Showing posts with label Deep House. Show all posts
Showing posts with label Deep House. Show all posts

Friday, 30 June 2017

🐣 DSC — WAKE UP

The overwhelming clean feeling of this track, the minimalism of it, the lack of clutter, fresh and chilly powers forward like the generator to a giant dream machine. Hard kicks nononsensely thud with rounded edges, pushing the listener towards the waking end of the spectrum of sleep, each one a bulge against the wall of unreality that you're cushioned in, cocooned in warmth and heavenly flavours; the snare is carefully abrasive, punchy with a sandpaper roughness to it. And the internal noise kicks in, the jostling judder of soft synth bass, a podgy unthreatening sound, a byproduct of the biological engine working at the heart of this sound. The minimalist dimension of sleep begins to give way to an ambient blare of daybreak: heavenly synths shine golden like a veil.

Sharper synths join in, flute sounds, conjuring divine scenes atop Mount Olympus, cloudspun tales in the form of synth washes, occasional incidental melodies played with a clear set of synth bloops. Shakers shuffle, hi-hat flashes like slo-mo strobes, the glitter of chimes specks speckles sparkles of light the decorative welcome of the day formulating an awakening for you. Although with its distinct house feel, 'Wake Up' feels more like when you must wake up having fallen asleep at someone's house and you have to get home in the depths of the night. In a shimmer of opening eyes at 6:41, DSC implores us "wake up…wake up…wake up…" through hazy echoing samples and moving into the track's finale that is a bristling tapestry of mini handclaps and we drag ourselves up with renewed energy and head into the cool of dawn.




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DSC Internet Presence ☟
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Saturday, 7 February 2015

GERRY READ – COME TO ME

I think this guy Gerry Read is from the UK. It's a guess. Only because I am also from the UK and his profile picture on SoundCloud shows some houses that are unmistakably British suburb. Other than that I don't know anything about him really. A quick look at his profile on Discogs tells us that he first emerged with some "warm, harmonious productions" but is now practising "an altogether darker, funkier take on house music."

Case in point: this track. It's called 'Come To Me' and although it's not that dark, it is certainly a funky and hypnotic slice of house. First impressions: a mechanical sound, with clacking woodblocks and pneumatic hi-hats, that conjures the rhythmic inner workings of a diorama depicting a romantic bedroom scene, the vocal sample "Come to me…" an eternal speech bubble of desire in the nocturnal heat of the moment.

It shuffles along with this industrial precision, seamlessly introducing, removing and replacing elements for a decidedly progressive feel. Ghostly samples appear a third of the way through, the slow and melodic in-and-out wheezings of an ancient phantom, which sway beneath warm chords that sound like soft gemstones gleaming in static. The whole luscious lot of it is imbued with this slightly worn, decayed feel – a loving touch that adds an aged yet timeless feel to the music.


  • A further google reveals that Mr. Read is indeed from the UK – but I've seen that he's from Suffolk and also from St Albans so who knows.
  • Also, the cover art for 'Come To Me' is a mirrored image of the artwork for Gerry Read's album Jummy – but the song isn't on the tracklist. Maybe taken from an upcoming release related to the 2012 album? Prob not though.


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Friday, 20 December 2013

YES/NO GUEST MIX 005 :: DCUP

Whilst other music magazines, websites, blogs and whatever say farewell to you as they disappear into the mists of Christmas like fun-loving spirits of Christmasses present, past and future, I am tirelessly – well, actually completely and pretty much always tired – continuing the music-posting struggle. Christmas or no Christmas. However: please do not get the wrong idea and get it into your head that I am some sort of Scrooge who doesn't give a fig for tradition. Cause I a) really like/love Christmas, and b) Tradition is important. So there. I just happen to be able to write about music even as we inch towards the 25th of December without withering into a pool of why-should-I or where's-the-snow.

