Showing posts with label Dream-pop. Show all posts
Showing posts with label Dream-pop. Show all posts

Wednesday, 31 May 2017

🐣 26CARAT — SEE THROUGH YOU [初演 • PREMIERE]

Channeling latter-day house music with a memorable but not altogether placeable syncopated synth hook, 26CARAT induces you into a world where noise crosses with dance. By noise, that's not murdering analogue machines-type noisy but more noisy—sounds merge together in a whirl of reverb, elemental intensity and a clattering collage of percussion. In this regard it's a dreamy affair, nebulous and floating. And dance? It's that sort of dance sound that's not quite old enough to be classed as retro and not new enough to be wholly fresh or widely followed, that late-'90s-early-'00s sound that teeters on an edge between forgotten and rediscovered. In this way, 'See Through You' has the same feeling as Pictureplane's 2011 album Thee Physical, brimming with that sense of something memorable but unplaceable, pop crossing with outsiderism, the past dredged up to build the future.

But here there is something more delicate at work. Dreamlike and hazy, this thin atmosphere pervades the whole track, trickling through and whirling around, those previously hard bassy notes that made up the melodic hook now watery and delaying into the icy backdrop, melding with the airy croon of the vocals, breezy-ghostly electronic arpeggios, and beneath all this a single column of synth modulates bubbling with digital menace. And with this a tract of intricate percussive elements skitters and tumbles throughout, plosive drums popping abrasively, kicks thud-thudding rapid, wreathed with the shh-shh-tick-tock of hi-hats and attenuated snare sounds. Yet in the wake of this pastel partnership between 00s euro-dance and dream-pop, there is a considered aggressiveness here, a hardness, more a nod to trap-ish vibes, something that keeps things from being over polished and confined and instead allows the song to spill over the edges and scribble outside the lines: a slack, smart cocktail of our eternal today.




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Thursday, 7 November 2013

WEEKEND ROSARIES [VIDEO]

What no picture/image/photo? Well, no. It's just something I'm trying out. BEAR with me (yes: to all those who are always asking people to obscenely "BARE" with them, it is actually spelt "bear"). In any case, there's still a video up above this writing to watch. Sure is. Anyway, enough blabbering.

This is a video for a song called 'Rosaries' by San Francisco-based trio - the first names of which are Shaun, Kevin & Abe - Weekend. A very ungoogleable name if I may say so and also not to be confused with The Weeknd. These guys are very different. Always up for a bit of shoegazin' sound myself, I full-screened the video and watched the lonely guy at the centre of this video live his nocturnal life (it cut a little close to the bone actually). Whilst I watched with a vague unease, I found the music not only fitting but a soothing soundtrack to the situation: perhaps because it fit so well, perhaps cause it doesn't have any really discernible lyrics that you could ascribe to this man's predicament. I dunno.

Away from the video, just listening to the song, it's a wash of beautiful bleakness. It pervades the air with an intense ambient white noise that falls over you like a constant grey mist. It's wracked with a near-suffocating cloud of endless reverb that works by attaching feelings of muffled hope and faint shades of despair to the song; an all-encompassing feeling which, if you've felt before, you should hear teeming in this track. Sparks of Western-movie guitar twang in the midst of this ambient storm - a touch of the leaping human heart - as a thumping beat drives it forward, growing increasingly developed with rolling hi-hat and the slap-crash of a snare in the last third.

It comes from Weekend's 2nd album Jinx, already out in the USA on Slumberland Records, but released internationally via the band's own label, Strange Dog Records, on 25th November. I'd link to the Strange Dog Records site but you wouldn't believe how ungoogleable that is also. Dog records - as in World Records won by dogs - which are strange.



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Thursday, 13 June 2013

STARLIT EVERGLADES MYLOTIC

Again we have the old "this ain't new" thing here, but it's new for me and it might be maybe new for you too. And it's very very pretty. It comes from a producer called Starlit Everglades and I don't know where they are from because they make it seem as though they might be from Japan but I think they're American or live in America. I just don't know, alright?

Who really cares because it's the internet and everyone's from everywhere anyway. Starlit Everglades likes, amongst other things, swimming, anime and Japan, has a pretty big following on SoundCloud, and makes quite a lot of music - prolific is the word. Yet I think it's that kinda thing where it's kinda hard to find - this kind of stuff exists, seemingly, only in certain pockets of similar interests and stuff. This is a certain brand of chillwave, I guess, drenched in chill with not many traces of any other genre influences in it. In that way you could say that it is quite pure, and that comes across in the sound itself. It is characterised by one major element, which is a sweeping, bubbling, almost living-and-breathing wave of clean, modulating synth.

You can see for yourself. Actually, hear. Here is 'Mylotic'. I am not sure what the title means. I googled it and found that there is a Pokémon called Milotic. But that's not the same.

With sparse beginnings of a thin kick and hi-hat working together, the glassy synth soon comes in - everything from this point develops into quite a grand kind of feel. Perhaps it's to do with the amount of build-up, or the lack of dance elements in the song, but it is one that is more for listening than dancing to and this I would say gives it that grand feeling. But before it gets there, muffled kicks are introduced pushing everything onwards, making ripples in the mesh of synth like whales breaking the surface of a sea. A snare gets dropped in every now and again.

After a break, everything comes back in like a wave crashing on a beach, a dream spilling into real life all at once - snare now rattling underneath a new high-pitched synth that zooms above everything. And as slowly as everything came in at the beginning, so it goes, fading out. It's very pretty music indeed with breathtaking vibes.

