A perfect night out on the equinox, Karen Ng turned her Tranzac residency slot over to a pair of singer-songwriters who were both exploring some autumnal renewal. Lisa Conway returned to her L CON pop project (which just happens to be celebrating its tenth anniversary) to present some new sad songs in a stripped-down duo format with Andrew Collins. Last spotted this spring with some abstract synthesis, there's definitely a wiggly line that can be traced between these two sets.
*Thanks to Lisa for passing along the title to this one!
For the past three years, the Women From Space Festival has been an excellent encapsulation of its moment. Coming on the cusp of the First Big Lockdown, the 2020 Festival is remembered by many as the last event of the beforetimes, while last year's "hologram edition" was an elegant solution to the flatness of livestreams. And now, this year's Festival had to bear all the relief and angst of "returning to live" at this uncertain mid-point of the pandemic. Presented with joy and community spirit over four nights, the Festival was a chance to run into seldom-seen familiar faces and to hear a dizzying variety of sounds.
Lisa Conway and Emma Ongman (respectively on audio and visual synthesis) started the night by heading off, if not to space, then at least to the nearest planetarium in a new song-suite of sorts — albeit one that left plenty of room for improvisation and for the two performers to react to each other. This will probably get fleshed out and released in time, though Conway noted that she has two other albums in the pipeline to attend to first... so stay tuned.
Bumping Into... is a series of mini-chats with a variety of peeps that you might run into in some of our local music communities. (There's a bit of an intro and my thoughts behind the series here.)
How are you? Where are you?
The short answer is generally okay, though there are highs and lows feelings-wise throughout the days. I’m in Guelph, in an apartment downtown that I share with my partner, Andrew, and our cat Gremlin.
What have you been up to since March or so?
Time has been moving very differently, but a variety of things!
One of my main commissions this year was an original score for a German-Canadian theatre collaborative production, and though the rehearsal periods and premiere were delayed several times, it actually somehow still happened. I worked on the music remotely and attended rehearsals via livestream instead of travelling to Germany, which presented its own challenges, but I was super thankful to be able to finish the work I’d started early in the year.
I played just one show in 2020, a little set outside in Toronto with my dear pal Karen Ng, which felt truly magical and grounding - I didn’t realize how much I missed singing my songs to people. Haven’t felt the most inspired to write regularly (for me) until about a month ago, but managed to release a single and video over the summer for fun, put together another single for a Guelph fundraiser compilation.
I’ve been doing some mixing work for other folks - had the pleasure of mixing a film score for Rebecca Bruton, and have also started mixing Victoria Cheong’s next New Chance album. Been taking piano lessons for the very first time which sometimes hurts my brain but in a good way, sang some stuff on some records and for a film project, finished up an old grant, am teaching Garage Band courses over Zoom and doing some grant writing consultation + editing for first time applicants, making mixes for campus radio, lots of walks and wanders outside, park beers with pals.
Have you found any new ways to do old things? How are you feeling about the shifts in how music is being made/shared/listened to?
I’m grateful that previously to this year I had an interest and ability in home recording (as well as gear!), and was fairly used to collaborating remotely and independently, emailing ideas back and forth. It’s honestly better for my social anxiety to do takes and write parts on my own, at my own pace, rather than in front of people in a studio. I can’t imagine the adjustment to these new ways of working if one didn’t have an already established solo writing practice or familiarity with the technology - I feel really lucky in that regard.
I’ve listened to more music this year than previous years - making mixes for Mixcloud and radio has been a really nice framework for keeping up with new releases. Bandcamp days are so so great! Definitely been buying a lot of music, and more intentionally catching up on releases made by pals.
The livestreams I’ve tuned into have been pretty enjoyable as a viewer, and it’s been exciting to see folks experiment and be creative with incorporating visuals and other mediums, making short films essentially. I really dearly miss the intimacy of bodies gathering in a small space, and chatting with other artists about what they are up to, but I’m having an easier time wrapping my head around livestreams when considering them as a separate and new presentation format or medium, rather than a replacement of what we did previously. Shot and recorded a few stripped down live performance videos completely solo, and got a really nice response to those on instagram, which felt nice.
Been really appreciating the new normal of video chatting, especially since previous to the pandemic both my mom (in BC) and my aunt (in Switzerland) insisted video chats “wouldn’t work on their phones”. They have been gloriously proven wrong and I’ve been able to even talk with both of them at the same time! Yay technology.
