🐣 RYAN HEMSWORTH — FOUR SEASONS FEAT. NEWAGEMUZIK

Honestly it was a surprise to hear about this. It’s a very UK sound that internet music progeny Ryan Hemsworth has created here, a fusion of pop softness and afrobeats rhythm. Gently clanging icy digital chords summon songs of yesteryear, while columns of sub-bass give it that deeply rumbling contemporary sound; more of that chilly atmosphere comes from that twinkling intricate refrain that Hemsworth casts over the top, like a layer of frost sparkling in the sun. That icy delicacy belies the warmth here, helped not only by the full-bodied nature of the track, but by the smooth vocals of featuring artists, NewAgeMuzik.

The North London duo bring rich vocals, turned lightly plasma with subtle autotune, to the bumping afrofusion beat, a clatter of percussion that clicks and ticks which give an extra dimension to the familiar swung beat that we hear in African-flavoured music. The vocals, full of raw laid-back soul, giving human heart and character to the technical splendour of the instrumental. But the beat has that cute touch, rounded and miniature in places, and its warm-chilly contrast is a combination that makes this track light and upbeat despite its bass heaviness; the skitter and brightness of ornamentation right next to the sweat and heat of intimate close-quarters rhythms.

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• 🔔 'Four Seasons' is out already, and it's from Ryan Hemsworth's upcoming new Elsewhere.
• 🔔 The video was directed by London-based Sammy Shoots, and stars Kamo and Prince of NewAgeMuzik, matching the chill vibes of the track itself.

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📠
☟ NewAgeMuzik Internet Presence ☟
soundcloud ⚘ twitter ⚘ youtube ⚘ instagram ☟ Ryan Hemsworth Internet Presence ☟
facebook ⚘ soundcloud ⚘ bandcamp ⚘ official site ⚘ twitter ⚘ resident advisor ⚘ instagram ⚘ wikipedia

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💿 ANTONIO MENDEZ — HIGHLAND DRIVE

The legacy of Lindsay Lowend's Wind Fish EP continues on almost five years after it first appeared: Maxo's bootleg of 'GT40' for a 2017 Christmas treat, for instance, shows that it's still lodged in the psyche of online music. But something had happened between then and now. Comments were disabled on LL's SoundCloud, the plays-like-repost numbers invisible, his Twitter account disappeared. The type of music moved well away from the VGM-juke of his famous Zelda-inspired EP, and onto a snappy sorta house music focused on texture, as in 2016 track 'Downtown Mannequin'. Lindsay Lowend appeared to us again Spring 2017 with a remix of 'Paused Parade' by Young Summer.

It was around this time that we learned Lindsay Lowend was pursuing endeavours in the realm of sound design under the name Tony Mendez; we'd discovered his Vimeo channel, and in particular an impressive video in which he redubbed music and sound effects from a Breath of the Wild trailer. In the description he commented:

Practicing foley. Explored all over my neighborhood and some woods nearby to get a lot of these sounds. Super fun.

The precisionist thinking required in first of all finding and documenting various sounds is itself vast, but to then chop these up into the best parts and set them to images is a process that must tune an ear to the finest details or, more likely, reflects a fastidious mind. This itself is evidenced in (now known as) Antonio Mendez's surprise new self-released album called Highland Drive, part collection of experiments with textures both recorded IRL and synthesised, part seasonal journey of music in which winter is illustrated in its superficial coldness and the feeling it evokes.

Synths, often soft (reminiscent of snow as much as wrapping up warm), describe this frosty temperature for much of the album with long stretches of lonely reverb, signalling with the expansive feeling both a more rural setting than urban and with its thin, almost harsh nature, the cold itself: being able to see your breath on a chilly day. Opening track 'Too Cold For Slugs' introduces this atmosphere, and the album's second 'Cordell' develops it with a thirty second section that evokes the bittersweet feeling of a winter sunset, whilst later the title track begins with wintry chords.

But final track 'Shovelling Snow' both in its title and sound best sums up the feel of the season. First heard in 'Cordell', that winter sunset-feeling snippet comes back as a motif and refrains for the whole track, soaked in dazzling icy reverb like a snow flurry. There's a sense of contentment tinged with melancholy, an emotive happysadness that evokes not only the title – the purposeful yet pointless act of shovelling snow – but also and more generally winter: its stark beauty, the freshness of the cold, how glorious it can be on a blue sky day, but how freezing it can be, how isolating. Stretches of decayed trance sound siphon an uneasiness, a yearning, into the seeming normality of the melody, creating this dual feeling.

This uneasiness also appears in other tracks that feature a more experimental, sometimes decayed synth sound, like the scratchy and clattering synth leads in 'Cordell'. 'Junkyard Drama' shows off an ultra-distorted intro before modulated acidic synths twang elastic atop sheafing white noise chords; zesty electronics shaded with bitcrush ping throughout 'Too Cold For Slugs', whilst rapid-fire staccato bloops ping-pong in the speedy 'Ghost Notes'. Conversely the album also harbours warmth in its some of its sounds too: the feeling of a comforting hot meal or a well insulated coat; thick chords bubble at the start of 'A Perfectly Common Accident', foam and charge ear-massaging throughout 'Highland Drive', fuzz along in 'Cordell'.

They have this moderate temperature in Earthbound-flavoured 'City Place', first evidence of glitch sensibilities on Highland Drive, sounding with its oddly warped chords and glomping subtle bubbles of bass like a homage to the SNES classic, the decay of it all like the internal workings of a computer. Similar computerisation exists in the fizzing crackling circuitry sounds at the beginning of the title track, the beat here possibly the most substantial on the album, following a robust breakbeat pattern with this beautifully phantomatic tract of uzi hi-hats midway. Beats play a large part: they're experimented with throughout the album, from the garage-flavours of the delicate percussion in 'Cordell' and pseudo-garage beat pattern of 'City Place', to the breezy house beats that bookend the album in its closer and opener.

