Showing posts with label America. Show all posts
Showing posts with label America. Show all posts

Thursday, 27 July 2017

🐣 JULIAN BORREGO — MBUTI / DEVOTION TO THE RAINFOREST

The first part of this track is a swirling mass of sound, exotic tropical flavours with warm crackly human chanting, jungle life, birds singing—but 'Mbuti / Devotion to the Rainforest' also gloops with a subtle rumble of bass, judders along to the hefty swing of the beat, sharp driving hi-hats keeping up energetic pace, augmenting the natural energy of this track. Soon we dive into a clean section where guitar chords acoustic and clean and raw-sounding jam in syncopated bossa nova style, jewels of percussion and clonking marimba click-clopping echoing the feel of a rainforest. Endlessly luscious, the cascading sounds reflect the plethora of life constantly chattering, a mix of samples and real instrumentation painting the trees and leaves and the evershifting nature of it all.

The musicmaker behind the track Julian Borrego tells us that the most prominent sample comes a song, also called 'Devotion to the Rainforest', recorded by members of the Mbuti people from the Congo region of Africa: "While crate digging I found an old album of their music that was recorded in the jungle (you can hear the birds and animals in the background)." The devotional chanting, the audible life of the jungle, implies an explicit connection to nature that cities and suburbs pine for, and which Julian Borrego celebrates with upbeat funk flavours. But he reason for this sampling, the locative placement of sounds, the lush jungle environment? "To continue to spread awareness about the disastrous environmental issues we face today," explains Julian, "and to send mother nature love and gratitude through music."


  • 🔔 This jungly track is taken from Julian Borrego's recent self-released Ouroboros EP, which you can listen to via his SoundCloud.


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Julian Borrego Internet Presence ☟
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Wednesday, 19 July 2017

🐣 NSAY MADA — UNDER COVER

The vocals here are so softly done so falling over everything mistily like a veil, the long curls of its silken tones unfurling, whispers into the night air, the nocturnal desire effusing as from a smoke machine at an otherdimensional disco, how it is slowly serpentine like this, how it coils with the leisure and languor of looming lust, the low tones of Nsay Mada and her fluttering highs rich with feeling and focus, fragranced by its textures, pastel spray paint above the neon crunch of the throwback synth that frames this track perpetually in another realm of time where midnight is dark yet chequered with colours and promise of something more.

'Under Cover' keeps to this juddering syncopation, the clang of its electro mainstay providing the foundation, the simple alternating beat with the trebly kick and the shhff shaker shifting sand spray can snare (allegedly Joy Division achieved a similar drum quality in 'She's Lost Control' by spraying an aerosol can into a microphone), the sparse hi-hat chit-chat with the open sharpness echoing blissfully, drum machine tom tumbling occasionally, augmenting the sparse feel of the track, with the modulating synth, the hazy nebulous chords, the icy pings, all decorating and helping to augment that late night feeling with starlight apartment block window twinkles and slow hum of traffic taillights extending into night. Still, that voice, "under cover, under cover," this refrain unusual and fragmented, satin sheen on this sparkling bed of sounds.




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Wednesday, 18 March 2015

HERS – TRANSITION

Somehow I'd never heard of this guy before — I mean, I say "somehow", but the reasons are obvious. It's just happened as it happened, as everything in this world happens. There is no vague, ambiguous "somehow" about anything, really, if you think about it. Do you get me?

But the main point: hers is new for me. Talking about hers is a syntactical nightmare – there's hers music, hers sound. It looks weird. But I like that it's an odd name. At least it's, like, different. Anyway. Anyway anyway anyway. His (his first name is Chris) track 'transition' is what we're here for. It's a concoction of different flavours, styles even, making a cocktail out of ambient, VGM sounds, trap heft, footwork fizz… Uniquely – at least from my standpoint anyway – the track's bpm changes as the vibe changes.

