Showing posts with label Barcelona. Show all posts
Showing posts with label Barcelona. Show all posts

Thursday, 5 October 2017

🐣 DJ SEINFELD —TIME SPENT AWAY FROM U

The overdriven beat is what starts this track on its way to you heart. It is not only the superficial decay of it, the lo-fi crackle as the booming kick begins to distort into a speaker-blowing splodge, the grainy swishing of the hi-hats as they cut through the buzzing air, the exploding handclap hidden in the splash of curdled noise, the snare like robust cardboard thudding its accents on the beat—it's not just the beat existing in this way. It's not just the entire track existing this way, actually, the whole of 'Time Spent Away From U' shuffling with the rhythm of funky house, big sunset crashes of synth destroyed by sidechain and the decay of the track, the vocals crooning ancient lovesongs into the mix. It is not the mere fact of DJ Seinfeld's track existing in this lo-fi manner.

It is more what this actually conveys. What does it convey? When people think of vintage crackle, what is that? It's from turntables, from old records warped and scratched, from old never-replaced needles. But the nostalgia, unless you are old enough to remember it, from these is borrowed, nonreal. The nostalgia of the warping and destruction of this track is blissful and intimate, it has a bootleg feel, as if it were captured on a tape recorder in someone's back garden shed, as if it were being shared by friends on a hi-fi, the speakers already damaged from playing music too loud and now this late night discovery blaring on the speaker, all of you crowded around. It is not just the sound of a song being played a thousand times already, but of the soundsystem it's played through being used even more times. The warmth of this situation, the uncapturable time-and-place perfection of it.

This quality, this aching tragic nostalgic quality of the track, our generation's recognisable nostalgia, not borrowed—this quality, coupled with the sudden gutwrenching drop in the stomach that the big pianos of the track conjure, perfectly illustrates its title. Missing somebody, longing, needing; simply told, bold and blocky, brash and blunt. And through the bleary-eyed sadness of it, we come through the other side, the crunch and depression of it ceasing to quake our ears, the final few seconds of the track free of decay and distortion as we enter into our cold realities once more.


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  • πŸ”” This track is take from Barcelona-based DJ Seinfeld's debut album of the same name, Time Spent Away From U, which is being released on 3rd November courtesy of Lobster Fury (Lobster Theremin / Media Fury). You may pre-order the vinyl version of this, which features more tracks than the digital version, by clicking this hyperlink.
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DJ Seinfeld Internet Presence ☟
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Monday, 16 December 2013

XAVIER BONFILL 1000 CUCS (MUS.HIBA REMIX)

Hello. How are you? I've always been interested in writing about the music of mus.hiba; from Tokyo, they're just one person who makes electronic music. I think I first stumbled across them when I was having a mooch around over at Zoom Lens, collective and label part-masterminded by Meishi Smile – mus.hiba is a part of Zoom Lens, if you didn't know what I was getting at by that. In any case, I'm here now and I'm writing about them which is fine.

But the spotlight isn't entirely on mus.hiba; it's actually not an original track but a remix of a little something-something by Barcelona trackmaker Xavier Bonfill. In addition to having a really cool name, he also makes some pretty cool music: the song in question, '1000 cucs', is a quasi-bizarre, alternative pop affair, filled with crunchy saw-wave synths and catchy vocals that sing the refrain "mil cucs", which I learned is "a thousand worms" in Catalonian. An interesting song on its own, mus.hiba's remix soaks it in a dreamy atmosphere and hangs it out to dry in a world where each gentle breeze tastes of the fresh and vital land.

Dotting the track with a clacking beat whose cracking slaps of percussion, and fidgety kicks, summon up a juke feel, providing a rhythmic flow that underpins the rest of the song's sound like a colourful bridge. Delicate flute sounds play a plaintive tune before fizzing synth leads bust in above unintelligible vocal samples from Xavier's original. The drop a little less than halfway through is heralded by a twisting flourish of ghetto snares, and arrives in the form of wildly phasing synths – tireless waves of gushing electronic gales, washing through your brain as if your thoughts were mere mist for a minute. Then we fade out, followed by crystalline clusters of sharp synth – v pretty.

It's an unabashedly chillwave tune – chillwave may have disappeared, a kinda dead genre, but to make and label stuff under this title is not only wonderfully individual, in that it ignores the flow of the majority, but it is also warming to see that people make what they wanna make. Who gives a sheisse if chillwave is so two years ago? Anyway, this song comes from the second remix EP, IX​=​? B (Made in Japan), that has followed Xavier Bonfill's release of last year, 9=0, and you can listen to & purchase both on XB's Bandcamp.



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Saturday, 5 October 2013

MAURICE AYMARD & GUI BORATTO HOME

So much of life is hassle, but then again so much of that hassle is life. To live carefree doesn't mean a lack of hassle; it is a lack of perceived hassle. Where do we stand but in our own minds considering our to-do lists, taking hesitant steps towards our futures with our pasts reluctantly shrinking behind? It is all there. And this is the mire of a life too-considered, thought of too-deeply, where merely the weight of reality is unshakeable and burdensome. So, yeah. Music is medicine for the human condition. Music is distraction. Music sounds good. No matter what type you like. Sing-alongs, cry-alongs, dance-alongs - whatever. It's all important.

Sorry about that. Don't mind me. I've just been thinking too much. Luckily I've been doing it whilst I've been listening to music so it's kinda like it could've all happened in a dream or something. And right now I'm sitting on a very housey cloud (no I'm not "on drugs", I just have an imagination) and its the glorious repetition of this kind of music that is good for p much hypnotising you and calming you down. In a different scenario though, like at night in a club, that repetition serves the same purpose - inducing a trance-like state - but fits the situation, making you dance like crazy and not calming but creating euphoria.

What's been doing this to me, you ask? Why, it's 'Home' by Maurice Aymard & Gui Boratto (whom I wrote about in August). This is the lead single from Maurice Aymard's forthcoming debut album, Between Stars (on Aymard's own label, Galaktika), which is gonna be - if this song is anything to go by - a cool collection of Latin-spiced house tunes.

'Home' is a great collaboration between Venezualan Barcelona-based Aymard and Brazil's Boratto, who flew to Barcelona and went "straight from the airport to Aymard's studio for an intense 24-hour session". What I noticed first is that, despite being house/dance music, everything here sounds completely organic, home-grown; there are real instrument sounds here ranging from shakers and bongo drums to bass guitar (complete with actual plucking sound and fingers moving along the strings) and drums in general: cymbals lightly crashing and understated hi-hat shuffle.

An organ with liquid chorus plays out some delicious jazzy chords which evoke watching the manic pace cities at night with tired eyes. The bassline is dripping with groove. Synth sounds join the party (or what could be a guitar) with a really nice tremolo melody, twinned with delayed lead synth that sends retro shudders through the whole thing and high-pitched strings help give that urban sense of drama.

And if that wasn't enough for you, the single includes a remix of the song by Berlin-based English producer & DJ, Jay Shepheard.

He gives it a more electronic twist, turning into something closer to a club track, whilst retaining and somewhat enhancing, with beefed up string section especially, that dramatic nocturnal feel that the original exuded. He takes some of the original tremolo melodies and stretches them out with major delay. Jazzy piano chords are interspersed throughout alongside a female vocal sample. The bass is now synthetic, with an 80s-style 'wah' to it; staccato synth chords also rapid-fire across the board in the second half of the track. Dreamy soft synth and strings lead us out to a medley of percussion.

Please, if you enjoyed this, keep an ear out for more from Mr Aymard to come.

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