But it's in 'Ghost Notes' that we see Antonio Mendez erupt into an exposition of breakcore, a real world sound on loop below the glitched-out twizzling and speeding up of snares in an Amen-style drum break; there's a vocal sample taken from a video by infamous drummer Bernard Purdie teaching people about advanced drumming techniques, fitting for a song with such dopamine-firing beatwork. 'A Perfectly Common Accident' is similarly breakcore in style, the bpm increasing even further around 1:40 for breakneck velocity, bitcrushed cymbal and tight snare joining a panning blanket of found sound around its midpoint, ending on a delicious fade-out of soft-fuzzy wah-wah chords.

The speed of those two makes the album's general focus on the minutiae of sound most impressive; to be so precise with the amount of percussive sounds going on very quickly is no mean feat. However since both tracks are essentially high-speed experiments, they don't overshadow the rest of the Highland Drive, nor do they seem out of place as the precedent for attention-to-detail in texture, quality, variety was set in the very first track. Antonio Mendez's efforts in sound engineering gleam brilliantly not just in the nuanced percussion and beats – each bristling percussive hit and insectoid rasp different from standard beatsets and most definitely toyed-with – but also in how the synths sound, from wobbly and elastic to twanging metallic, trance-like to thickly gurgling. It's another release from the brain that gave us Wind Fish, but this time the roots are in reality and not variations on a theme; it feels mature, subtle, an evolution in sound through the demonstrable progress in a skillset.

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• 🔔 You can download Antonio Mendez's wonderful Highland Drive in its entirety for $5US from his Bandcamp. You can also stream it variously via your favourite service by clicking on this hyperlink.

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📠
☟ Antonio Mendez Internet Presence ☟
soundcloud ⚘ vimeo ⚘ bandcamp

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🐣 COMPUTER DATA — STRESS

The very sparing nature of this track is partly what makes it, the purposeful holding back on how many elements should be used and where, and secondly it is the sense of decay that eats around the edges of its sounds, providing you with a glimpse into what it might sound like transporting a feeling or a general mood from the afterlife into the waking world via digital means, or vice versa. The atmosphere in 'stress' is cold, computerised, voidsome even, yet shot through at all times with a continual warmth.

COMPUTER DATA follows in the vein of broken house purveyed by producers like DJ Seinfeld, except with a notable veil of chill at work: the synths are constant and wavy, deep hypnotic streams of robust texture that call to mind something in the realm of vaporwave. Streamers of fluid fuzzy melody ring out gleaming against that warm plasma modulation, ghostly samples waft in and out, the beat in its drum machine glory crackling with rapid-fire handclap fills and the synths swell with bass, absorbing you into its swell of cool vacancy.

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• 🔔 COMPUTER DATA's lovely track 'stress' may be purchased from Bandcamp for just $0.50.

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📠
☟ COMPUTER DATA Internet Presence ☟
soundcloud ⚘ bandcamp ⚘ twitter ⚘ instagram ⚘ spotify

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📣 LAZY INTERVIEW #30 — MARIUS

21-year-old Norwegian producer Marius swoops by to take part in this laziest interview series of all time. It's Friday and it's just about a week since the musicmaker had his debut EP Existence Problems released via Pelican Fly, the independent Belgian label responsible for introducing Cashmere Cat and Lido to the world, while also playing host to various other electronic entities like French producer Canblaster. Marius is in good company. And he deserves to be there: influenced by producers such as these as well as the psychedelics of Tame Impala and an earlier interest in progressive metal, his music is a crazy collage of ricochets and refractions, ideas echoed and warped.

Previously known as Melf, this year's moniker change kicked off with inaugural track 'Easy', which unfortunately didn't make it onto the EP—it's filled with maddened energy, a charge of breakbeats and popping percussion that gradually gives way to a coda that djents with distorted metal guitar satisfaction, showing a brilliance in the combination of disparate musical styles and elements. The EP's title track shows a softer side with a plinky rockpool of cute quirky sounds that also rains down a bullet hell of percussion in waves of delicious incoherency; latest track 'Lame' mixes up kaleidoscope psychedlia with slow voidsome beats. So far it's a triumph of originality that sees Marius slotting together jigsaw pieces that don't fit together, making new dishes from the buffet of influencers that have come before.

🐤


w h o   a r e   y o u ?   w h e r e   a r e   y o u   f r o m ?   w h a t   d o   y o u   d o ?

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My name is Marius and i am from Eidsvoll in Norway. I like to make music that I’ve never heard before.

h o w   d i d   y o u   s t a r t   c r e a t i n g   m u s i c ?

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I started creating music when I started playing the guitar. I played progressive metal and wanted to record my riffs. I had Garageband on my Mac, so I started programming drums and recorded my 7 string guitar.

h o w   w o u l d   y o u   d e s c r i b e   y o u r   s o u n d ?

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All over the place.

i s   t h e r e   a   p e r f e c t   t i m e   a n d   p l a c e   f o r   l i s t e n i n g   t o   y o u r   m u s i c ?

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I hope so! „
I like to make music that I've never heard before
” w h a t   i n s p i r e s   y o u   m o s t   w h e n   m a k i n g   a   t r a c k ?

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This is such a tough question. To be honest, I don’t know the answer. I think it’s a bit personal, and not something I can really put words to.

w h a t   i s   y o u r   m o s t   m e m o r a b l e   m u s i c a l   e x p e r i e n c e ?

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💬

w h a t   a r e   y o u r   f a v o u r i t e   t h r e e   s o n g s   a t   t h e   m o m e n t ?

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Selmer – Surfin With U

Mindtrix – Moon Pigeons

Tame Impala – Reality in Motion

w h o   d o   y o u   m o s t   a d m i r e   i n   t h e   m u s i c   w o r l d ?

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This is another tough question. I admire a lot of people I think, but I think I subconsciously draw on a lot of influences when I write music. Everyone from guys like Flume to Lido, to bands like Tame Impala. My track on Pelican Fly, called 'Lame', is actually really heavily inspired by Tame Impala.

i n   y o u r   o p i n i o n ,   w h a t   i s   t h e   f u t u r e   o f   m u s i c ?

