Elysia Crampton's Dan Bodan Remix Is Soft as Rain

Elysia Crampton's Dan Bodan Remix Is St as Rain

Photo courtesy Break World Records

In addition to the itchy, overwhelming compositions that has made on her proper records, she’s also spent some time over the past few years as one the most adept remixers pop music. The boundary-pushing producer has turned songs like Justin Bieber’s Drake’s or into complex, dramatic movements swooning strings and shuddering polyrhythms. Today, she’s turned her attention to one pop music’s most under-appreciated records the last half decade, her friend Dan Bodan’s DFA full-length St.

Crampton posted on SoundCloud that her remix “A St Opening” was completed a few years ago, but it feels in line with the swooning edits and demos she uploads on a pretty much weekly basis. A simple acoustic guitar figure seeps in between the gravel-crunch a few percussion parts, the stillness punctuated occasionally by distant gunshots. Bodan’s already ghostly vocal is pitched up, then buried in the mix, haunting the otherwise regal proceedings. It’s tense stuff, but overflowing with emotion, like the best her work and the best Bodan’s. Listen here or over at her .

The month in Bandcamp: Dear God, 2017 is making us Physically Sick

Every month Miles Bowe rounds up the best Bandcamp, unearthing the finest, freshest and weirdest releases the burgeoning DIY platform has to fer.

Tomorrow (February 3), Bandcamp will donate 100% its prits to the American Civil Liberties Union, an organisation that has never needed your help more than it does right now. We’ve recommended 33 classic Bandcamp albums to add your shopping list, but this rundown is all about brand new releases that are just as worthy your attention.

This edition also marks my two-year anniversary writing The Best Of Bandcamp, and looking back at so many favorites really shows how much the site’s community has grown. The releases this month don’t have much in common, but that only makes it more exciting — so join me for another tumble down Bandcamp’s rabbit hole.

The month in Bandcamp: Dear God, 2017 is making us Physically Sick

Bandcamp Release Of The Month:
Dear God

Boston-based producer Sae Heum Han makes a haunting impression on Dear God, an EP that shuffles creepy industrial atmospheres, primal techno and IDM glitches with expert sleight–hand. ‘Sun God’ is a chilling introduction, painting eerie images with its dripping synths and creaky metallic samples. Yet it lives up to the title, thawing out in the second half with rushing synths and a piano melody dappled with chimes and birdsong.

Elsehwere, ‘Facade’ builds tension with spine-chilling percussion and strings until the EP explodes into its first storm noise and bass. It’s one many examples how well mmph sets careful trajectories over the entirety Dear God, bringing to mind sonic puzzlemakers like Oneohtrix Point Never and Arca. The delicate bridge ‘Past Lives’ channels R + 7 with blurred whispers and zero-gravity synths while the deceptively pretty closer ‘Blossom’ sounds like Arca’s molecular mutations unleashed on a Disney movie.

In fact, Dear God can conjure a seemingly contradictory series influences at any moment: nimble melodies indebted to PC Music, Jlin’s sinister romanticism and Nicolas Jaar’s ornate sense space. It makes sense – Han’s a young producer, but he’s too talented to let that overwhelm his vision.

The month in Bandcamp: Dear God, 2017 is making us Physically Sick


You’ll either play Reflection for a couple minutes and tune out, or fall completely in love with the locked groove obsessions 아버지 (Father). It’s an album-length stutter in the spirit CD-skipping bliss outs like Fennesz’s ‘Before I Leave’ and Oval’s ‘Shop In Store’, where each track traps a few seconds audio in stasis to create subtle kaleidoscopic manipulations. The tracks only gain power when played in succession, but if you need a hook, the penultimate ‘Tomorrow’ is Reflection’s transcendent peak.

Using a shard vocal you could almost imagine on an Avalanches album if it was allowed to play out (it never is), the track soars and wanders for 11 graceful minutes. Like the rest the album, ‘Tomorrow’ never reaches its destination, but Reflection shows the journey itself is just as important.

