn”, etc.) Did we both get annoyed at the same person smarming over reissues actually, and they aren’t very surprising for the most part, but the most general case is very simple, “if everyone is listening to everything now, the music nerds just listen to everything else”.
If you compressed the endless mass of available music into a 2D plane, inversely scaled it all by how many people were listening to it (so you get long time fan of the newsletter Bruno Mars at the centre), and vaguely clustered things together through some notion of “similarity”, you’d end up looking at a strange sort of nebula, with a huge nexus at its centre slowly becoming more sparse as you travel out in any direction. And it is at the outer reaches of this universe that you find the music nerds, just where they’ve always been, except something’s different... For starters the planets have different names now, people now comfortably settled in locales that felt closer to the edge of everything. But even more, we are no longer bound by the old linear paths our forebears took, forced to feel their way out further and further from the core via some sort of common, “natural” association. We’ve unlocked the power to endlessly teleport, making quantum leaps from one edge of the sprawl to another and back again, from music concrète to nugupromoter to unearthed private press releases to your neighbour’s bandcamp what about Boocamp, boocanan.bandcamp.com . And now in possession of this new power, nobody is using it in quite the same way. The laws of physics might be broken but we can’t beat probability- when the options are endless, what are the chances I’m going to bump into you here?
I’m not saying all of this to evangelise the practice of listening to obscure music (I’m a guy who loves Kpop and Lana del Rey!), but as an attempt to articulate how atomised the typical music fan’s taste has become. The basic question of “what kind of music do you like?” is the perfect test case. It’s a surprisingly complex one to ponder: what music do I like? That's why I invited you to write for us yes The answer is often more specific than is easy to put words to, maybe it would be possible with 3 windows of discogs open, a ream of graph paper and about 10 hours of spare time, but that isn’t going to make for a great conversation above average twitch stream though? Collab soon?, and do I even gain anything from crafting the perfect box to slot myself into?
I’ve realised over time that my inability to easily answer this might stem from a deeper problem might?, a funny kind of blight that can emerge from having specific interests: as much as I love it, I can feel a bit awkward and alienated when talking with people about music. The truth is that amidst the luminous, exhilarating side of music discovery there is a dark antimatter, an opposite reaction of sorts (see Newton)- you will find lots of music you don’t like much at all, or simply find yourself indifferent to, and it SUCKS when you want to share in someone else’s excitement but the spark just isn’t there. The reverse is also often true (see “two-way streets”), and over time it led me to a place where I felt self-conscious talking about some of the music I love most even amongst people I care deeply for, a passion that could be unifying turned inwards and hidden like a dirty little secret (see The All American Rejects). And it seems so obvious that it’s silly, but it’s taken me time to realise that way of thinking and feeling, of withholding the things that make me feel most myself, sucks waaaaay more than a clunky conversation every now and again (see, it’s not so hard!). The WYGAS manifesto wow..... but yeah I think about how Emi remarked I had never talked to her about music before in the pre-WYGAS days and that is a lot sadder than the occasional whiff
So I’ve taken a personal vow to be more open, to give more of myself and be there more for others in turn, and I truly believe it’s going to make my life better, even if every now and again it’ll go nowhere. Part of why I’ve been excited to write for this newsletter has been to train myself to do this with music, starting conversations with others rather than steering away from them, working through how I can express opinions in a way that is an invitation rather than a closed door manned by a bouncer. It’s been really fun so far, and I think it’s working, and it’ll be a little while to see if it sticks but that’s just part of the journey. It's a muscle to be trained
Now putting the philosophical aside, what were we talking about? Ah yes, music! One of the other strange factors about your taste honing to a point (or perhaps more accurately a series of strange overlapping points, lines and planes like a busted Kandinsky) is that hype cycles around modern music start to lose a bit of meaning. One of the most fun things about being tapped into the zeitgeist is the rush that comes with a big new release: collective curiosity, speculation and sometimes even a payoff that feels like the whole world is celebrating a sports win. When you’re not as engaged with popular artists, discoveries can come in fits and starts- even when there’s a new record I fall in love with, I’m often rocking up a few months late to the party.