Overall this year was really important check-in on my not-so-healthy work / life balance - as a freelancer, I’ve found it really hard to take days off - so I’ve been trying to actually take one or two days off a week for the first time in my life, like an actual (guilt-free zero expectations) weekend.
Any works of art that have been a light for you in these times? Anything that's just been a good diversion?
I’ve found podcasts to be great company on walks or while doing the dishes for some time - been grateful for comedy podcasts like Comedy Bang Bang continuing to bring me joy and laughs during the more isolated days. I also have been really enjoying Black Frasier (Phoebe Robinson) and Couples Therapy with Naomi Ekperigin and Andy Beckerman.
During the March lockdown, Karen and Lane (Halley) and Andrew and I started watching The Sopranos for the first time, and would meet weekly on Zoom to discuss the episodes. We blasted through all the seasons and watched the finale on a projector in Lane’s backyard with some baked Ziti and sliced meats. It was so nice to have an excuse to check in weekly, and super fun to discuss things like AJ’s fashions or Tony and Carmella’s latest argument.
Definitely watching a lot of great television (standouts include I May Destroy You, Haunting of Bly Manor, Normal People, In My Skin, Feel Good) as well as regularly tuning in to a livestream of a snow leopard family that mostly just nap in a zoo in Australia. Been playing more video games than ever before, and trying to do so without guilt! I’m also super excited about cross country skiing these days, that’s been a wonderful winter distraction, as well as cooking projects.
How are you feeling about 2021?
I’m feeling optimistic though simultaneously very unsure. Trying to keep my expectations low. I’ve been starting to work on a new record and chipping away at that, and record-related dreaming and scheming has been a true lifesaver.
Anything else we'd chat about if we bumped into each other?
I would want to hear all about how you were! And be so excited to have a conversation lol. Missing that small talk .....
If there were any, er, insecurities in presenting the beautifully-engineered songs from their new album in a live context, Lisa Conway and company tackled them head on, approaching the songs in a few different configurations. Conway started the set off solo, performing a couple songs solo with her Ableton-based rig, before adding members and building up to a lean groove and some disco-reimaginings of older tunes. And ending as she started, Conway stepped into the crowd to close things out singing unamplified, her voice floating above the highway-whisper of cars seeping into the hot room through the open window.
[L CON will be performing at Slip, Slop, Slap, Kat Burns' experimental summer series at Handlebar, on Sunday, August 19th. The group will also be opening up at Falcon Jane's album release celebration at the Gladstone Hotel on Thursday, August 23rd. Venus Fest is presenting a free/all-ages/family-friendly concert in Ontario Place's Trillium Park this Thursday (June 26th) featuring Bernice, OBUXUM and Ansley Simpson.]
Since 2009, the summer Wavelength festival has been a highlight of the season, slowing down the hectic "festival experience" to an Island pace and making the whole thing as much about the vibe and the location as the (always well-curated) music. When this spring's floods shut the Island down, there was a ripple of apprehension from many quarters at the loss of favourite summer hangs, culminating in the festival decamping to the mainland.
There's been a number of WL events that have taken place at spots that've been overtaken by the city's voracious development, so it was a pleasant change to be in a new space — one's that's still not fully integrated into the city and that is going to be around for a while. With a wall of almost-completed condos along the park's east side, Sherbourne Common isn't going to be hosting too many festivals in summers to come, so hopefully some of Camp Wavelength's energy will remain imprinted on the space. Meanwhile, with the water glistening in the background and a sense of isolation from the city proper, this did a really superb job of capturing the feel of a show on the Islands. (Plus there was the bonus of the awesome slapback echo bouncing back from the new buildings surrounding the park.)
On a day with a stacked bill of mellow/ambient pop, having L CON play first felt a bit like leading with the headliner, but it was an excellent mood-setter for the day. The aqueous drift of the Moon Milk songs were a perfect lakeside fit — I was well-pleased to look over during "My Aquatic Uncle" and see that the festival's resident fortune-telling mermaid had heard the music's siren call and had made her way closer to the stage, tail twitching lazily in the breeze as she reclined and Lisa Conway sang "our lives will be poetry / our lives will be bliss / in the water with your arms around me / these days on land you'll never miss". Meanwhile, there was also this new number, an indirect product of a weather-aborted WL gig earlier this year.
