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For nearly a decade, Melbourne's Mildlife have built a reputation as one of modern psychedelic music's most compelling live acts. Blending cosmic jazz, space disco, Krautrock, psychedelic funk and vintage electronics, the quartet transform concert halls, clubs and festivals into immersive, ever-evolving performances driven by instinct, improvisation and deep-pocket groove.
"Live On Earth "distills performances from across Canada, China, France, Mexico, the United Kingdom and the United States into a panoramic live album. Rather than documenting a single performance, it condenses a year on the road into one seamless journey, where familiar compositions stretch, mutate and breathe, each performance shaped by the chemistry between band, room and audience.
More than a live album, "Live On Earth" bottles the electricity of seeing Mildlife at their most expansive. A celebration of rhythm, movement and collective intuition, it is both a travelogue and a time capsule, capturing not only where the band has been, but what happens whenever four musicians and a room full of strangers surrender to the same irresistible pulse.
Jimmy Edgar returns with “CLUMSY,” a glitch-hop collision of warped electronics, fractured rhythms, and off-kilter energy, featuring the unmistakable presence of Ripparachie. Built around twitchy production and a deliberately unpredictable groove, the track finds Edgar pushing hip-hop’s rhythmic vocabulary into stranger, more futuristic territory. Ripparachie’s vocals add another layer of personality to the track, matching its playful instability and giving “CLUMSY” a distinctly chaotic charm. It’s a sharp, weird, and infectious new cut from one of electronic music’s most consistently adventurous producers.
Gelli Haha performed live in studio on KEXP recently. Watch it live up above.
“Khun Narin is almost too good to be true.” - NPR
“one of the most eccentric psychedelic records of the year” - WIRED
“indescribably beautiful psychedelia.” - Newsweek
Khun Narin Electric Phin Band, the multi-generational psychedelic ensemble from rural Thailand whose ecstatic performances have quietly become a global cult phenomenon, release, III, their first album in over a decade via Innovative Leisure
With the release comes their focus track "Black Magic Woman (แบล็คเมจิกวูแมน)" that stands as a reimagined tribute to patron sonic saint Santana. The track embodies the cross cultural dialogue between Thai musical traditions and western influences picked up from GI's who first started trekking through this land in the 70s often leaving behind broken guitars, speakers, and other musical equipment which has since been repurposed by the band. The result is a revelation that collapses boundaries between ceremonial music and global pop language in real time.
Hailing from the valleys of Thailand’s Phetchabun Mountains, Khun Narin Electric Phin Band originated as a celebration ensemble for rural ceremonies, particularly pre-ordination fire rituals. What begins as a spiritual procession often transforms into something more transcendent, musicians of all ages locked into spiraling repetition, rhythms surging forward, the entire village pulled into a shared state of euphoria. At the center of it all is Khun Narin’s handmade sound system, a towering stack of horn speakers mounted on wheels and pushed through the village like a moving stage, its blast of sound pulling people from their homes, many joining the procession with instruments in hand as the parade grows in real time. At the core of the sound is the electrified phin, a three-stringed lute whose piercing, serpentine melodies cut through a dense wall of percussion and amplification.
The group first reached global audiences through a grainy YouTube upload that led to their 2014 international debut, introducing a sound that felt both ancient and radically new. Attempts to categorize it––surf rock, molam, garage psych, ritual trance––fell short. As NPR wrote, “Khun Narin is almost too good to be true.” WIRED called it “one of the most eccentric psychedelic records of the year,” while Newsweek praised its “indescribably beautiful psychedelia.” Champions, including Gilles Peterson, Bonobo, and Floating Points, have since amplified their reach, helping transform a hyper-local tradition into a global point of reference.
Now, ten years after their last release, originally recorded live in the fields of their village, the band returns with III, their first album recorded in a professional studio. Tracked in Los Angeles following their 2024 US tour and produced by Tommy Brenneck, whose credits include Amy Winehouse, Charles Bradley, Sharon Jones, Beyoncé, and Mark Ronson, the sessions capture Khun Narin Electric Phin Band with unprecedented depth and clarity while preserving the raw, communal intensity that defines their sound.
Across III, the band moves seamlessly between traditional forms and global influences, from the all-consuming medley of “Poet Wong” to the deep-rooted rhythms of “Sut Sanaen.” The phin still soars in sharp, spiraling lines, the percussion still drives with marathon force, but now every element resonates with newfound dimension.
III feels like a continuation of something timeless, a living tradition amplified for the world stage. It is music that exists beyond borders, beyond genre, and beyond expectation, communal, kinetic, and joyfully uncontainable.