All of which is to say, it feels really fucking good to find a brand new single that really hits the spot and then realise there’s a record only a few days away. Sometimes this is going to be the peak, an even better feeling than enjoying the full record, a world of possibility brought to life by that first tune that is unlikely (or impossible) to be fulfilled. Still, topping my glass up from half-full to the brim, if this track is anything to go for I am very excited for the upcoming Klara Lewis record this Friday. WYGAS PREVIEW BUMP
I thought I knew nothing about Lewis, until I dug a bit deeper and realised I had briefly heard her previous record (it’s really good) it's really quite good. An old press kit which apparently got used in a bunch of places describes her as a “sound sculptress”, which still makes me giggle, so the clippers punishment came down here so gonna be a bit before I can add in more vital editor feedback and poring back through her older work took me through a mix of ambient, drone, experimental soundscapes and the odd bit of leftfield dance music; turns out none of this really sounds like “Ta Min Hand”, and that fact makes me even more giddy.
The track opens slowly with white noise and slow muffled strings, before they are somehow smoothly deformed skyward into a gorgeous, quivering motif, like a glassblower crafting a swan from a lump of nothing before your very eyes, giving you no choice but to believe even as it makes no sense. This central sound is like a saxophone from an alternate universe, warped and stretched beyond recognition yet still retaining some essence that makes it identifiable. As the song goes on this phantom instrument strains and rears against the rest of the track, as if it is being trapped here against its will and is trying to escape but to no avail. Something about the range and tenor of this sound is utterly mesmerising to me, everything scans as wrong but I can’t tear myself away, an all-encompassing whirlwind that drowns out the rest of the world. And then it ends, just like that. Reality snaps back into focus, and it feels like something has been ripped from me that I can no longer do without, I need more, I am really excited for more!
And I don’t know if everyone feels this way when they hear this track, and I really don’t need them to, but I love being able to capture some of how it makes me feel, put it in a bottle, throw it out there to friends, maybe have some chats, almost certainly hear something good in return. After all, they say the universe is always expanding, and sure we might be headed to different places, but why not spend a little bit of time together on the way?
Emi:
As a tribute to the Memphis Grizzlies, Emi's soft tissue injury will be re-evaluated in 10-14 days
I love listening to music on public transit. Sitting down with nice headphones and a hifi to listen to something and really savor it has a time and place for me; but for some music nothing beats being on a bus with shit suspension and noise canceling headphones to drown out the metal scraping. This year, my fellow WYGAS writer Boocanan introduced me to Headache which has quickly taken the #2 spot for my most played “Bus Music.”
Headache is a side project by reclusive producer Joseph Winger Thornally AKA Vegyn, who you probably know from Frank Ocean’s Blonde or from the go get a British art school girlfriend playlist Boocanan made for me. It’s Trip Hop with an elevenlabs AI voice doing Spoken Word snippets of truism-y poetry written by someone named Francis Hornsby Clark (who there is very little information on besides a Rolling Stone article where Vegyn assures the interviewer that he is a real person).
The vocals as performed by the elevenlabs model take on a surprisingly emotional, ghostly quality as the narrator tells us anecdotes of near-death experiences and periods of total alienation. The soft spoken, London-accented robot voice mixes perfectly with the massive attack-esque trip hop beats creating an experience reminiscent of The Streets - Original Pirate Material filtered through a 2020s filter with a more contemporary raver perspective. It’s like an aimless guided meditation for moving through the world, a perfect soundtrack for sheltering from the sun in a bus blasting AC.
I would encourage people to listen to both existing headache albums as full pieces (preferably while they're on transit) so instead I’m going to highlight two tracks.
Business Opportunities was the Headache song Boocanan first showed me and it hit like a truck. The track opens with these beautiful, obscured pad synths over headache guy narrating the process of attempting suicide. Then the strings and snares come in and it unfolds into this dreamy, lapsed bar anecdote about reflecting on how dumb failing to kill yourself makes you feel and the loss of a loved one gained after the attempt. It’s hypnotic in the same way old guided meditation tapes are, and I find myself getting swept up in a narrative every time I listen despite the narrative being pretty loose in the first place.
Wholesale Anthem gives us the other side of Headache. This song is so funny, I will straight up remember lines from it throughout my day and start laughing. The warm synth harmonies and upbeat drums alongside lines like “my astrologer calls me and says I will die in a body of water. That’s not a problem for me; I’m an aquarius.” creates a pleasant sense of absurdity. I find that it soundtracks taking the bus home after an event quite well.