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⇩⇩⇩

w h a t ' s   t h e   f u t u r e   o f   y o u r   m u s i c   –   w h a t   d o   y o u   h o p e   t o   d o   n e x t ?

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I think these two questions I can answer together – as an artist I do dream that the future of music somehow involves something that I can contribute to. I think that’s a natural internal want for any artist – for your art to connect with people in new ways.

w h a t   i s   m o s t   i m p o r t a n t   t o   y o u ?

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💬


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• 🔔 Marius' debut Existence Problem EP is out now on Belgian label Pelican Fly.

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📠
☟ Marius Internet Presence ☟
facebook ⚘ soundcloud ⚘ twitter ⚘ instagram

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L  A  Z  Y    I N T E R V I E W    S E R I E S

← #29: WALTER EGO #31: TOUCH SENSITIVE →

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📣 LAZY INTERVIEW #29: WALTER EGO

"DBZ was the most popular anime in UK (and possibly world wide) when I was growing up," writes Walter Ego via an email to us. We all know that acronym: Dragonball Z, successor to the also much loved manga/anime Dragonball. To say that it is the main influence on the Sheffield musicmaker's latest EP would be an understatement—it is more accurately an homage to the series, a love-letter in three tracks to the fight scenes and funny bits of this rather important part of animation history, raw skittering beats like the machine-gun midair punches exchanged between friend and foe, cartoon samples, mystic instruments that summon an immediate tangible fantasy world.

And it's not just Walter Ego and his Seven Star Ball EP which have been clearly affected by Goku and the gang. "If you listen to grime you will know that it is very often referenced by emcees and finds its way into other genres too from time to time," he explains. Why? Well, the good guys always win. And very often the good guys aren't as strong as the bad guys and it takes a great deal of literal superhuman effort to defeat them. Something resonates in that: the power, through sheer force of will and against all the odds, to win, to save the day, to be the best, mirrors what it's like on actual Earth—in a world saturated with individuality, and especially in the grime world, asserting yourself as the best through skill and hard work is indeed the way to the top.

🐤


w h o   a r e   y o u ?   w h e r e   a r e   y o u   f r o m ?   w h a t   d o   y o u   d o ?

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I'm Walter.

Sheffield.

I make electronic music-influenced underground club music, rap and almost anything I'm interested in.

h o w   d i d   y o u   s t a r t   c r e a t i n g   m u s i c ?

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I've been playing instruments since I was old enough to walk but I first started making beats seriously when I was around 19-20. I used to go the DnB and Dubstep parties in Manchester and Sheffield listening to a range of different DJs and producers and think, "I'd like to have a go at this". Someone gave me a copy of FL Studio and I began making simple stuff, that eventually led to really complicated stuff!  

h o w   w o u l d   y o u   d e s c r i b e   y o u r   s o u n d ?

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Extremely varied. My most recent EP is grime which is genre I've come back to often, but I've made everything from trap to afrobeat.

i s   t h e r e   a   p e r f e c t   t i m e   a n d   p l a c e   f o r   l i s t e n i n g   t o   y o u r   m u s i c ?

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This EP needs to be heard as a part of a grime set, in my opinion. The tracks are high energy and are deliberately leaving space for an MC to drop bars. But honestly that's partly down to the listener. You wanna listen to it on the bus on the way to work? That's fine with me. „
My most recent EP is paying homage to my love of DBZ and the unignorable influence anime has had on grime as a genre
” w h a t   i n s p i r e s   y o u   m o s t   w h e n   m a k i n g   a   t r a c k ?

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When I make grime it's partly the energy of the MCs that inspires me. Grime has always been about a relationship between vocal and rhythm. Partly it's just life and the world around me. I also look back a lot to music I've listened to over the years. I like anything that will give my music an different or unusual sound; people familiar with Indonesian music might recognise Gamelan bells in a track on this EP. But alongside that I might include FX noises and other bits that might be at home in a garage tune or even dub reggae.

That said, with this EP I only intended to make three grime instrumentals that would fit neatly into a set with other 140ish BPM music. I'm working on some other projects at the moment that encompass other genres/tempos/styles that are inspired by a wider palette of music.

w h a t   i s   y o u r   m o s t   m e m o r a b l e   m u s i c a l   e x p e r i e n c e ?

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I've had a few. I can't say that it's my most memorable but maybe one of the more interesting moments of last year was DJing (by chance) for Skepta. My manager and close friend Lean Low from Bad Taste (the label on which my Seven Star Ball EP came out on) threw a party at a small place in Dalston. We had asked another close collaborator, Birmingham MC Slick Don to come down and perform a small intimate set.

But before Slick Don could perform out of nowhere for reasons unbeknownst to us Skepta and a number of other MCs including Nottingham's Mez arrived and asked if they could spit. Lean Low and I were genuinely a bit baffled as we hadn't invited them but were obviously happy to oblige. The resulting 30-40 minutes was a whirlwind of wheel-ups and top notch grime barring which I can happily say I really enjoyed.

As this was all going on, people outside started to clock that it was Skepta spitting and a sizeable crowd began trying to make there way in to the already quite full and extremely small venue. It was a pretty surreal, Slick Don still got to perform his set and even jumped in alongside Skeppy and others; although somewhat in shock having had no idea what had just happened either.

w h a t   a r e   y o u r   f a v o u r i t e   t h r e e   s o n g s   a t   t h e   m o m e n t ?

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Favourite is really hard to say but I can recommend a few that I'm listening to:

Rex Lawson & His Majors Band Of Nigeria – Oko

FKJ – Vibin' Out with (((O)))

Jay Z – The Story of O.J.

w h o   d o   y o u   m o s t   a d m i r e   i n   t h e   m u s i c   w o r l d ?

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DJ Khaled.

i n   y o u r   o p i n i o n ,   w h a t   i s   t h e   f u t u r e   o f   m u s i c ?

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Future.

w h a t ' s   t h e   f u t u r e   o f   y o u r   m u s i c   –   w h a t   d o   y o u   h o p e   t o   d o   n e x t ?