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Sunday, 5 May 2013

SUBURBAN LIVING ALWAYS EYES // COOPER'S DREAM EP

Ah yeah I like these vibes a lot. Perfect name. Now here's something I can seriously get on board with - Suburban Living. My my, if there's anybody who knows about suburban living it's a man from the suburbs (still IN the damn suburbs). But I can imagine that an all-American, apple-pie, movie-soundtrack suburb is rather different from this English suburb by the Thames. This music actually doesn't really fit here. Round here it's garage. That's the soundtrack for this place. Pretend-you're-urban kind of thing you know. But ENOUGH. This ain't about me.

This is about, as I said, Suburban Living - the musical moniker for the real world person, Wesley Bunch (pictured above). So yeah maybe it's all the American culture that we absorb absent-mindedly over here, but there seems to be this borrowed nostalgia around the sun-drenched American suburbs of yesteryear, a lived-in feeling that makes us yearn for a dream that we never had about an ephemeral place to which we've never been. Ah yes. All those yesterdays we never had. Ahem.

It's that kind of feeling that this song, 'Always Eyes', evokes. Yeah with its jangle-echoing guitars that seem lighter than air and the thin reverbed vocals, it's pretty and ambient, driven along by brash 80s-style drums. Delicate synths clothe the verse of the song like water on oil. But it's synths that make the chorus fun. It's down to these that give the chorus its catchy vocal hook that belies its touching lyrical content, such as, "Why did I wait, why did I wait for you, why did I waste my time?" The breakdown at like the start of the last quarter of the song is great - joyful - complete with epic drum rolls.

Lovely isn't it? Well nice. This song comes as Mr Bunch's latest release off the back off the tantalisingly named Cooper's Dream EP. And yes, it was inspired - in part at least - by the indefatigable cult TV series Twin Peaks. Ah Cooper, you and your zany ways.

From first song - honest, light-diatribe of 'I Don't Fit In' - it's an outing that, if you like 'Always Eyes', you'll enjoy quite a lot I can imagine. Stop-start hi-hats and acrobatic bass in 'Give Up' lead up to its climax washed with guitar distortion, whilst 'Prom' is a synth-fest of 80s proportions, punchy drum machines below simmering synths. 'Float In Clouds' gallops along, stopping for the verse where space in the sound and occasional guitar strums do float on air, then gallops onward. The ballad of title track 'Cooper's Dream' is spookily reminiscent of Twin Peaks in its sound; slower than the others and somewhat more emotive because of this reason, it could be the best track. Maybe I'm biased. Have a listen.

Dream pop, thy name is Suburban Living.

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Thursday, 29 November 2012

EMPRESS OF CHAMPAGNE + DON'T TELL ME [FREE DOWNLOAD]

This is a pleasant surprise. To start today, we have the intriguingly named Empress Of with her very first release, the sufficiently bubbly 'Champagne' and its more moody B-side, 'Don't Tell Me'. What Empress Of, the project of Brooklyn-based musician and producer Lorely Rodriguez, has created here is a lovely old school sound, drums straight from an 80s drum machine - or so it seems - busy choruses that soar with intermingling synth patterns. For a debut release it's really good, and an extremely promising start to what could be a well-received career.

The release itself, 'Champagne' is a slow-bounce two-step, fun and bristling with little guitar sounds that seem like miniature fireworks. I like the swift change in dynamic between the relatively sparse verse, with its nonchalant vocals, and the jangling, near-psychedelic busy electric sounds of the chorus. The video for this number is below, featuring Empress Of herself, eating watermelons. Fun. Oddly fitting.

But then there's the B-side to this song: 'Don't Tell Me'. It's much more sombre, with slow-dance, epic drum sounds, long synths, a touchingly sweet vocal drenched in reverb and echo, imploring to remain in blissful ignorance. A heartbreaking ballad-style song that drips with nostalgia and the power of emotion that can be conveyed by talented artists through music: Empress Of is one such example of this, displaying feeling with her electric and wholly dreamy sound.

And good news: 'Champagne' can be downloaded below FOR FREE! Holy moly, Amaterasu-ōmikami on high, what a treat! (But hurry up about it.)

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Thursday, 22 November 2012

PEGASE DREAMING LEGEND EP

This fuzzy synth wonder that I came across the other day is something that I'm very happy to have found. It's a lovely sound that evokes continuation, galloping progress, gripping delicately onto the reigns of tomorrow.

What we have here is Pegase (pégase is french for Pegasus), so as far as flying through the air on a horse with wings goes, just the right amount of ethereal and ephemeral sounds have been wound around these two songs to paint a splendidly beautiful, electronic picture of that very mythicality.

These two songs are from Pegase's Dreaming Legend EP, which was released this Monday 19th November. Beginning with the first, which lends its name to the title of the EP itself, it begins as if in anticipation of some kind of take off. No sooner have the stuttering synth chords started than we are whisked off on the wide, soaring wings of this song. With a pulsing beat, it drives forward, leaving space for ambient, organ-type sounds and a voice that sullies forth as if from a dream, wrapped in a swaddling of reverb and echo. High, string or harmonica sounds begin to erupt, dropping the song into a break before a veritable nosedive into the layered beats and sounds that take us spiralling back to the ground. Below is the video for the said, beautiful song, 'Dreaming Legend' - a dreaming legend, indeed:

Next, we have the more grounded, more sombre, but no less beautiful near-sitar sounds of 'Ladybug'. Sounding more like a lo-fi dancefloor disco number, the vocals are more pronounced, and the beat is less electronic and closer to that of a real drumkit - albeit one with an 80s production quality. I love that the main melody of the song is provided for by tropical, beach-spun steel pans - one of my favourite sounds in the world. Both of these songs give us a clue of the different kinds of dynamic that Pegase can belt out whilst retaining the same, dream-pop kind of style that is not only easy, but also really lovely to listen to at the same time.


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