Beginning with a gentleish 130, it's a dreamscaping slow jam evoking semi-tropical scenes with glockenspiel clusters and snippets of synth chords, booping sounds like a harp speeding up to the next change at 154, where we're ushered into something dank and stark and anxious for just a moment, until we finish on a propulsive 124bpm: a house-flavoured beat contains tasty judders of slap bass and twinkle-glamourous high-pitched glitterings of high-register synth.

It's a small journey: from home turf, to somewhere anxiety-inducing just for a moment, and ending up somewhere kinetic yet comfortable; all of it glistens with an endearing sun-soaked, splashed-pool-water-on-warm-skin, feel-good, everything's-gonna-be-fine-ness.




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Tuesday, 24 February 2015

DAEMON – HOW TO FIND SATISFACTION IN DAILY LIFE

Mmmmm it's a question that a lot of people ponder. How do you find satisfaction in daily life? Where does satisfaction come from? Really we should be satisfied by the mere fact we are alive and experiencing some semblance of daily life. In reality, that's different. We're not all happy. Often it is the very fact of daily life and its mundane repetitions, its monochrome routine, it's this that is the source of trouble for many. To live is to struggle. How much you struggle depends on how strong your mind is.

This question was raised by the title of this particular track right here. It is called 'how to find satisfaction in daily life' and it's by a musicmaker called Jaci Rodriguez or probably more easily identifiable as Daemon. I was originally attracted to this slice of sound owing to the tone of its lightly echoing glassy chords, which give this track its foundation of melancholy, but there's more to it – think of the dynamically chopped up breakbeats-style drums, the plonking synth signifying the despairing exhausted parts of your mind, the zapping high-register synth melody repeating throughout like a floating feather of hope.

It resounds with a thousand repetitions of a thousand days, the same alarm clock sound every morning, snippets of suicidal early mornings, of fatigue-worn evenings, days marking the space between the upper reaches of a slowly swinging pendulum, life and all its energies and ambitions flashing in your brain as everyday reality smothers you. I imagine these endless immutable awakenings as the beat gallops ahead, leaving melodies hanging in the air, the drifting sadness of those chords lingering, thickening with each passing day. But there is hope, in a kind of insane way, a wild hope that things will change even though you are doing the same thing every day…

Wow way to get negative, sorry about that. In conclusion: How to find satisfaction in daily life? Weed and lots of it. No, not really, it's whatever works for you.




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Saturday, 21 February 2015

YES/NO GUEST MIX 025 :: LIZ [SPF420] PRESENTS GEMS HIDDEN FROM THE INTERNET, AND THEN SOME

Guest mix number 25 marks a quarter of a century (?) of guest mixes. Thankfully though, despite my wording, these aren't actually yearly – that'd be terrible. Awful. Instead, it's the latest in a semi-regular series of mixes kindly and lovingly crafted for this digital vessel, this paltry musical entity, by artists who are kind and loving enough to take the time and consideration to craft a mix. It's always interesting to hear what people do with a mix – the tracks used, the order of those tracks, any theme behind it, how it's mixed, etc. And for the people of the world mixes are invaluable: they become private DJ sets for your own little slice of the world you call home. You cookin? Put on a mix. You searchin online for car insurance? Put on a mix. You just sippin coffee lookin out the window? Put on a mix.

With that said, the 25th arrives courtesy of Liz. Aside from being "a floating soul," she owns and co-produces e-venue / online venue SPF420.com with Chaz Allen. "I would like to think that I'm not on earth a lot," she tells me (via email, when I ask who she is and where she is from), "but I am in a very comfortable part of North Carolina where I rarely leave my house." Spoken like a true floating soul.


I am just a girl, that was forced a name at birth, who believes that the sole purpose on earth is since we were born without a choice, almost into slavery, that we must make the best of our lives and do as many good things for the world as possible.
LIZ

Embarking on a big quest with SPF420, one would imagine that Liz would have to like music – and it certainly is the case: "Music has been with me ever since I was child," she says. "I remember my first music video being U2 - 'Still Haven't Found What I'm Looking For'. I love music and it will stay with me until the day I don't fall asleep at night." And apart from being inspired by "the good, the bad, the blood, the sweat, the tears" and Wikipedia articles of a scientific and historic nature, Liz is inspired – in terms of music – by her friends' projects, "even if they're works in progress." The person who most affects her in this way, however, is Skylar Spence. (This, if you didn't know, is the new name of Saint Pepsi because Pepsi didn't like it). "His artistry is incredible, his mind is too beautiful for this world," she tells me.