The month in Bandcamp: Dear God, 2017 is making us Physically Sick

Allergy Season
Physically Sick

As the title suggests, the Allergy Season label may have been inspired (not to mention disgusted) by the awful political climate for this charity compilation – but it has never sounded to strong. The label teams up with Discwoman on Physically Sick to wrangle 42 tracks from some very pissed f and talented people, including familiar names such as Umfang, Octo Octa, Max McFerren, label owner Physical Therapy and his former ‘Drone On’ collaborator James K.

The compilation also provides a platform for some lesser known artists to present some their best work. Boston acid techno producer Isabella expands on last year’s Best Of Bandcamp-featured Viscous Positions with the unrelenting ‘Dying And Denying’ while Vancouver producer Yu Su fers a moody slow burner on ‘Tales’ which will satisfy fans  her excellent 1080p album in the duo You’re Me. It’s available as “name your price”, but with all the release’s prits go to support charities such as the ACLU, the National Immigration Law Center and Planned Parenthood, consider naming one other than “free”.

The month in Bandcamp: Dear God, 2017 is making us Physically Sick

Wakesleep + Datavis present BassTechCustom™ CORE GENESIS

Wakesleep, Datavis, BassTechCustom™ — they’re all Robin Burnett, the Austin-based producer who introduced many to vaporwave with a genre-defining run albums as Internet Club. Since then, Burnett’s work has only grown more abstract and sensual, never more so than 2015’s excellent Three Thousand Flora.

On CORE GENESIS, Burnett adapts wonderfully to long-form drone with two glitchy synth epics, ‘Gay Bass Hologram’ and ‘NEXT GENESIS’, that deliver plenty the promised low-end rumble. The former follows a gently building path for 11 minutes, while the latter spends more than twice moving through carefully placed peaks and valleys. It’s too dynamic to be called “ambient”, but that won’t stop you from losing yourself in its hypnotic surges.

The month in Bandcamp: Dear God, 2017 is making us Physically Sick

Muyassar Kurdi
Intersections and Variations

Performance artist Muyassar Kurdi sings like an interpretive dancer moves on Intersections and Variations, an album that uses silence as an effective voice its own. With occasional accents from gong and cello (the latter provided by Nicholas Jozwiak, who also contributes vocals), Kurdi draws a worthy comparison to her former teacher, experimental vocalist Meredith Monk, while crafting something markedly personal.

From its tributes to unity (the lengthy, transporting ‘Companions’) and declarations individuality (the persistent ‘Alone’), Intersections… captures a unique voice in more ways than one.

The month in Bandcamp: Dear God, 2017 is making us Physically Sick

Mary Lattimore
Returned To Earth

On this lovingly crafted twer, harpist Mary Lattimore delivers a tribute to a man’s journey in space and is then joined by tape-noise composer Jefre Cantu-Ledesma for a track that feels like you’re floating in it.

Lattimore had been following astronaut Scott Kelly’s transmissions from the International Space Station when she broke her jaw in a fall. After spending the winter with her jaw wired up to heal, she got better just in time for his descent, when she recorded ‘For Scott Kelly, Returned to Earth.’ Her spritely harp buzzes with a renewing energy, which is balanced on the second half by the more reflective improvisation ‘Borrego Springs’ with Cantu-Ledesma.

The release comes through new tape label Soap Library, who package each cassette with a small object, in this case a packet orange zinnia seeds — Captain Kelly’s favorite.

The month in Bandcamp: Dear God, 2017 is making us Physically Sick


This short collection was meant to be part a larger, now-abandoned project from Melbourne-based artist Deku, but what’s left leaves fascinating impressions. ‘Marie’ floats on warm organ passages reminiscent early Microphones before resting on a weary-but-not-defeated monologue rejecting suicide (“Just gotta keep on staying alive and hope that things are better, so yeah…”) while the highlight ‘Dominic DeNucci’ lays out a gentle duet between acoustic guitar and stormy drones static.

But after finishing on the uplifting, beat-driven ‘Trash Trio’ it suggests an unexplored range and thoughts at what could have been. Unfinished, yes — but undeniably worth your time.

Read next: The 20 best Bandcamp releases 2016