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As I mentioned, I'm working on some projects with greater musical scope and a mixture of genres and styles. Watch this space.

w h a t   i s   m o s t   i m p o r t a n t   t o   y o u ?

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True happiness and good friends. 


🍃

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• 🔔 Walter Ego's Seven Star Ball EP is out now on Bad Taste Records. Stream or download from your fav service here, if you like.

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☟ Walter Ego Internet Presence ☟
facebook ⚘ soundcloud ⚘ twitter ⚘ songkick

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L  A  Z  Y    I N T E R V I E W    S E R I E S

← #28: TUSKS #30: MARIUS →

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🐣 SHUNYA — MOUNTAIN GAZER

Atmospheric, chilled, this is a Romantic piece of swaying electronica crossed with actual instruments, a morsel of music as stark and fresh as a cold Spring day with the sun out and the sky blue dotted with white tufts of cloud. It comes from Irish musicmaker Alan Keary aka Shunya, who adds the muted glitter of plucked guitar and soaring lilts of violin freely; flute, chilled and jazz-tinged, blows through airily, and saxophone adds peals of soul later on, a whole host of tones and timbres, representing the very non-uniform variety of mountain slopes and escarpments. This Bonobo-flavoured track is called 'Mountain Gazer'.

Succulent percussion layered and rich clicks and tick-tocks sumptuously, providing that texture like a stream rippletrickling around rocks and breezed leaves sheafing and rustling together creaking trees footsteps crunch-scraping on pathway gravel all at once—lovely organic instinctual noises. The explosive handclaps, thuds, clunking noises, snare hits, hi-hats, rainsticks, shakers, all of this adds its rhythmic ambience to the wavy segments of sidechained sound, the rumble of bass and warm chords, fading in and out. This sonic scenery, its mix of instruments, the culmination of it all, feels just like the detached drama of looking at a mountain landscape—ridges into the distance, peaks into the sky, between the green earth and vaulting blue.

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• 🔔 This track comes from Shunya's Mountain Gazer pt.2 EP, available for listening and purchasing on Bandcamp.

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📠
☟ Shunya Internet Presence ☟
facebook ⚘ soundcloud ⚘ bandcamp ⚘ official site

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🐣 BELS LONTANO — SMOKKR

In here is chill, in the haze of 'Smokkr', the impressive debut upload by Bels Lontano. Chiming cascades of harp swirling and dancing like sun glints on rippling water, shining and icy above the occasional bass making subtle forays into the foreground, warm and slow, whilst longed out stretches of synth wheel around above the plateau of tumbling offbeat downtempo bumping kicks and clacking snares, slicing through the smoothness and ultrachillment of it all.

Vocal samples ornament the track, calling out wordless and pitch-shifted into the nebula of sound, and simple arpeggios of synth boop and bleep. And with hidden, well executed complexity: as someone points out in the SoundCloud comments, the time signature changes with a break in the track, catching you off-guard but keeping the groove of the track intact, a wonderful execution of dynamic without obvious change. It's beautiful, crafted like someone's baked an incredibly delicious cake, as robust and substantial as it is delicately decorated, as good to look at as it is to taste.

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• 🔔 So this is Bels Lontano's first upload, debut and utter fresh. And if this is anything to go by, there is more goodness to arrive. Keep your eyes peeled.

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📠
☟ Bels Lontano Internet Presence ☟
SoundCloud • Twitter • Instagram

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🐣 HARRIS COLE – PAUSE/CHAPSITKC

This feels like it arrived just in time. Laying back in the swirl of synth, in the thick speckled plasma noise of it all, smooth and electric caramel, deeply uttering chillment, silvery chimes and golden fragments of piano like glints of light, muted natural ambient sound trickling in the background, it's easy to slip into the thought that right now is exactly the right time to hear this. This is the the eponymous opener of Harris Cole's debut LP pause and it is wonderful.

And then arrives second track, 'chapsitkc'—a different atmosphere, thinner and hallucinogenic, a mist of phasing waves, whooshing and alien. A gradual slow hail of percussive booms tumble down, sub carving a stoppy groove with an occasional stutter of bass boops, broken beats in an astounding laze of lethargy, pounding absent-purposefully on the present moment and creating its own compartment. But the aching way in which Harris Cole brings in the nocturnal slosh of beach breaking waves, a sample of the real world: reality merges then washes over the once transdimensional sound gallery and shifts your attention to a different moment till it fades away.

Lying beyond this awaits the rest of the album. The sequential nature of these first two morsels makes us feel like we're in for a jolly journey with pause, which also judging from the soundular shapes of 'pause' and 'chapsitkc' will be one that is spacey and reality-blurring, thereby also blurring the perceived distance between recording actual sound and the artificial process of actually manipulating sound.

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• These two morsels act, of course, as the appetiser for Harris Cole's album, pause, which will be released in Fall/Autumn this year. We will maybe have to wait for a month or something like that who knows.
• The artwork by George Wylesol captures the atmosphere of these two tracks – presumably the LP too – with its own depiction of an otherworldly experience in a worldly setting, bold yet muted, colours that feel somehow off, employing levitation in a setting of magical realism that feels arcane, in spirit and style similar to the Rider-Waite Tarot deck.

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📠
☟ Harris ColeInternet Presence ☟
Facebook • SoundCloud • Twitter • Spotify

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EEVEE – FORGET YUR NAME

The first I heard from this Netherlands-based (is it Netherlands or the Netherlands and if so WHY does it need a definitive article, like Ukraine and the Ukraine, what's the difference? Is it an area? Is it a country?) beatmaker was a track called 'Opium'. And I was gonna write about it too; the gloomy rain-washed synth sounds of its Japanese scale melody really sounded like the theme for the Ruins of Alph in Pokémon Gold/Silver, though I don't think they're exactly the same. But I was totally hooked on the watercolour dripping half-decayed evaporating quality of the synth sounds, like listening to an ancient cassette tape with fresh beats laid beneath it for support and clarification.