As for the mix, Liz told me the idea behind it: "basically the theme is Gems Hidden From The Internet, and Then Some," because a decent portion of the tracks are unreleased or not-heard-before-by-public-ears. "These tracks are super important to me because I have worked with (almost) every single artist for SPF420," she says, explaining the mix further, "It's basically just a mix of all my friends and family members, like a little ode to them."

From the bounce of Pocari Sweat (a new side-project of Bear//Face) and ugly mug, to the experimental chimings of 'High Rise' by Blank Body and THIRSTY's huge 'Last Drop' ("who i did the vocal drop for (don't i sound fantastic? hot damn)," Liz reveals), as well as the despairing chill of Yung Sherman's 'Fear' ("one of my favorite songs") and little cloud's very new 'who told u' and its swathes of loveliness, the collection of tracks is based on a foundation of turned up beats swaddled in emotive atmospheres, thick with damaged, decayed yet transcendental electronic sounds.


• T R A C K L I S T •



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Tuesday, 25 March 2014

JAASKA – CHINNA CHINNA (காதல் காதல்)

I really like this song. There is something so different about it. To be honest with you, I don't know of many "modern" tracks from new and up-and-coming artists and producers or whatever that have ever used a sample of Tamil singing. But hearing this now I just think well, why not? Why the hell not? People are grabbing at samples from other languages, heavily from Japanese with anime stuff being super popular amongst the children of the world, and I guess that means Tamil films and music are just not that popular. Oh well. Maybe they will be one day. Here's a fun fact about me though: I like to listen to a London radio station called IBC Tamil – it is digital and you can listen online so go check it out. It fills any house with instant beauty.

Yesterday the track didn't have the parenthesised "காதல் காதல்" – காதல் is "kāthal" and kāthal means love. So doubled it could mean... I dunno. Love love. Big love? I dunno. I literally don't know I'm just guessing. On the other hand "chinna chinna" is "சின்ன சின்ன" – just the singular chinna (or சின்ன) means "petty" but also "young; small; little" (check if u don't believe me), so I am confused. Con. Fused.

Anyway for goodness' sake I'd better just talk about this damn song. It's great. It's from a New York City-dwelling person called Jaaska and Jaaska makes music. From its beginnings as something mysterious and near-menacing, with the sound of a gun being cocked at the end of the intro, 'Chinna Chinna' features the serpentine elasticity of a fluttering vocal sample (in Tamil) that ornamentalises its heavily distorted pillars of bass that prop the song up with triumphal pop patterns.

A simple melody plays gently over the top of the waterfallish haze of the synth, below which is the neo-trap rhythm: thudding tumbling rocks of kick virtuosity and – in place of a snare – something that sounds like coconut halves clopped together or some other equally clopping slice of percussion. It's a really fun song that feels as though you're being swayed back and forth, dancing with somebody perhaps, and it is full of carefree colour and vivacity.

As for that sample: maybe it's from the A. R. Rahman song 'Chinna Chinna Aasai' or maybe it's from 'Chinna Chinna Vanna Kuil', a song in Mouna Ragam, a 1986 Tamil film – perhaps it's from this other song. Fact is, I don't know, and it's been driving me nuts trying to find it. I've just spent the last half an hour, maybe longer, maybe an hour, trying to find this sample. WHERE IS IT FROM TELL ME NOW.

  • If you liked this portion of surgingly fun music, it comes from an UPCOMING EP from Jaaska called Videshi, out soon on AMDISCS.


