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Welcome to a new chapter to the LDDLM American branch. Hailing from Philadelphia, city of the founding fathers and new resistance, Thomas Roland and James Weissinger, residents of local church Making Time, have been on our radar for a while now. It’s a pleasure to have them and their personal LSD spreading their gospel through our humble label:
“It’s strange days in Philadelphia: antihistamine dreams, cellar dwellers on the run, wet money plugging up cracked fish tanks. Searching for songs of self-care from the pit *and* the pedestal? Let your pupils roll back in your head, we all need to find our NRG somewhere…”

On remix duty, another beloved duo, Khidja, turn the slow burning SHE TAKES NRG (a personal hit, electroclash stucked in tar) into a stripped down tripped out electro groove; While BAD BATH and DON’T YOU LOOK AT ME (THAT WAY) burn the border between wave and lysergic chug.

Enjoy. Do not respect the dosage.

Golden Bug & In Fields

Bones - Inc. Fantastic Twins Remix

3rd EP on LDDLM by Antoine Harispuru aka Golden Bug this time joined in company of In Fields. They push the boundaries of GB’s trademark ghost funk across the whole EP. Opener, "Bones" features Diego Hdez for a smacked out, desert fried electro-shoegaze number with hints of Sun Araw's early primal psyche. "Cracks" dissolves its ethnic funk into pure psychedelia, pulsating synthlines encompassing haunting perc for a truly out-there trip into the Savanna.

Side B sees "Shakes" merge Lune (..or owl? says our resident twitcher KP..) bird calls, eastern guitar lines and a relaxed, Indian-flavoured percussive thrust for a hypnotic, midnight ritual into the black arts and nature's sonics. Finally Fantastic Twins builds her own wall of steady, tectonic sound; expanding "Bones" into a slow moving but epically powerful juggernaut, creeping ever closer to some earth shattering climax.

Evocative, mesmerizing and with a sincere palette of out-there sounds, this is one of the most interesting records to land this week. Check!

Naduve is a proper hippie. Not one of those militant vegans you meet at Unicorn, I mean a gentle soul oozing psychedelia. He ’s a floating fixture in the “second generation” Tel Aviv producers (not in age nor talent) LDDLM met through the Red Axes connection, a very tight self-gravitating crew of friends.
I have pictures in my head of Naduve, very lanky, bare chest with a slightly Aladdin waistcoat but do not get fooled, the “shamanic” appearance hides a much deeper music than the dross that now entertains some of the white rich crowd in a certain spot of the Nevada desert.
Is it trance? Is it tribal weirdness? Is it totally rad? Defo. Ttile track "Back To Work" bubbles through chiming Sheffield bleeps, acid undercurrents and scratchy guitar solos. The chunky Goa-groove of "Pakana Tana" is why Naduve shines at sunrise, whilst "Ze Hazman" shows us why is he is also full moon. Finally the Xen (more with her very, very soon) revox version of "Back To Work" could almost be a Rimini circa 1990 anthem. Much love for LDDLM as ever.

SAVE! is the new musical vehicle from Marc Nguyen Tan, aka Colder. On ‘Monsters And Fairies’ he steps aside as vocalist and collaborates with American poet and singer Craig Louis Higgins Jr. Craig contributed unsettling spoken word to the acclaimed dub-acid trax by Paranoid London (recording under his Mutado Pintado moniker).

The world they have created together, with Craig recording in London and Marc in Spain, exists in a dream, suspended between the two locations. A creeping, creepy Lynchian-world, where acid-dub work-outs combine with stream-of-consciousness monologues to make one of the strangest records this side of Serge Gainsbourg’s reggae albums like ‘Aux Armes et cætera’. The record warps and shimmers as if seen through a heat haze, a confused existential daydream or a dark wave mirage.

Released on Parisian DJ Ivan Smagghe (It’s A Fine Line / Kill The DJ) Les Disques De La Mort label, SAVE! finds Marc operating in the experimental shadows, against the grain, much as Colder’s post-punk sound originally appeared in the context of the other dance music in 2003.

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