Anyway, that out of the way, I'd like you to embrace the latest guest mix that has been lovingly created for YES/NO. This one is the fifth in the current series (if there is another series— hmm, well I'll let you know) and it comes from Australian producer, DCUP, aka Duncan MacLennan. Mr MacLennan was kind enough to answer some questions for an interview earlier this week, and now he's contributed this lovely guest mix – what a guy! I'm also very envious of the probably-quite-warm Christmas he'll be having in Australia. Never experienced that; it would be interesting I gotta say.

His mix is an entirely smooth mix of warm house and funky disco that displays one of DCUP's most impassioned loves of music, "that 'hook' that everyone talks about. I'm obsessed with that piece of a song that you sing in the shower, or in your head." That's embellished by a "love of huge bass and beat," as pretty much every song in his mix displays, including his own track 'Magic', fun track – 'Imperfection' – from Welsh duo Bodhi, and the big tune of Amine Edge & DANCE's track 'Lost'. ENJOY/Merry Christmas.


TRACKLIST
01. Dave Hollister - Keep Lovin' You (Kartell Edit)
02. Den Ishu & Noah - Put Ur Hands
03. Amerie - 1 Thing (Cherokee Remix)
04. Only Children - Down Fever (DCUP edit)
05. DCUP - Magic
06. Samir Maslo - I'm In Love With You
06b. Warren G & Nate Dogg - Regulate (acapella)
07. O&A - Basement Beats
08. Bodhi - Imperfection
09. Andhim - Boy Boy Boy
10. TCTS - Do It Alright
11. FormatB - Magic Button
12. Amine Edge and Dance - Lost
13. Kartell - Minimum Move
14. Janet Jackson - Rock With You (Milo Mills Edition)



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Saturday, 19 October 2013

AVAY MIRACLE

Just open your eyes and click more things than usual and embrace curiosity and be inquisitive and you'll soon find yourself discovering some pretty cool music. That's literally all there is to it. As such, I've been clickin around like a madman in the last couple of days, sometimes until I realise I'm very deep into the unholy early hours of the morning. So it happens. In any case, the fruits of this labour produces some really nice new sounds to listen to.

This track is obviously one of them. It's the kind of thing that you can be instantly drawn to just from the first few seconds of listening. It is called 'Miracle' and comes from a Russian producer who usually goes by the name MAD-B but has eschewed this moniker for the less-in-your-face AVAY; he accompanied the track with a note: Meet my new project named "AVAY". And what a happy meeting it was. Therefore, I would also like to introduce to you the deeply delicious sounds of this soulful number.

Being relatively minimalistic perhaps makes this an even more captivating experience. Softly caressed electric piano sounds sit atop driving tunnels of bass punctuated with heart-stopping kicks. Ornamental synth bleeps drop like glistening icicles into the deep of the track. After a mid-section sampling some Russian dialogue, the beat comes in with renewed gusto, adding dragging-wind-up hi-hats into the equation and occasional cymbal crashes. Its finish is stark and lonely, leaving you with the kick and ambient fizzes after what was an emotive, even moving, song.

The star of the show here, besides the beautiful production, is the singing. It's a sample, a slowed-down, low-register version of the vocals in The Temper Trap's song, also called 'Miracle'. What's clear is that it is gloriously layered and pockmarked with lilts of romance scintillating like some religious revelation of love, the words "And I may not always believe / But you're nothing short of a miracle" taking a new significance in the hear-thumping slo-house electronica of AVAY's rendition of the track. Watch out for this guy: he could be on to a winner.

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Wednesday, 2 October 2013

BODHI IMPERFECTION

How about some HOUSE? Yeah? Yeah? Good idea, great idea, let's do it, let's have some house, wooo. So, anyway, I was once in somewhere when someone said to me, after I noticed that they were listening to something by Cyril Hahn, that I should "love the house bruv" - and I am thinking now: yes, love the house; continue to love the house and do so in all its new, weird and wonderful forms. Love the house always. Don't be a fan of only house - that's STUPID - but love the house. Love the house like your own house, flat, residency. Love. The. House.