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Wednesday, 2 October 2013

RYV HWUT EP [FREE DOWNLOAD]

To the uninitiated, the title of this post could seem like a bit of a mess or a mistake or both: a messy mistake. But never fear, it is actually not a mistake. This is the hwut EP by American producer RYV (also known as real-life-person Charlie Abbott). If you're wondering, though, what "hwut" means exactly, then all you need to do is cast your mind to King Of The Hill cause Hank Hill says "hwut" all the time. Alternatively, Urban Dictionary can tell you a lil' bit. As for RYV, I dunno, could be the Czechoslovakian for 'jerk' (rate of change of acceleration) in physics.

But let's move on. Enough of this - who am I to speculate? Let's listenate to this music. I'm sorry. Anyway, I found it the other day thanks to Spazzkid, who in some way, shape or form, knows Mr RYV. One listen was enough for the music to convey its quality, which is generally a good thing is it not? Like, why should you have to listen to it a zillion times to decide whether it's good or not? A short-but-longwinded-story shorter: three nice songs.

The atmosphere overall seems to grow wider, expanding into seemingly unexplored territories, the vibe more lonely and spacey as we venture further from where we are sitting to the outer reaches of hwut. From the cool coldness of the intergalactic flute synth chords and mechanical hotch-potch of percussion on the spacey opener 'Yaspring' (with some awesomely integral vocal samples and crackling lead synth stabs), we move onto the floating glitchness of 'Yuhhh' with its heavily reverbing xylophonic cloud, sounding by the end as though we are drifting off somewhere, into the nether-hwut.

'Betweentimes' starts with a shock, a dissonant sweep of a harp, to let us know that the journey through hwut is almost at an end. It is brimming with an uneasy atmosphere, poised as if ready to explode into something different yet remaining tensely on-guard the whole time. Organic-sounding perhaps-double bass supports the thin, abrasive chords with a dark and moody slo-jazz flavour; electric crackles pierce through (it actually sounds like he's sampled an electric attack from Pokémon?) as thin strands of a beat click their way through the song. Cut-up vocal samples form a cutesy yet unnerving melody.

This is a sometimes mindbending journey through tasty sounds and an increasingly alien atmosphere - delicious and flavoursome. And it's a free download courtesy of LA art/music collective & independent record label, Stereocure. All three songs. I know right? Cool.

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Tuesday, 1 October 2013

BOTANY FEAT RYAT SIMPLE CREATURES

Here is something for you. It is from two American artists. One is called Botany (Spencer Stephenson IRL) and he is a producer from Texas. The other is called RYAT and she is a singer; in this instance, she provides vocals whilst Mr Botany lays down a long and winding road of heady noises.

This comes, by the way, from Botany's upcoming album - out 29th October on Texan label, Western Vinyl - called Lava Diviner (Truestory). It is so-called because it's kind of a concept album about a religious cult that prays for a volcano to erupt, but also being his debut album, Stephenson himself feels that it's a "cathartic release" - an eruption that was just waiting to happen. And fair enough too: his last release, an EP called Feeling Today, was released aaaall the way back in 2010.

But aside from the mysteries and canon of trivia that lies behind this release, what is there? Well, there is this song called 'Simple Creatures'. It is an amalgamation of organic noises that clatter together in orgiastic repetition, presided over by the sweeping layered lilt of RYAT.

The sond creates the perfect setting: euphoria tinged with darkness that illustrates the simple pleasures of simple creatures. Hi-hats judder, bells tinkle, electronic boops bob along, tapping percussion - a general yet intricate mash of makeshift metallic clink-clanking forges a path almost into the crater of the volcano itself, followed by the chorus of voices provided by RYAT. Her thousand-layers of vocals are as addictive as they are blissfully easy on the ears. A drivingly relentless yet understated bass upholds all of this. It reminds me of entering the Fire Temple in Zelda: Ocarina of Time for the first time: heat warps the air and the intensity of your surroundings just overwhelm you. This is what this song is like. But it is sweetly overwhelming. As such, it'll be really nice to hear how 'Simple Creatures' will fit into the journey that I expect Lava Diviner (Truestory) will be.

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