I truly feel the best music for taking the bus is something I can trust to carry me through a daydream but won’t get so lost in as to forget my stop. I enjoy a narrative and a sound that is both all encompassing and not too complex. For this reason my #1 go to music for my commutes back when I was regularly taking the train and various connecting buses is the legendary Doom Metal band Sunn O))) which I am sneaking in here because it’s both thematically consistent and I missed guitar music week last weekand that's ok. The amount of times I have put on the White albums, opened my book, and happily passed an hour away getting to my destination are innumerable. So I leave you with the title track to White1, a song also heavily featuring a beautiful spoken word piece, My Wall.
Liv: Pendant - Make Me Know You Sweet
It's frustrating how doing this newsletter has been a great excuse to really revisit a lot of old favorites and try to add context to them, read up on reviews and errata, and then be reminded Tiny Mixtapes is dead and I still feel like I suck at conveying why I love this stuff. But I will keep trying because it beats torturing myself doing fashion week prep YUUUUUP, and hey this album has been the ice plunge into fall fashion week for almost a decade now, one of the few constants in my ~professional life~ as it were. I really thought being off the runway would make this a less stressful time LMAOOOO but hey here we are.
Mid-ground music is such a snapshot of how we all talked in 2018 speak for yourselves!!, forgot about that. I mean it was an effective way to describe, or at least market the sound, and also herald how ambient would become a much more dynamic and propulsive force in the 2020's, Andrew even writes about ambient albums with actual drums now. The hisses and delicate fades, the arpeggios that make BBN-UWZ still feel like the perfect song to practice my trouser catwalk. The music all just sounds so inhabited to me, I think the focus on defining itself as betwixt ambient and pure dance music elides that those are both music that fills a space, or at least a register in your headphones, while this fills me up. IBX-BZC is an evil little number, the cracked out little heart is the best example of the tension I think is key to this embodying sound, but it's throughout the album, really, even the jumbo sized tracks at the end. This cohesion also makes it a great album to listen to on loop, something I forget I used to do all the time but now only really shows up when I am anxious and stressed... which is again part of what makes the album feel so inside of yourself. Without going full "realistic panic attack" I feel the anxiety laced throughout is probably why it does such a good job for me to be this Biggest Week Of The Year prelude for me Hey now NYFW isn't even top 5 weeks for you anymore miss superstar, the very dry samples keeping you a bit snapped.
I feel like I still don't have a handle on explaining what makes this so good, but you've got a second to check it out and at least I feel like I am getting better at understanding how the music I love really fits into my life! Next time I will review clubbing with Andrew well, no, that's not happening
Claire: DENPA-SAMPLER - DoujinMusicMaker.com
its been a super busy couple weeks for me twin same so i couldnt devote as much time as i would like to listening to new music and writing about it (ive instead been making hella #MoneyMoves), but lets get into it! one nice thing about my recent vr adventures is i get to meet lots of people who know more about music than me (and i would say im pretty knowledgeable myself!). its humbling but more importantly its an opportunity to listen to lots of new shit. one of my new friends (hi exoryn!) is a hardtek fanatic massiv... and gave me some recommendations that would appeal to my oft mentioned on here "shithead sensibility". so i picked an album with an appealing cover and tested this theory for myself.
and honestly, thats pretty true! its very funny that in practice these songs sound a lot like the exact 2010s bullshit netlabel breakcore i listened to near exclusively for a hot minute, but from a different evolutionary path (in this case from freetekno and psytrance). its like someone stepped on a butterfly 250 million years ago and now we live in a mirror world where instead of my typical greeting being "hey guys, whats up?" its now "hey, whats up guys?" and the ramifications are astounding. theres elements that are the exact same that i absolutely adore: the emphasis on samples and especially "having fun and pleying" with vocal samples, big ass drums, a general sense of irreverence. theres some stuff i still miss from breakcore, like: can we make this shit even louder please?! thank you. and theres new stuff you dont really get in breakcore that i do like (i fuck heavy with a good trance synth). the overall experience is really interesting. it makes me appreciate that people can have such different paths but come together and say "yeah thats a pretty good anime sample". thats the healing power of human connection baby. sampling can generally be understood as the best way for humanity to connect with each other we've come up with so far
ÉKÉìÉMÉKÉÅÉã - U.N.ÉIÅ[ÉGÉìÇÕUPTEMPO HARDCOREÇ…ÉnÉ}ǡǃÇÈÇÃÇ©ÅH-GENSO DIE MUSIC FESTIVAL-
(no public full album uploads but heres a track for you)
GunGiGameru poses a very interesting question here. what IF un owen was addicted to uptempo hardcore? and then proceeds to not answer it because they are a multigenre maniac so theres only one uptempo hardcore track on the fucking album lmfao. but honestly i like multigenre stuff if people have the sauce for it. and GunGiGameru has the sauce for it. its awesome to see fresh blood in the touhou hardcore scene and then its someone who has very little interest in being prosaic as a fun bonus. this album has some hard bounce and rave on it as a great example. the one public track available is eurobeat with extratone sprinkled in. this shit whips. please keep making me listen to it man. also the album cover is awesome. look at that shit. thats the doujin spirit alive and well man. and you can buy the still beating heart of doujin spirit for 500 yen on booth! i urge you to do so if this sounds even mildly appealing to you!