The season's third Long Winter found a spot just a few doors from its old Queen and Dovercourt home at The Theatre Centre. Using both the upstairs main space and the main floor Incubator, there was music up and down all night long. Presenting the songs from last fall's tasty Moon Milk, Lisa Conway has lost a vocal foil, but gained some additional musical support in the form of Jordan Howard on guitar and Nick Bulligan on trumpet. Along with Andrew Collins' bass and her own keyb work, there was room to move the songs beyond the ballds into the adventurous disco territory heard here.
[Brandon Caswell Douglas got some sweet footage of the night which you can check out here. Long Winter ends the season with a return to the Gladstone Hotel on Friday, March 24th with music by Deliluh, Leanne Simpson, Protruders, Doom Tickler, Bonnie Trash, Bunny, HEX, Midge, Clamaglamza, Joel Eel and Sistem.]
A lovely day, warm in the sun with a cool breeze, the Intersection Festival once again filled Dundas Square with music of all kinds, offering a counterpoint to business at usual in the ad-basked concrete canyon. With Tad Michalak (of Burn Down the Capital/Feast in the East) again taking a leading role in curating the day, the music had nods to the festival's more chamber music-intensive past while upping the noise and weirdness reverberating off the surrounding walls. That had a sort of push-pull effect on the passers-by, sometimes drawing them in, sometimes causing evident confusion and moving along.
A rare chance to check out Imaginary Flesh in the... um, something. Celebrating the digital release of their fab concept album, they played the expansive "Seven Haab Out of Xi Boötis" in its entirety. Ranging from deep-space synth wubbles to some ace kosmische grooves, this was an altogether tasty journey.
[I also created a remix that enfolds some some set's quieter parts upon themselves, which you can check out on soundcloud.]
Quite literally the three people behind the monthly laptop-improvisation "troubleshooting" residency at The Tranzac (monthly on the first Wednesday, next instalment on August 5th) this set saw Cory Latkovich, Lisa Conway and Nick Buligan perform realtime manipulations with their Max and PD patches, extending their instruments into abstract space.
[The next show in the Second Sunday series (Aug. 9th) will pair Robert Cruickshank and Dafydd Hughes's audio-visual project Little Oak Animal with NYC visitors Aorist.]
Ever the gracious host, Lisa Conway bumped herself down to the opening slot at this gig to give space to some Peterborough friends stopping in town before the whole crew would head on to Guelph the next night to play the Kazoo festival. That made this a chance to test out a new alignment for her long-simmering L CON project. Not only was there a whole set of new material, but the presentation has gotten a little bolder in a trio format that sees Conway playing alongside Andrew Collins (also of Skeletones Four) and Mary Wood, who all variously shared duties on keybs, guit, bass and drum machine.
Conway's ballads are now being re-imagined even more daringly than before, with tracks such as this one edging into minimalist postpunk/disco territory. Of course, Conway's song-world still operates in geological time — this tune asks "what's another two million years?" and the one that followed it upped the ante by musing about 500 million years — time enough to float in the black primordial seas and watch the fish swim by, eyeing you warily. (Slicing those eons into more manageable chunks, expect a new 7" to emerge this summer.)
*Thanks to Andrew for passing the title to this one along!
Cedrixx Ten-Lui Caplan felt different. Seven haab out of Xi Boötis on this third-rate cargo transport, and that much longer to go before making planetfall, the ship felt a little smaller every cycle. When he'd signed on, Cedrixx hadn't been told that the crew were mostly Beta Kapteynoids — and they kept to their own kind, spending their hours off worktime huddled over their hyperpolytopes in their incomprehensible gambling matches, giving him cut-eye koolik glances when he passed them by.
Left to his own devices, Cedrixx tried to keep his nose clean, watching all the visies in the ship's library and exercising in the molby hammocks, but by this stage of the voyage, he was bored. He'd even taken to popping cincomeodimeths off-shift, but after he tried to disable a leak in a hallucinatory bulkhead, he'd been given an adminwarn — and given that the 2i/c was a real dzuuy-taat, another one could cost him a whole quarter-tzolkin's wages.
Exasperated, Cedrixx found himself hanging out with the quartermaster, an otherwise repulsive Proteidaen who kept an illegal still and had access to a variety of mildly illicit products. After spending nearly a full haab winning the quartermaster's friendship, he offered Cedrixx a beat-up old eroholodizer, explaining that he had lovingly restored it himself.