That was until I heard 'Forgot yur name' and then I knew I had to write about this one because it's just so ... wow. It's a tract of minimalism in beatmaking, an exercise in polished antiquity in music, of creating fossilised music from a fresh mind and body and giving it those hairline fissures and lo-fi anti-gloss of authenticity.

[The beatmaker is stylistically called E e v e e but I'ma type Eevee; also I think it's short for Eveline but there's no surname, and it seems that she's from Dordrecht, Netherlands and that's all we know.]

The beats on this track thud with authoritative intensity, the kicks full and dust-disturbing, the snares clacking and crushed, with the hint of other percussion haunting the spaces between sounds of this track the whiff of golden age noir nostalgia permeating the air like rare perfume balmy nights balcony the nearby seashore whispering in the luxury-lit gloam surrounding the white stucco walls of the hotel. It's that kinda vibe you get me?

Then there's that sampled string insturment, a romantic tone and melody but played with as if listened to when high or drunk or both, the frequency dropping in and out of perfect pitch, the speed also fluctuating minutely, both adding to a sense of reality but as viewed through a film, of the romantic setting of 1950s Tangiers (forgive the colonial overtones) and live music and cocktails but as heard through a radio, life, but viewed through memories. All of that sort of thing maybe. Maybe.

But the point is: the beat is real, it is soaked in atmosphere, is emotive, and cleverly reflective of its title (which a) suggests that a memory of past love has finally faded, b) suggests some sort of intoxication or laissez-faire nonchalance with the misspelling of 'your' as "yur") with the old-school sounds further warped and wobbling out of sight and out of mind. A haunted and inspired too-short-too-sweet number; luckily Eevee makes a lot of music a lot of the time.

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☟ Eevee Social Media Presence ☟
Facebook • SoundCloud • Bandcamp • Twitter • YouTube •

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KALKO – I'M SO GLAD I FOUND U

If you waltz away from this song without feeling even a tiny bit of emotion – ok, even if you can discern the emotion in this, that's ok – but if you can't feel or detect a single thing either after or during listening to this… well, I don't know what to say.

It's not that this is dripping with obvious emotion, that it epically drops with standard sonic epithets, that it explodes with feeling. It's that it just touches the heart somewhat, and that is enough. "It", "it it it" – it is called 'I'm so glad i found u' and it is by a musicmaker called kalko who says they're from Texas, so let's go with it: Texas it is.

Anyway… 'I'm so glad i found you' is simple enough: a set of melodies, a bit of a beat. Simplicity and complexity doesn't really come into it when we're speaking about emotions – you hear, see, taste, smell, touch something and feel stuff as a result. That's how it is.

And that's how it is with the plaintive melodies of thanksgiving and innocent pleasure that swirl at the heart of this little song, which, beginning soft and muted, gradually become sharper, glittering, come into focus previously blurred, a sense of true happiness, body-warming gratitude sweeping through your soul, the skin-tingling shimmering-sun-dappled-through-bright-green-leaves feeling of utter contentment (see the artwork above; sounds like that).

Skiffly shakers and zipping hi-hats and scratchy snares and fuzzy kicks, a lo-fi beat that develops and grows as the song progresses, the sense of positivity expanding outwards and encompassing you, as you listen there from your laptop, aglow with the same feeling as kalko's track, ebbing away after saying its piece, not taking up all of your time: just stopping by to express happiness, ending beautifully.

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• Don't miss a free download of this cutely shimmering ode to warming happiness.

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☟ kalko Social Media Presence ☟
SoundCloud • Bandcamp • Twitter • Instagram

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MARK REDITO – 3AM APOLOGIES

Never send to know for whom the bell tolls; It tolls for thee… and more specifically, it tolls for Spazzkid. Hear the clanging knell kneading the air like vast clouds rolling through valleys, the ding dang dong of another musicmaking moniker moored at the banks of the ever-flowing river, never to plough through waves again.

But don't worry, Mark Redito is still around. After much consideration, the man himself decided to shed his Spazzkid moniker and just stick with his irl birth name. Specifically, aside from artistic growth, new directions and feeling as if what he's making now is quite different to what he's making now, it's to do with the offensiveness of the very name "Spazzkid", and "undergoing scrutiny" because of it – even if he was originally just named after a band.

"After careful research into the various uses of the word “spaz” as a derogatory term," he writes via email. "I no longer feel comfortable representing my music and art with a term that has the power to hurt a large group of people. While it was never my intention to offend anyone, I owe every person aggrieved by my old moniker a heartfelt apology, and this is just that. I’m sorry."

To mark (haha) this change we have a new track, heralding the turning of a page to a new chapter in the story that is the music of Mark Redito. It surfaced on Ryan Hemsworth-run, friends-only, not-a-label-but-a-SoundCloud-platform Secret Songs and it's called '3am Apologies'.

The first thing that sprang to mind whilst listening to this was festival music. Not any old festival music, but traditional music from the Japanese festival of Obon (or just Bon), held in summertime across Japan to honour the dead. What took me there? The swaying feel and dizzyily offbeat melodies of '3am Apologies' match those of the music that goes with bon odori i.e. "bon dance" – I say the music, but there are as many different variations of this dance as there are major regions and cities in Japan; perhaps it's akin to the awa odori of Tokushima on Shikoku, or maybe it's closer to Kagoshima's ohara bushi. Either way, there's a fair spot of considered delirium at work in '3am Apologies', which made me think of Bon.

Added to this inebriated festival atmosphere is a heavily swaggering dub-flavoured rhythm, further highlighting a decidedly beat-themed foray for the first venture as Mark Redito, and ornamented with countless drum ad-libs that roll and rollick with virtuosic energy, yet that feel blissfully restrained by the slow, oozingly oscillating rhythm. Swathes of fizzing synth cushion piercing lines of melody, all of it rising together in a richly layered crescendo that takes previous elements and arranges them in a model of harmony, each part slotting where it should having been individually introduced earlier on. Mark sings on the track, too, his voice sprinkled with emotion and far-off, as if a dream or previous introspection being reflected upon.