And who, in their right mind, doesn't like a little bit of house, a house tipple, a shot of house, every now and again? You're right: not many people. So in the spirit of that, I thought I'd share a little bit of some house music that I have found. If my SEO for "house" doesn't go up, I'll be like well annoyed. Just kidding, I'm err doing this cause I like the song. Can it be called a song? Track I guess. It's a house track. And it comes from Australian label Future Classic, who are ploughing right into the future with a load of decent releases recently (just have a look & listen fo' yoself); in some ways, just that stamp, the FC one, is enough to know that this is gonna be tasty tune.

It's called 'Imperfection' and it is by a duo, made up of Luke and Olly, called Bodhi - they are from Cardiff (that's in the UK you know). Ready yourselves for a very rhythmic encounter.

Thick and meaty multi-layered goodness dwells in this song, like an extremely tasty multi-storied sandwich but one that jumps outta your hands and dances into your mouth. It's progressive, too, taking you from a simple kick pattern, adding in different spices and all sorts like making a delicious curry or something: in comes the hint of bouncy bassline, the sharp metallic hiss of regulated hi-hats, chunks of chopped vocal, rushing ambient crackles, flakes of tambourine. Then it all explodes into an indomitable groove, thanks mainly to a funky bassline that rumbles ridiculously low-register. My eardrums are getting a massage through this vibration.

Emotion and romance is added through the help of a vocal sample (where is it from, do u kno?) that cries out wonderfully throughout the track, chopped and reconstructed with a clear ear for what's gonna get everyone going. As it continues, a wave of synth chords rise ever upwards through the noises of the song to bring the excitement and interest in the track to a literal boiling point, fever pitch, a limitless barrier seeming to have been broken to how much euphoria can figure in this short space of time.

Whew. I feel exhausted. My mind itself has been dancing. It has sore feet. Anyway, you know this is on Future Classic and it's the Imperfection / No More EP and it's out 7th October.

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Monday, 29 July 2013

FENBRED PYRAMIDS

Sometimes I don't understand all the spiel that goes with a song. There's so much convoluted information that spews forth alongside some new releases that I'm not sure how to condense it all down. Why not just keep things simple? Release a song and leave it up to people to say as they wish about it. Obviously there are the bare necessities to keep in mind, but sending out a massive press release is only going to feed lazy journalism more and more.

But ANYWAY. Whatever.

Let's talk about Fenbred. He is a producer and DJ from Brooklyn and he makes nice house music. An example of this is in his newish song 'Pyramids'. It is a "dancefloor" rendition of Frank Ocean's song of the same name, but whether it is or isn't doesn't really sway me one way or the other: it is a stand-alone, stand-up, perfectly good song-in-itself. It's an original, that's for sure.

With some lovely smooooth vocals from Detroit's Jay Alexzander, it becomes much more than a song to get people moving, something closer to an experience. Something to BE experienced.

Go ahead and experience it. Let it experience you.

What's clear from the beginning is that Fenbred knows how to set the mood - warm synths soar softly alongside thudding kicks and sandy hi-hats, giving it an instant richness, an impression of something to be savoured. The vocals are introduced as if you're approaching them from afar, looping wordless ahhs & ohhs providing that first glimpse and giving a soulful foundation to the rest of the vocals to come. Just enough echo drips off of these sultrily sung words.

The hi-hats get more agitated, shining out in tandem with the kicks. Tiny electronic beeps begin to peep out through the now bristling forest of chopped up vocals, layered and cyclical. It delivers innocuously, creeping up on you like the feeling of slowly becoming drunk and getting into the groove of a night out. Deep. And very nice to listen to.

This song was "officially" released last week. What else will come from Mr Fenbred? More I hope. He actually also did a lovely rendition of Fleetwood Mac's 'Dreams', which you should listen to.

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Tuesday, 25 June 2013

CYRIL HAHN FT SHY GIRLS PERFECT FORM

Wowee... Cyril Hahn has come a long way since I first wrote about him around this time last year. From basically unknown remixer and SoundCloud uploader to being bigged up by various people, such as Annie Mac (and also literally just a few minutes being played on BBC Radio 1 by Zane Lowe), touring and widespread good reviews and success, Mr Hahn is a regular success story. And an internet success story to boot, and who don't love an internet success story eh?