"The gropies?" Cedrixx asked. "Do you think I've sunk that low?"
The quartermaster croaked noncommittally and threw in some holotapes to seal the deal.
Cedrixx was unsure at first, and used the machine sparingly, feeling a little eek'hachk'as after. But it wasn't too long before he spent all his working hours reliving the scenerios, and soon he was sifting through the yáabóol-kahal looking for new holos. The quartermaster sold him a shunt through the network's sinfilters, and after fumbling around, he found a pathway to a darknet nahil with a whole datasilo of every imaginable erotosit. He even dug out his old nanowelding textbook to amp up the strength of the device's neural connectors.
Needing stronger stimulation, Cedrixx was soon trying everything he could get his hands on. The chiich-me'ex holo left him shaken for several cycles, but he was strangely attracted to the chelonaphil series he found. It went on and on, with Cedrixx drifting through each cycle, anxious during worktime, plugged into the eroholodizer otherwise when not searching for new, obscure kicks.
A tzoltik thread led him to a new datasilo in an especially dark corner of the yáabóol-kahal, and some of the wares on offer shook even Cedrixx — but he still grabbed several of them. The most innocuous of the new bunch was entitled Imaginary Flesh, and its specs demanded an even stronger boost to the neural connectors. It took two cycles to get the hardware aligned, but finally, he settled into his k'aan as he patched it in. As the visual receptors synced, a warning was scrolling by.
"What was that about irreversible effects?" Cedrixx thought to himself has he jabbed at the backscan toggle, but the holo only played on. As an abstract image began to drift into his vizfield, he felt a stabbing burst of heat and pain at the back of his skull. The neural connectors! Cedrixx tried to reach around in realspace to pull the p'ok off his head, but his arms would not respond.
Every nerve in his body seemed to be firing now, as if he were being pulled apart through obscure dimensions. His vision — no, all his senses — were hyper-acute. Something was changing, something was being shedded — as if a carapace was being pulled from his body. His ability to sense discrete ideas and objects was slipping away. As Cedrixx was pulled into unity-state, his last half-coherent word-thoughts were: give me don't give meee imaginary flessshhhhhhhh!
Ten members deep this night out, there was once again some of the intriguing quiet rustles that I had heard before from this wilfully-quiet improvisational big band. But this wonderful little atmospheric segment here managed to explore something a little different from what I'd heard them do before.
With Andrew Collins and Lisa Conway spending a year overseas, the projects they're involved in took a break from local stages, but expect to see them once again with increasing frequency. Leading up towards a full return for the Skeletones Four was this "coffeehouse" drummer-less trio, stripped of the proggy tripwires and blorpy keybs that crop up in S4's work and instead imploding more toward widdly Grateful Dead-style rococo rusticity — a perfectly reasonable alternate setting for Collins' ghost stories. Lisa Conway joined in on backing vox for several songs, including this wonderful take on Gene Clark's seminal country-rock weeper (a tune that was also memorably reinterpreted by Velvet Crush).
[That aforementioned return to the stage by the full Skeletones Four takes place tonight (Wednesday, January 21st) at The Dakota Tavern, as part of Kelly McMichael's residency.]
Full review to follow. Once again, Poor Pilgrim was an excellent day-long adventure, with perfect weather and beautiful music. Many thanks to Matt Cully, who once again put together a summer highlight. You can see some more photos from the day on the MFS facebook page.
With the full moon hanging over the lake, and the gentle lapping of the waves, hearing Lisa Conway's trio playing from their perch atop a lifeguard stand was enough to send shivers down one's spine. Not even the shouting objections of one contrarian could spoil such a perfect moment.
Full review to follow. Lisa Conway celebrated the release of her Ballads Reimagined collection by reimagining her music even further at a trio of shows focusing on different approaches. This instalment was entitled "voice", and the L CON set was indeed delivered by a vocal trio (featuring Mary Wood and Isla Craig) without microphones to a silent room. I wasn't quite equipped for something so quiet, so be assured that this recording of one of the short pieces only captures a small part of how wonderful it was. The night was made complete with Renée Lear's aqueous projections on the café window.
*Does anyone know the title to this one? Please leave a comment!