We dream with him, in the giddy ambience and half-crazed steadiness of '3am Apologies', swept along by sheets of synth – sometimes airy and ethereal, sometimes buzzing and intense – bouncing onward with the skillfully-crafted elastic organic beats as if being jostled through a crowd.

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• Check out the YES/NO Lazy Interview with Mark Redito, back when he was Spazzkid.

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☟ Mark Redito Social Media Presence ☟
Facebook • SoundCloud • Bandcamp • Twitter • Instagram • YouTube • Wikipedia

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YES/NO GUEST MIX 027 :: BANSHEEBEAT

It's the first of August. Time continues its onwards flow. Last month a musician-composer-producer called bansheebeat from Tucson, Arizona premiered his very nice track 'Shinsekai' here on YES/NO. The track was a dazzling odyssey of discovery, taken from the musicmaker's recently released, two-years-in-the-making album, Lumine; I'd recommend you check it out – the mix of styles, the beat-led foundations, the compositional style and allusions to VGM and chiptune, all of it resonates happily with anybody with even a remote interest in any of those things.

In celebration of the release of his album, bansheebeat decided to craft a tasty mix for YES/NO. It begins by paying dues to a host of net producers, web-based musicmakers including Mister Lies, Cashmere Cat, Koloto, Skylar Spence… In fact, the transition between 'Mr. Wonderful' by Skylar Spence (fka Saint Pepsi), Clams Casino classic 'I'm God' and the glitching 'Fox Tales' by Koloto, is a few minutes of fantastic, flawless atmosphere; it soon moves on to a second half characterised by more regulated beats than came before, and a more expansive yet still inward-facing atmosphere courtesy of music from Four Tet, Moderat and Monolake, finishing up with the floating, effusive 'Mythril Stone' by beat producer memory cards. Please enjoy this half-hour of music below.

• Ｔ　Ｒ　Ａ　Ｃ　Ｋ　Ｌ　Ｉ　Ｓ　Ｔ •

• 1. Mister Lies – “Ashore”
• 2. Cashmere Cat – “Wedding Bells”
• 3. Shlohmo – “The Way U Do”
• 4. Air Tycoon – “Young Athenian Lovers”
• 5. Skylar Spence – “Mr. Wonderful”
• 6. Clams Casino – “I’ m God”
• 7. Koloto – “Fox Tales”
• 8. kanon_kid – “Otani”
• 9. Monolake – “North”
• 10. Four Tet – “Parallel Jalebi”
• 11. Kingdom – “Hood By Air Theme”
• 12. Moderat – “Milk”
• 13. LCD Soundsystem – “Sound of Silver”
• 14. Sufjan Stevens – “Vesuvius”
• 15. memory cards – “Mythril Stone”

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☟ bansheebeat Social Media Presence ☟
Facebook • SoundCloud • Last.fm • Bandcamp • Twitter • Tumblr

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MUS.HIBA – PASANIA

As part of Japanese indie label Virgin Babylon Record's 5th Anniversary, they've curated a compilation for which they asked a variety of artists to submit around one minute of music – fittingly, it's called ONE MINUTE OLDER and features FIFTY very diverse tracks from FORTY-NINE very diverse artists, including Miii, N-qia, world's end girlfriend, Shokuhin Matsuri a.k.a Foodman, and canooooopy. However, I've decided to put a small spotlight on just one artist whose work I particularly enjoy: mus.hiba.

Back at the end of 2014 I wrote about a mus.hiba track called 'Slow Snow', which basically sounded like slow snow – beautiful, delicate, mystifying. It was from his White Girl EP, which followed in mus.hiba's style of vital, intricate beats and intense synth chords, all tied up with the interesting concept of equating the fragility of winter with the ephemerality of using the voice of virtual singer Sekka Yufu (a character from singing synthesiser application UTAU). His addition to Virgin Babylon's compilation is called 'Pasania', and is in keeping with his intense yet delicately chilled style.

'Pasania', you may or may not be interested to know, is the name of a defunct genus of trees now known as Lithocarpus in the family Fagaceae (beech trees), which also includes the better known Quercus, or oak trees. Many of the species are endemic to East and South East Asia, specifically Lithocarpus edulis or Japanese Stone Oak (マテバシイ = Matebashī), which is cultivated for ornamental purposes. Wow that was a lot of words about trees.

The actual morsel of music 'Pasania' by mus.hiba is a delicious temporary shelter from the storm of life, a plethora of sumptuous percussion – lip-smacking clacks, clip-clopping sounds, pulsing thuds for kicks, occasional clusters of hi-hat hits, saturated hand-claps – cascading alongside dramatic torrents of astral synth that seem like the sonic equivalent to sitting beneath a waterfall and letting the weight and all-encompassing nature of the water wash your mind clean of thoughts.

A dynamic-urgent electronic bassline, delightfully synth-rock sounding, provides dramatic movement beneath the onslaught of chill from the beat and the chords, and moves in line with bustling breezy piano that paints a picture of airy beauty throughout. Extremely tasty throughout, a little bit of rapid-fire, pitch-shifted vocal sampling signals the end of the track as a cherry on top, a tantalising cliffhanger to a short track that nevertheless exemplifies the mood-setting talents of this producer.

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• Grab the Virgin Babylon Records 5th Anniversary compilation, ONE MINUTE OLDER, from Bandcamp.
• It's not Winter now, it's Summer, but still you could check out the themed Winter Chill mix that mus.hiba made for YES/NO Guest Mix series.

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☟ mus.hiba Social Media Presence ☟
Facebook • SoundCloud • Twitter • Tumblr

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不明 FUMEI – GINSENG COFFEE

The sun is hanging low in the sky, hitting the magnolia tree outside the window, throwing dappled shadows on the table where I'm sitting writing this. I love magnolia – it's like blossom (or it just is blossom), but big blossom, blossom that means business, Serious Blossom swaying in a sleepy breeze… and it's in this blissful spring-but-feels-like-summer evening that I stumbled across this track by 不明 FUMEI (不明, pronounced 'fumei' means "unknown"). I think Fumei might be from Italy but I could be wrong, might be German or something else. Who knows. Anyway, unfortunately the track in question, 'Ginseng Coffee', is only 1'30" but it's currently on repeat, sending its nice vibes into my brain.