Anyway, this song marks his first official single, out on PMR Records - which has such tasty-sounding artists on its books as Dornik (whom I wrote about the other day) and Disclosure - and features singer Shy Girls on vocals.

To be honest, although it sounds different - more busy and bustling with different sounds and elements, plus original vocals - to his earlier things, like his now infamous remix of Destiny's Child tune 'Say My Name', the same heart is embedded in the core of the song. He plays with an almost majestic sense of nostalgia, giving an epic dreamlike quality to the sounds of our generation's younger years - 90s pop and R&B becomes near spiritual in the hands of Cyril Hahn.

The song is constructed slowly, built up with soft, mellow synth to an understated house beat, adding in occasional bass bounces as the beat itself fleshes out with a conservative clap and hi-hats. The dynamic of the song, and in all of his songs in fact, lies in dropping the sound ever further into deep rumbling ambience in sections over the song's duration. He allows the vocals from Shy Girls to breathe - itself beautifully smooth-toned - and allows it to make its own impact before coupling it with tidal synth, washes of thick layered chords that is almost like a spillage of gorgeously vivid paint.

Before you know it, there are shuddering synth arpeggios, ambient breezes and a ground-shaking bass all whipped up together in Cyril Hahn's masterful mixing bowl of sound - it's that kind of cookery where you kind of don't even need to taste the cake at the end, just eating the batter is enough: it's simply that tasty. Ermm... cooking analogy aside, it's a great song. Poppy as you like but with a really sophisticated edge that Cyril Hahn has been honing for a while now with his various remixes (Jessie Ware, Solange, Haim, etc.) - the vocals are awesome too, real smooth, could've been lifted right outta the past. But they're original, and you'll have that haunting "Perfect form" lyric chanting in your head for days.

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Thursday, 20 June 2013

METOME WATER CYCLE

It's uncanny, but do you ever get that feeling when you just start listening to a song you've never heard before - and about which you have absolutely no preconceptions - and within the first second you just know you're going to like it? Love it, even. I'm not sure whether it's more evident of an accepting and happily yielding mindset, or if it's proof of a song's quality and thereby the song-maker's talent itself. Perhaps it's a bit of both.

In any case, when I first started listening to 'Water Cycle' by Tokyo-based producer Metome (otherwise known by his real name, Takahiro Uchibori) this is what I felt. Beautiful from the outset. Smart and clean and fresh, like freshly washed sheets hung to dry, like a clear brook rushing from a spring, it is a lush balance of complex sounds that breakdances energetically in your ears whilst at the same time providing a ice-tea-with-mint-smooth stream of chill.

Yep, it's kinda deep house with a funky edge, provided in part by a bamboozling arrangement of vocal samples that sound absolutely gorgeous against the textured synths. Sounds like the below.

The melodious synth that starts this song reverberates all around, supporting a whispering wind of a sample that almost whistles in the background. Then we're treated to a solo from the vocal samples, which Takahiro handles with expert sensitivity, twisting, reversing and plunging them into spaces between the soft synth glitching out in a gloriously off-beat rhythm. The beat shuffles, invades your toes and head, infects you to the very core with the joy of movement.

A drop in the latter part of the song, which starts building up around the 3:30 mark, gives you an insight into the kind of musical energy this guy can create - yet it's not too much, it doesn't leave you aching for an end, striking just the right balance between stylish chill and electrically charged build-up. But the details are too much to talk about - the whole thing, this song, is wonderful. I love it. Metome has a new EP coming soon.