Founded as a blog about one curmudgeon's love affair with the em dash, Mechanical Forest Sound has grown to become a community-based archive of local musical culture. Assuming that "independent music" isn't just boys with guitars and "culture" isn't just some sort of pageant, MFS is an investigation of a wide range of artists, reflecting on concerts as shared experiences, acts of citizenship and a chance to get down — fuzzy photographs and clear-sounding original live recordings a specialty.
Current manifestations of this project include Track Could Bend, a monthly concert series featuring "improvised music and weird rock offshoots", presented in a casual environment.
At one point I wrote full-on concert reviews, and for longer I thought I would catch up and write about shows in the past. But these days, because of, y'know, life, do not expect much in the way of full show reviews — but live recordings with blurbs will be posted as quickly after the fact as is feasible.
You can also check out full sets uploaded to the Live Music Archive. [not currently active]
N.B.: All recordings should be available & playable. If you come across any broken links, invisible or non-functioning players, etc, please leave a comment and I will tend to it ASAP.
ALSO N.B.: I'm perpetually on the lookout for a new place to stash my MP3's online. If you know of any place that allows a couple gigs of stuff to be openly linked to for streaming, drop me a line!
All MP3's on this blog are audience recordings shared as a reminder of the excitement of seeing live music. If you are an artist who doesn't want their music shared in this way, please contact me and I shall remove it forthwith.
What Is: noncompliance: The inputted value is unusual [workshop & performance] (feat. Rrose / Auto Feeder / Parkdale Pirate Radio) / Sandbox 2025-05-07 (Thursday). $20/$25/$30 PWYCA. [more info]
Longing and Belonging: Music for Piano by Armenian Composers (feat. Eve Egoyan) / University of Toronto (Walter Hall) 2026-05-07 (Thursday). $free. [more info]
More Noise Please! presents: Cacophonyous Cataclysm (feat. V. Vecker / Unfeeling / THRTDSPLY / Jania K / Dept of Loss / Emergency Euphoria / Humbucker Music [Nick Storring/Jason Doell/Mira Martin-Gray/Colin Cudmore] / Del Stephen's Glib Trot Gleaning) / BSMT 254 2026-05-07 (Thursday). $15/PWYC. [FB event]
What Is: noncompliance: No memories available (feat. Qiujiang Levi Lu / Aliyah Aziz / Husna Farooqui) / Sandbox 2025-05-08 (Friday). $20/$25/$30 PWYCA. [more info]
Musica Universalis (feat. C'est la fête Large Ensemble [William Hunt/Adrian Rossouw/Mateos Labbes-Phelan/Maxwell Stover/Colin Fisher with special guests Karen Ng & Mark Hundevad) / The Tranzac (Southern Cross Lounge) 2026-05-08 (Friday) [more info]
What Is: noncompliance: Confirm humanity [workshop & performance] (feat. Shara Lunon / Nidus / Christina Dovolis) / Sandbox 2025-05-09 (Saturday). $20/$25/$30 PWYCA. [more info]
Liquid Architecture (feat. Tomasz Krakowiak / Eric Paglia) / St. Matthew’s Clubhouse 2026-05-09 (Saturday). $10 (cash or e-transfer). [FB event]
Labyrinth Ontario with Efrén López / Aga Khan Museum 2026-05-09 (Saturday). $50 (regular)/$45 (friends of the museum)/$37.50 (students and seniors)/$20 (limited rush tickets). [FB event]
O Sacrum Convivium, Music for Corpus Christi (feat. The Tallis Choir) / St. Patrick's Church 2026-05-09 (Saturday). $35 (general), $30 (seniors), $15 (students). [FB event]
Girma Woldemichael [Nafqoté CD release concert] / The Redwood Theatre 2026-05-09 (Saturday). $20, all-ages. [FB event]
Toronto Improvisers Orchestra / The Tranzac (Southern Cross Lounge) 2026-05-10 (Sunday – noon)