Something about boom-bappish hip hop sounds like this fit this time of day so effortlessly – and if we're talking specifics then I suppose you'd have to say it was the listless offbeat clacking for the duration of the song, the soft but robust bass locked into the kick drum for undeniable rhythmic harmony, the lounge-leaning chords oozing with somnolent tremolo, phasing icy synth, hollow vox-esque sounds plaintively echoing a half-done melody in the midst of sunny heat haze; it's all this that makes this track so lovely, all of it culminating in a sound lightly decayed by its own innate sense of bliss.

'Ginseng Coffee' (which is just titled 'Ginseng' on the release – see below) embodies chillment of a very high degree crossed with otherworldly wooziness, summoning the groggy feeling of having fallen asleep in your garden and waking up with hot skin and absolutely no concept of time, birds zipping home to roost with chirps and whatnot, blue sky littered with near-dissipated clouds.

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• It's from a split release between 不明 FUMEI and o k h o called La Caffeteria, a 22-minute long selection of beats in the same vein as this, born from an apparent concept of sitting in a café, track titles including 'Espresso', 'Smokers Zone', 'Take A Sip' and 'Beans Smell'. Perfect leaning-back-with-a-coffee music. Buy it here. And here it is below :)

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☟ 不明 FUMEI Social Media Presence ☟
Facebook • SoundCloud • Twitter

☟ o k h o Social Media Presence ☟
Facebook • SoundCloud • Bandcamp • Twitter • Instagram • Last.fm

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SEIFUKU – NEED U GIRL

This song is just like… Well when I first heard it… It's one of those songs, you know the type: an immediate all-encompassing feeling just seems to emanate effortlessly from the music, each sound playing its part in the effusion of whatever emotion happens to be in the process of being conjured at the time. Just as many musical minds over the centuries, even millennia, have done, this song wrestles listlessly with romance: matters of the heart lie at its core, lovelorn and dreaming.

It's funny you can get all this just from 2-minutes-8-seconds of indistinct music centred around a vague samples from an (internationally) obscure pop song. But that I suppose is where its strengths lie, in the shapes of meaning and intent moving beneath the smooth ambience of the track, like attractive alluring shadows of a mystery crush moving behind a curtain at a high-rise window as you look across from your own apartment… but this is fantasy.

Of course, the title helps in these matters of sonic semantics also; it's called 'NEED U GIRL' and it's by a producer called seifuku.

Founded on a bed of organ-feeling dusty-far-off chords, the heavy muffled thud of expertly placed kicks make up the gentle contours and curves of the track, playing call-and-response with a beautifully simplistic finger click cutting through the soft tide of sound, hi-hats ornamenting it with accented rattle, a brief section of muted bloops intersecting the unending slowdown sample of the chorus from South Korean singer-songwriter Taeyang's 'I Need A Girl'.

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☟ seifuku Social Media Presence ☟
SoundCloud • Twitter

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天才子役の息子の気持ちD – 巻貝

I don't know what's going on. I first am not very proficient in Japanese, not nearly enough to make sense of stuff on a regular basis. So I do the only thing you can do: GOOGLE TRANSLATE. Right? And then with a little bit of common sense jigging around and searching specific kanji for their individual meanings and trying to put them together… only in some cases where Google Translate makes literally no sense at all… sometimes it's worth this extra effort. More often than not I end up getting lost in a world of language.

This time I somehow ended up on a blog that had written quite an extensive article on the depiction of cannibalism in comics and I feel really disgusted now, why did I keep scrolling down? Yuck yuck yuck yuck yuck.

Anyway: language. 天才子役の息子の気持ちD is the name of the artist in this instance. It means something like "Feelings of genius child actor son, D" – they're from Uchisaiwaichō (neighbourhood in Chiyoda, Tokyo) and they make music. Minimal, experimental, beat-focused music. In fact, their most recent EP is composed entirely of drums. 真海雷巻 is the EP title. All the tracks are named after various water-based creatures: shrimp, common octopus, snakehead, and this track I'm sharing, 「巻貝」 (conch).

It begins life as a metallic tin can rainstick rattle, which leads into a swaying, head-noddingly regulated beat, with vacuum cleaner sounds supporting abrasive velcro snares that also sport spray can ornamentations throughout – these grow more prominent, as they were at the beginning, towards the end, neatly tying up the soundscape with an ouroboros of noise. Wheezy miniature bellows flap around like a thin watercolour of rhythmic turntablism, joining two notes of some miniature bongo thing for the only "melodic" sounds of the track, and then there's these tiny rolling tom sounds.

All of it adds up to a delightful almost-two-minutes' worth of percussive crunch and crackle, thump and fizz, a container of organic, naturalistic beats that shows a sensitivity to the natural world, and a desire to rhythmicise that world in short drum-based vignettes.

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• You can download the 真海雷巻 EP for free from Mediafire.

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☟ 天才子役の息子の気持ちD Social Media Presence ☟
SoundCloud • Bandcamp (nothing here)

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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.

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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

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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.

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• Ｔ　Ｒ　Ａ　Ｃ　Ｋ　Ｌ　Ｉ　Ｓ　Ｔ •

• 00:01-03:45: Lil Jon – Act A Fool (Magic Fades Remix)
• 03:43-07:02: ugly mug - Out Tha Back Of Tha Cutla$$
• 06:55-10:55: Yung Sherman - Fear
• 10:51-15:03: Blank Body - Highrise
• 14:55-18:32: Pocari Sweat - Lovey Dovey 2.5
• 18:30-20:10: THIRSTY - Last Drop
• 19:57-23:46: S.A.M - Instrumental Beat #5
• 23:39-26:42: Taoers - Untitled
• 26:19-28:04: little cloud - who told u
• 28:01-30:57: Abbi Press - Stretched Out (production by Blank Body & drip-133)

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• Check out SPF420 = http://spf420.com
• I wrote about the monumental first ever SPF420 IRL live show at SXSW last year.