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Thursday, 6 June 2013

MOON BOOTS LOVE STRONG

Weeeeeeeeee, now that summer's here, all those songs that I've been talking about over the past few weeks, or even months, to which I've attached the label of "summer song" can now finally be played in public - in open spaces! Parks with fountains! Picnics! Camping holidays! Day trips to the beach! Now it all makes sense. The sun's out, the trees are green, the sky is blue - all the simple signs of summer (along with the various buzzing insects that keep invading my house) are here and it's time to celebrate that fact.

So anyway there are like probably so many more songs than I think there are which could well describe a summery feeling in musical terms. More than I could find, and in all likelihood more than I could ever listen to in a lifetime. In any case I needn't worry myself about that, and nor should you, because one just does what one can. And here is something extremely tasty: 'Love Strong' by American producer Moon Boots.

It's... well, I've never wanted a beach party (is that a thing?) so much.

The plinky-plonky sounds of the xylophone set this song off to begin with, all shining above a 4/4 house beat. This is soon phased into a funkier groove, with a classic house piano coming in with its major tones of get-up-and-go, sunlight beaming in shutters and half-opened windows; it's a song that close enough kicks you out the house into the world outside.

A vocal sample provides the song's title, 'Love Strong' - not sure where it's from though. The song continues on its jolly direction, halfway between a deep house tune and a 90s dance number, slightly sexy and dripping with groove. The culmination of sounds results in a kinda carnival vibe, organs and pianos and xylophones swirling in their bright tones to get your feet tapping. Lovely stuff innit.

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Friday, 31 May 2013

THE GOLDEN BOY THAT THING [FREE DOWNLOAD]

I really like this kind of music at the moment. It's kinda deep house infused with garage and a real sensibility for tunes of the recent past or present (Cyril Hahn's remixes, for instance, are a perfect example, and Tropics' original songs, too) - very nice atmosphere with a totally danceable soul paraded around on soft beats and skipping hi-hats, all blanketed in a laid-back chill.

And very fortunately, I found a new purveyor of that kind of sound: The Golden Boy. (I think just Golden Boy would sound better, but it ain't my name so). The song in question is like 6 months old, but here at Yes/No Music, I don't care very much about that. It is, I suppose, a kind of remix but more an original song, using samples - mad good samples, lowered in tone - from Lauryn Hill's 'Doo-Wop (That Thing)'. A great original to work from with some great vocals, for sure.

Coming from Birmingham, The Golden Boy (aka real life human Dominic Hammonds) has a very nice, totally UK style that grips onto garagey roots with unwavering and absolute certainty. This knows what it is: a tune.

It's the kind of song that paints a picture both of night and day simultaneously, an empty-road urban evening with the streetlights casting their dingy orange glow over everything, or a sunny day in the city completely bustling with people looking for shade. That's what I get.

The samples are great though, used perfectly especially after the first drop when the synth chords come in, measuring the beat in their punctually off-beat way. The break is great, when the whole of the chorus of Lauryn's original plays above a soothing, low synth strings, a breathing space in the song, and something that allows the listener to get what was teasing them the whole time (the chorus in full). But then again, this song isn't a teaser of something more: it's an original song which has been decorated with a carefully chosen, and skilfully utilised, sample, all to the tune of a very urban, UK-flavoured concoction.

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Thursday, 29 November 2012

EONE MONOCHROMATIC WORLD [FREE DOWNLOAD]

Really loving the ultimate chill of this song. It's called 'Monochromatic World' and comes from Evil1, a recent signing to a Passive Front Records. Surprised that stuff like this isn't more well known sometimes, because not only is it good, it's also interesting - the creation of ambience with intensity is something that you don't get often, and something that Evil1 seems to be very good at.

The sound reminds me of a balloon being alternately inflated and deflated, the synths railing over the top of everything in particular grow and expand to almost infinite proportions, easing back and almost disappearing before growing once again. Overall, the sound is one of a lounge song - with teeth.

Before you know it you're blown away with this bulldozer bass that underpins the whole sound perfectly and moves in ways you don't expect it. The percussion is spot on, too, providing a lightly tribal feel in certain parts. I want the beat to be louder, for those snare claps to actually reach out of my headphones and slap me in the face - but it's still a well patterned beat. The vocal sample is nicely used as well, imbuing the song at its last parts with the spirit that truly would make up a monochromatic world.