Alexis:
Graham:
Andrew: Kino Disk - American Dub Electronics
If I go too long without talking about dub techno my body just starts aching, you understand. It's so goddamn wet out there, wetter than the rain outside my window even. I can't even say it oozes it's all just liquid. Former WYGAS (and Short Span less importantly) subject Eden Aurelias is on here in her Ring persona, with Changeling being the standout track. Also currently the only track I can really pin on its own, as this really has just been a press play and move record, the low end is gonna be smudged and blurred out regardless.
This one's kind of weird for me, partially because again work stress means theres been less focus on albums generally, but also the very self conscious anonymity and context free releases don't allow me to do my usual homework passes. Even the artist names can't be trusted here, several of them are, like with Eden, new personas (or just initials) to try out how far you can submerge a rhythm. While I've previously written about the Ampersand Curve record, each track on that is so distinct (and the record is short) it can easily be sectioned out, while here everything just kind of washes over me for about 45 minutes. For all the experimentation this has become a very traditional room filling noise ambient release for me when in album form, but a very pleasant one. When it's come on during DJ set's or Lot Radio streams though it really plays up I've found, in no small part because of how the tracks have been used as a change up. It's just kind of strange, normally I need to know all I can before turning on an album, the free deep dives are for radio sets, but here I still feel like I just let myself get washed away. Very pleasant album to succumb to but still, not a very discursively engaging one beyond "ah yeah dub techno, quite popular at the minute" and "Ah, yes, Chain Reaction, still massive", which aren't wrong but I hope anyone reading this knows I'd rather kill myself than act like I am impressive for saying that. You might wonder why it then is taking up a slot on the newsletter and well... it is quite fun to listen to?
I've been really enjoying a lot of compilation works in recent months, most recently this and a compilation of Hong Kong/Japanese electronic works by Cheaper Than Therapy. Yes Foodman is on it. Oyubi and comm too in what makes me think I should probably cold message the label since we definitely have some mutual friends ha. But yeah also big for me this year have been the virtual dreams ambient releases, Denshi Ongaku No Bigaku's, Mzansi Bass, and TT10: A place beyond time. In short: well curated compilations are incredible! I love them so much! Bang & Works remains the true standard for me, one of the great achievements in curation, if I was braver I would have forced it into my grad school work somehow. It sucks growing up and only really having the Kidz Bop/Now thats what I call music, or even worse greatest hits releases as the form (obviously any radio set/mixtape is an example of the form but in recognizing that you should also recognize the difference in the compilation album/even NTS guide to from me just sending you a rec at 2AM), because I've come to appreciate just how hard it is to really pull off, all the little writing bits that come along with it, the very personal stories in it, and how fun it is to post an NTS guide and just go #YUUUUP in a groupchat/timeline.