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☟ Social Media Presence ☟
Liz on Twitter • SPF420 on Twitter • SPF420 on SoundCloud

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DOT ROTTEN – CHECK ME OUT

I do believe this is the first time I've written about Dot Rotten. He's a grime artist who's been floating around for a while now, probably most notably getting nominated for BBC's Sound of 2012 list. If you don't know (i.e. you've never lived in the UK) his name is a pun of a character from a London-based soap opera called EastEnders – you must've heard of it – whose name is Dot Cotton. She's about 500 years old and smokes a lot.

Anyway, my ears were on like, red alert or whatever when I heard this new-ish song from Dot Rotten. It was new when I first heard it, around a month ago, on Charlie Sloth's Saturday night show on BBC Radio 1/1Xtra. It's called 'Check Me Out' and it's real cool. But the one I heard on the radio also featured fellow grime MC JME and now I can not find it anywhere. Please, if you can find it, or if you know where to find it and you see this message washed up on the shores of the internet in months or years to come, please direct me to the Dot Rotten x JME version. Thank you.

'Check Me Out' is dark and narcotic, a lazy haze conjured by Canadian producer Sevn Thomas. Bubbles of growling synth switch in the grime style between a repeated few notes, a muffled crunch that accompanies fittingly directionless bleeps which echo into the darkness. Fragmented percussion features lone snares for the verses before rattling hi-hats summon booming columns of sub-bass for a decidedly sordid beat that fits the subject matter.

Over the track, Dot Rotten assumes the role of an overprivileged member of the upper class, affecting a posh / aristocratic accent with a genius bit of nonchalant smugness thrown in for good measure. Essentially he paints a picture – and perhaps quite rightly – of the debauched and arrogant upper middle class (yeah we love classes in the UK). The words themselves are brilliant, I want to write them all down. He talks about drinking chamomile, scones with strawberry jam, eating caviar whilst the lower classes are in Malia. Little things, too, like posh, fake laughter fluttering in the background alongside non-posh words like "swag" as the narrator says how the-shit he is – I love it!

A couple of choice lines: "Fuck that business meeting / I shall not be showing up / Father says I'm childish / Fuck him, I'm not growing up" and and also "Red wine from '08 / Been here for a century / Strolled into my mansion / And there's four girls with four friends for me," not only demonstrating great imagery but also punchy and effective rhymes, too.

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• It's taken from Dot Rotten's Remember Me EP (you can download it for freeeeee), also featuring production on one track by Stwo, which is just extra cool.

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☟ Dot Rotten Social Media Presence ☟
SoundCloud • Twitter • Wikipedia

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GHOST CRUISE – PAST MIDNIGHT

Not sure where this guy is from but I'm going to make some sort of half-educated guess. So… yeah, I think he might be from Paris. And in fact – could be male or female. So let's say… them. They might be from Paris because they tagged the song as 'Paris' (also a Parisian musicmaker commented on the track, too, so…). Then again, they've also tagged it with The, Imaginarium, Midnight, Beats, 2015, and Hadrian. So who can say anything for sure? Not I. Not I.

So anyway, the track is called 'Past Midnight' and it's by somebody making music under the name GHOST CRUISE. The etymology of the name… a ghost cruise I suppose. Either a cruise for ghosts or a cruise you go on to see ghosts. Sorry, too much talking.

The track itself is gloriously wonky, owing not only to the skipping off-kilter beat that thuds and thumps along, nor just to the the seemingly arhythmic synth bass bouncing throughout, but also to the sounds higher up the scale. Harp flourishes sweep as if endlessly conjuring a flashback, backdropped with phasing sounds and punctuated with zither icicles and delicate strings. Something wholly fitting the title 'After Midnight', summoning the unreal moods and atmospheres that effuse from the heart of night itself.

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☟ GHOST CRUISE Social Media Presence ☟
SoundCloud • Facebook

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CUT FROM THE TEAM。– POCKET TOYS

This guy called cut from the team。　tweeted me a new track the other day, well a few weeks ago it feels like now – I dunno, it was a while ago. That song, which I liked and stuck on a one-day-will-write-about list, got taken down (snooze ya lose I guess), however I found another more recent song that is a real good showcase of the beats that emanate from this enigmatic SoundCloud page.

I'm presuming that their name comes from that Taking Back Sunday song, but then again it's bad to make presumptions so I'll just say that it's a theory. It's a theory. And allegedly they are from Japan but then again they say they're from Lawtown so it's quite difficult to ascertain exactly which one is the truth. Who knows. That's the internet for u.

Anyway, the track in question is 'Pocket Toys' and, described by cut from the team。　as "broken beats around december afternoon," it's a chilly number that summons the crunchy cold of traversing wintry cityscapes, whilst at the same time itself being quite warm in tone – like sitting toasty inside watching the frozen world outside. Reverbing marimba sounds glisten softly like slow-dripping icicles in afternoon sun, joined by subtle whisps of boinging noises, cosmic sounds that summon the sometimes alien feel to a city covered with fresh snowfall; crunchy noises invade, like walking through thick snow.

The final part of the song brings a watery dimension to the crunch – an intense rainstick of slapdash, random percussion, or maybe it's a delayed sample of somebody screwing up an empty foil packet of crisps – with more high-pitched chimes evoke the strange delicacy that the freezing air and naked trees of winter seem to lay bare for us every year. And that's not to mention the beat at all, the substantial noodle of this flavoursome broth of music, a fragmented slow-flutter of thudding kicks and clacking snare hits.

A refreshing, chilled out exercise in textural, atmospheric beatmaking, even the slow lassitude of afternoon feelings — an ode to December.

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• Speaking of which, you should check out Taiwanese beatmaker Luviia's guest mix for YES/NO from like a year ago.

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☟ cut from the team。 Social Media Presence ☟
Facebook • SoundCloud • Bandcamp • Twitter • YouTube

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