Ambient, loud, quiet, dynamic. Looking forward to hear the progression of this artist. Oh, and if you like it you can download it for free. Isn't that lovely?

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Wednesday, 25 July 2012

DOP THE HYPE + TALK SHOW

I have found out who Jaw is.

If you read my post covering Para One yesterday, you will know that I was agonising over who did the vocals for the wonderful song 'When The Night'. We knew the name, Jaw, but we knew nothing else. It was a mystery. A big old mystery.

But then I got a tweet from Teki Latex, a Paris-based electro/hip-hop artist, who told me that Jaw is part of a group called dOP.

That's them, just in the top right of this post. You can see that they are "a dynamic trio of musicians, combining live instruments, vocals and electronics as if it was the simplest thing in the world" (thanks, EB). Or maybe you can't see that. But they just are.

So in the spirit of finding new music to enjoy, and without further ado, here is my chosen song from their SoundCloud, called 'The Hype'. With its stand-out mean-ass beat that exudes pure bass and modified vocals from who I can only assume is this mysterious Jaw, the track is well-tuned in the direction of being one thing: a deep-house treasure trove.



It's intense and heavy, kind of like carrying a cloud full of rain that keeps thundering and flashing like a crazy storm across a field that is not a field at all but a dancefloor with multicoloured glowing tiles. And in fact it may be like the kind of heavy when you carry a watermelon like Baby in Dirty Dancing.

And I really have to share another song. It's called 'Talk Show' and it goes a little something like this...



It's like film noir meets jazz and they start tangoing around a room filled with smoke that smells of pure dance sensibilities. This is where the skill as instrumentalists come in. It's sometimes not just about being able to manipulate sound via analogue or digital means. Sometimes it's about playing some instruments and bringing a super retro sound to what is really a modern world. It's a playground of real sounds that slide easily into the ear like a person going down a water slide into a filled with brilliant turquoise water. That easily.

Looking forward to hearing more from these guys.

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Here's dOP's SoundCloud for more rambunctious sounds
Here they are on Facebook
Myspace.
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Tuesday, 25 October 2011

NO ARTIFICIAL COLOURS IN THE DEEP

Completely loving this sound at the moment I could just sink in sublime and explore these super melodies like a scuba diver in some coral or the deepest waters man I love it. It's house (House) but not as it has always been. This is No Articifical Colours.

Laden with heaps of groove, the song below 'In The Deep' is but a mere taster of their beat-driven sensibilities. When not being No Artificial Colours, the two people that make it up are known in the real world as Ryan Ellis (23) and Lewis Wright (26). Both relatively young, to an old tree or the earth perhaps, they started making music when they started playing the same nights ("We should stop meeting like this" - that kind of thing), after which they realised their musical tastes were pretty in synch. With a debut EP, Welcome To The Jungle, out at the beginning of this year, they have another one out tomorrow but technically today (25th October) which is called Street Knowledge.

'In The Deep' is actually not on the EP but is a great song nonetheless. Perfect for night time. And it got put up only a few hours ago too.



The groove is created by the simplest of things, things which take a very fine-tuned ear to figure out sometimes - there's just that extra tap on the hi-hat at the end of each bar that is the equivalent of a spring in someone's step. Not that you see someone walking down the road looking particularly happy and say "Wow they sure are grooving today" - not at all, but you must understand what I mean. The sample is unidentifiable which in my mind makes it better.

It's house, it's deep, there are some modulating synths and samples popping up like friendly ghosts, and there is a progression towards a final segment that adds in yet more depth. Perfect for chilling, but perfect for dancing too. Like chicken - perfect for a salad, but also great for a ceylon curry. But please don't think I equate these two things together; it's just an analogy.

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You can catch No Artificial Colours playing FABRIC on 6th November
Listen to much more No Artificial Colours on SoundCloud
• Also you should follow them on Twitter

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