Miles J Paralysis: Eerie Dancefloor Innovator from Bradford
The enigmatic producer from Bradford, UK, known as Miles J Paralysis, is venturing into haunting new musical realms inspired by folklore and characterized by a palpably menacing low end. His work is recommended for fans of Adrian Sherwood, Kris Baha, and Guerilla Welfare. His new EP, Don’t Forget the Ritual, is set for release on 28 February.
Miles J Paralysis maintains a discreet presence, with only a few releases available on Bandcamp and a minimal, anonymous Instagram profile. This mysterious aura aligns with the dark, dub-influenced music he has been producing under this alias since early last year. His tracks often incorporate obscure vocal samples and intriguing titles such as Always Liked Scarecrows and Cursed Moor.
Prior to adopting the Paralysis moniker in 2025, the Bradford-based artist released music under the name Miles Henry for several years. His earlier style was more functional and technical, but his sound has since evolved significantly. His current music explores themes reflected in his driving rhythms and cosmic embellishments. Recent pieces like Eavesdropper from his Folktronic EP and Snicket Rhythm from Turf Step (both released on his own label, Crying Outcast) evoke atmospheres suitable for both seances and dancefloors. The deep basslines are both physically felt and audibly ominous.
This month, Paralysis will release his latest EP, Don’t Forget the Ritual, on the independent label Emotional Especial. True to its title, the record delivers an eerie and hypnotic experience, featuring industrial clangs and whispered elements layered over whirring synthesizers and jittery percussion. Despite its conceptual focus, the EP offers considerable stylistic diversity, blending big-room house and shuffling big beat with influences from post-punk, dub, and new wave. This expansive approach reflects the impact of artists such as Andrew Weatherall and African Head Charge. The EP is a confident and impressive work from a producer who is clearly coming into his own.
"It’s a brilliant, assured record from a producer who is hitting his stride."- Safi Bugel
This Week’s Best New Tracks
Lana Del Rey – White Feather Hawk Tail Deer Hunter
Lana Del Rey channels the spooky intimacy reminiscent of early Disney scores, intensifying the unsettling atmosphere as she reflects on how her embrace of domesticity might seem unusual after years of "some trouble." This track is considered her best since A&W.
Foo Fighters – Your Favorite Toy
Dave Grohl delivers a vocal performance with a hint of Trent Reznor’s influence on the title track of the forthcoming Foo Fighters album. The song features distorted vocals expressing themes of transgression, set against a backdrop of intense glam-hardcore instrumentation.
Ana Roxanne – Keepsake
Known for her dream-pop collaborations and work with DJ Python in Natural Wonder Beauty Concept, Roxanne presents a stark vocal performance over a piano ballad suffused with grief, creating a devastatingly emotional piece.
Abdullah Miniawy and Simo Cell – Pixelated
Egyptian poet Abdullah Miniawy’s vocal expressions are stretched and fragmented over French producer Simo Cell’s jittery percussion, dissolving into a smoky soundscape filled with motorcycle revs and destabilizing bass.
Marisa Anderson – Taqsim for Guitar
The versatile American fingerpicker and former collaborator of William Tyler explores the private record collection of folklorist Harry Smith for her new album. This elegant, microtonal piece draws inspiration from a 1955 Syrian violin recording.
Nicole Blakk – Money (On My Mind)
UK MC Nicole Blakk, who recently collaborated with Dave, blends rapping and singing in both English and French. Her unique style defies comparison, as she asserts,
"Unique: can’t compare me like meerkat!"establishing a distinct artistic lane.
Alan Sparhawk – JCMF
Former Low frontman Alan Sparhawk’s live show highlight, "Jesus Christ Motherfucker," now receives its recorded debut. The track is doomy and wrathful, featuring impressive drum rolls by Eric Pollard reminiscent of Jim White’s style.
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