Anyway relistening more intentionally I think Floodplain is a deeply menacing song, great job Kino disk, I hope someone has told you how funny your name is.
object blue - what resembles the grave but isn't
Well if I am going to gas up how much I like her NTS show I should probably shout out her album too... Really adore this album, listened to it a few times when it came out last year but it fell into the general "2025 art has baggage for me" bedrest pile. All summer it's been decently foregrounded for me though, Apple Music adores putting it on the home page for me and if I am actually looking at the home page I am usually in the mood for transgression to put my head on a pike. The whomp that opens telling secrets, and thus the album, is such a sick call to attention, for me at least it immediately keys you into how deep all the mixing is going to be as you hear it move through all the channels, before you even get to the eerie tones. Pneumonic tubes power galaith, in spirit if not in field recordings, a song that really reminds you how much an Autechre comparison would really mean in a better world. (hi Liv)
Again though, transgression, one of the most striking tracks of the decade for me. This shit should be in cool trailers, 4AM dance floors, and art installations. When object blue got to DJ at the V&A they should have put it up in the glass room and blew it up (shoutout to the glass room at the V&A and for my friend Diego for putting me on). That it so effectively samples Isabelle Adjani's turn in Possession should be taught in schools, but alas, she has to be a working musician. The final arc of the song, as it ices up and collapses is something that feels like a cheat code for any DJ looking to get a whoop for beat matching.
The rest of the album is really neat as well, with The Fool being a very acidic high BPM delight, but those first three tunes are what really sell it for me. Reading Max's grand theory of positive music nerdom (writing this gets so much easier when you realize you can just ape Max) it's hard not to feel like this album can guide you through that galaxy. Obviously being a devoted fan of her show gives me extra context beyond the album but you tell me, is the incredible music appetite for music not apparent on what if? Very baroque, very ornamental, all so much fun.
Moodymann - Prince DJ Set (2020 Sign O The Times afterparty)
Ok I was really struggling to think of what internet radio/DJ set to go with because it's been both a very voluminous time for me to rely on them for like a month now, and also I've been not the most critically engaging with them. Was probably gonna go with the newest [deep creep set on Lot(https://www.youtube.com/watch?v=66cXsdfCGus) while shouting out Alice and Akii both having new sets I fw heavy on their European adventures.... but then Boo brought up Prince, so..... One day I want to make it to one of these Moodymann prince sets, even though they seem to only be in Europe now.... I mean I really want to see Moodymann before I die..... To be honest it took me longer than most to get the Moodymann deal, I still don't really like the DJ-Kicks mix to be honest.... But then I heard Black Mahogani and yeah it all unlocked goddamn. Also can never forget what he said about Kraftwerk in one of my favorite interviews
Anyway like Boo I think it's offensive to have to explain Prince, so enjoy the mix.
Footwork Night at Public Records
Flooded Thursday night Footwork show at Public Records surprise highlight of the summer? Met an oomf and everything there. One of the DJ's played a Bjork footwork jam in honor of the Vespertine anniversary and flipped on a passing me by one to create pure sample flip bliss. Footwork is still so cool, so regionalized and electric. So many unique modes and flavors of the genre, it's continued developing as an ecosystem is really inspiring, even if it makes me feel really stupid trying to speak on in anything resembling a knowledgable manner. Which I say all this to say.... yeah the DJ's from Chicago are still just so much better at this shit than anyone haaaa. Love to support the New York scene as we all know but man.... Heavee killed it. BEYBLADE SHAWTY put up a good fight but god was in the building, only so much you can do.
For the venue review.... Look the sound system at PR is really good, nobody can deny this, and I am mildly charmed by the light systems.... but you usually have to use DICE for tickets... and despite never going into the restaurant I see it there... and the location.... usually leads to more low energy sets and crowds than you'd expect, which is why it was delightful that anyone who made it out here fucking put the work in. Will probably be the best night I ever have at PR, which is unfortunate since I already have my ticket for Durations.
Bodyhack at Nowadays
Umru might really be the hardest working DJ in North America. Really low bar obviously but that man just does not stop spinning and catching red eyes. He was not on until three and had a gig in Montreal the next day! Anyway Bodyhack, still great, cracked me up seeing the gamer station this go round, wonderful sets, really varied stuff but quite percusive all around. Now then, I have to be real with you. We know my thoughts on Nowadays so I can't take up word count with that. I can't really do a gig report here because Oddball really tested their new menu on me even before the free shot flight came out, and alcohol does way more for memory deletion than the psychs. But still Bodyhack is an important event to go to, still beautiful to have such a normalized and consistent trans community night at the club every month, greatest city on earth. It's 2AM now so gotta wrap it up, the gig reviews will hopefully be more fun next volume, September is stacked here.
Thanks for all the continued support, if you like us sign up for the email listing! Drop a line at WhenYouGetASecond@Proton.me if you ever have something to share.