Ayal Senior & Friends (feat. Ayal Senior & Kurt Newman / JOYSHAPE / Ryan Dugre / Nick Flanagan) / The Tranzac (Southern Cross Lounge) 2026-05-10 (Sunday – 2:30 p.m.) [FB event]
Wolf Eyes (Knurl / Ayal Senior) / The Baby G 2026-05-10 (Sunday). $33.18, 19+. [FB event]
Jazz Rat Monday (feat. Patrick Smith/Nancy Walker/Eric West/Mark Godfrey) / Dina's Tavern 2026-05-11 (Monday). $pwyc. [more info]
New Works for Improvising Musicians (feat. Nick Fraser's Special Topics [Nick Fraser/Josh Cole/Max Stover/Kae Murphy]) / The Tranzac (Southern Cross Lounge) 2026-05-11 (Monday)
Not Dead Yet presents (feat. One Leg One Eye / Efrim Menuck) / St. Stephen-In-The-Fields 2025-05-13 (Wednesday). $26.67, all-ages. [FB event]
Never Was [Brandon Davis/Bea Labikova/Patrick O’Reilly/Joe Sorbara] / The Tranzac (Southern Cross Lounge) 2026-05-13 (Wednesday)
TONE Presents (feat. Eric Chenaux & Ryan Driver / Rafael Toral / Masahiro Takahashi & Brodie West) / Standard Time 2025-05-14 (Thursday). $33.64 advance/$35 door, all-ages. [FB event]
Night Owls (feat. Bob Wiseman / Lily Frost) / Hugh's Room 2026-05-14 (Thursday). $42.85 (General Admission), $27.27 (Student / Arts Worker / Underemployed). [FB event]
AMRITA [debut album release!] [Anita Katakkar & Kayla Milmine with special guests: Jonathan Kay & Zaynab Wilson] (Zaynab Wilson) / Array Space 2025-05-14 (Thursday). $30 [includes a copy of the new CD and a drink]. [FB event]
The Dan Pitt Trio [Dan Pitt/Alex Fournier/Nick Fraser] / Sellers & Newel 2026-05-17 (Sunday). $20 minimum donation. [more info]
Jazz Rat Monday (feat. Patrick Smith/Rebecca Hennessy/Max Simpson/Trevor Falls) / Dina's Tavern 2026-05-18 (Monday). $pwyc. [more info]
Playscape Emporium: Paint, Play ["The audience will witness the creation of various painted works, following the story of a painting as told by the brush."] (feat. Duo Cichorium / Constant Yen / Rowan Campbell / Charli/Fahmid/Joe/Mira) / Array Space 2026-05-21 (Thursday). $25.00 (or Pay What You Want); livestream: $12.00 (or Pay What You Want). [more info]
By Divine Right (Casper Skulls / The Will Powers) / Dina's Tavern 2026-05-22 (Friday)
Burn Down The Capital presents (feat. Cole Pulice / SpeariNg [Karen Ng & Charles Spearin] / Grace Scheele) / Collective Arts 2026-05-23 (Saturday). $22.89, 19+. [FB event]
Parade [Stefan Hegerat/Chris Pruden/Patrick O’Reilly/Laura Swankey] (Joyshape) / Burdock Music Hall 2026-05-23 (Saturday). $16.95. [more info]
Jazz Rat Monday (feat. Patrick Smith/Nancy Walker/Eric West/Mark Godfrey) / Dina's Tavern 2026-05-25 (Monday). $pwyc. [more info]
Geordie Gordon [River Round release celebration, full band with horn section!] (José Contreras) / Burdock Music Hall 2026-05-27 (Wednesday). $20.34. [more info]
Sook-Yin Lee with Dylan Gamble [72RHR release celebration] / Sonic Boom 2026-05-29 (Friday). $free, all ages
Battute e Pizzicato: Celebrating the 17th-Century Guitar (feat, Musicians of the Egg) / Church of the Redeemer 2026-05-31 (Sunday). $30 (general admission), $20 (students/arts workers). [FB event]
TONE presents: Double LP Release (feat. Glissandro 70 / Khôra & Mas Aya / Sweet Lips) / Standard Time 2025-06-04 (Thursday). $28.27, all ages. [FB event]
The Mike DeiCont Trio [Mike DeiCont/Leland Whitty/Eric West] / Sellers & Newel 2026-06-07 (Sunday). $20 minimum donation. [more info]
Not Dead Yet presents (feat. Fuji||||||||||ta / Evicshen) / The Garrison 2025-06-10 (Wednesday). $30.14, 19+. [FB event]
TONE & Not Dead Yet present (feat. Afrorack / Phèdre / Arc & Texture) / BSMT 254 2025-06-16 (Tuesday). $34.49, 19+. [FB event]
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