Showing posts with label George Clanton. Show all posts
Showing posts with label George Clanton. Show all posts

Sunday, 1 August 2021

PICTUREPLANE — AVALANCHE


There’s a cocktail of influences at work in ‘Avalanche’ by Pictureplane (aka Travis Egedy), a track as hefty as its title suggests. But aside from the macrocosmic weight of Egedy’s music — the crunchy synths, the industrial-strength drums, the clusters of metallic breakbeats — there is the microcosm of the avalanche beyond the shattered pines: the close-up of soft snow. Here be bright synth, hushed waves of ambience.

This creative contrast is an apt soundscape for tale of love and loss spun by the lyrics, sung in a caressing, guttaral whisper. These also give an easter egg-esque hint to influences at work on Egedy: “I’ve been in the garage again / listening to dungeon synth”. Accordingly, while the bridge features crushing wobbles of distortion, there is a mythic flavour, a fantastical element, infused in the music. It’s an avalanche alright, but it may not have even happened in this dimension.


  • 🔔 'Avalanche' is the opening track from Pictureplane's latest album DOPAMINE, which is out now on 100% Electronica. You may stream or purchase it on Bandcamp, if you like.

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Pictureplane Internet Presence ☟
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Thursday, 13 August 2020

🐣 GEORGE CLANTON & NICK HEXUM — AURORA SUMMER

⌾ LISTEN TO GEORGE CLANTON & NICK HEXUM — AURORA SUMMER ⌾

George Clanton's collaboration with Nick Hexum of rock band 311George Clanton & Nick Hexum — may not be something you instantly understand. A proponent of internet friendly vaporwave et cetera isn't the likely team-mate for the co-frontman of a band whose music represents, at least early on, that shredded splice of '90s proto-numetal and grunge we all know and love. And that is the point: Clanton is a big fan, so the real question isn't "why" but more simply, "why not?"

"This album is a collab no one asked for or predicted," Clanton says in a press release. "Nick has never pandered to a mainstream audience with his work in 311, they've always done their own thing and built their own culture around the music they wanted to make.

"I believe in that, and I've been doing my own thing for 10 years now."

Simply put, there's logic here. The logic of fandom and respect between artists that goes way beyond aesthetic tastes in genres, in stylistic direction. Calling it a "stoney side project" Hexum says in the same press release that it's "been a lot of fun to work in a new genre." Fun is the chief idea here, rather than a collobration that looks great on paper.

Happy with the "unique" project that's based purely on the music, Clanton makes it clear that neither he nor Hexum needed to do the collaboration. "I've never done one of those buzzy collabs with a hot artist in my own sphere just to get more plays," he says, adding, "There should be more records like this."

'Aurora Summer' is just one of the collection of tracks from George Clanton & Nick Hexum. Woozy Earthbound-flavoured synths waft in like the essence of some fantasy adventure or coming-of-age idea, cooked up in stew form, simmering somewhere way back in recent eons past. Hexum's guitars cut in simple melodies, adding sour to the earthy tones of Clanton's concoction; the former's vocals — distinct in tone, lilting and elastic — float fittingly in the scene.

The track summons laid-back living, warm weather, comfort, grass, sand, blue skies, clouds in small herds spiralling through the sky like the disappearing froth on a cappucino, hot pavements, beach bars, warped air distorting the space above the street. Nothing weird about this collaboration — just a concentrated cocktail of doing what feels right.



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George Clanton Internet Presence ☟
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Nick Hexum Internet Presence ☟
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Saturday, 5 July 2014

ESPRIT 空想 – VIRTUA.ZIP

It's been a long time coming but finally I am writing about ESPRIT 空想's latest (and perhaps greatest) album virtua.zip. Last time we heard from this guy it was actually in the form of his alter-ego (or is this his alter ego?), another musical project: Mirror Kisses – namely the cool video for even cooler song, 'Genius'. There's some new Mirror Kisses stuff out right now actually but let's just put that off for a second and get right into the melted-mind sounds of this collection of songs.

A key component of the slightly undefinable, nostalgia-and-sample-ridden style of vaporwave – whose sounds can reach as far back in time as any artist's musical memory will allow, and as far forward as their imagination will take them – ESPRIT 空想 has moved forward, describing his album as "distinct in that it is comprised of all original compositions. Samples are utilized as a brushstroke rather than a canvas. Tracks 1, 2, 3, 4, 5, 7, 10 and 11 are entirely free of sampling." As such, the imaginary constraints of vaporwave fall away to leave nothing but its lightly distorted aesthetics and its apparent liberal-mindedness, wherein the freedom to do whatever underpins most of what has been made within the brackets of "vaporwave", which simultaneously leads to an eternal paradox: if this is the case, then what is vaporwave? A genreless genre; a community brought together by common interests.

Almost as a realisation of this kind of maturation into formlessness, ESPRIT 空想 does as he pleases: to great effect. virtua.zip – its name reflecting the cube comprising of Akira Yuki (from Sega's Virtua Fighter series) on the album art – is expansive and atmospheric yet groovesome and quirky, building these soundscapes with relatively short tracks; each one of these suffixed with the extension ".wav", the perfect accompaniment to the album's own ".zip" – as if the sights, sounds and words attached to this release are wholly indebted to all things digital.

And what a set of sounds! We go from the warm holiday sounds of opener 'whispers.wav', with its '80s-commercial glitz and two chords spacing out in 'Everybody Wants To Rule The World' (Tears For Fears) fashion, and the chopped-up sounds and stammering beat of 'select.wav', as well as 'slow2014.wav', which sounds like an area on Streets Of Rage, swaggering yet calm in the post-crime-syndicate-clean-up; to the moody chillment of 'mindless.wav' – the hollowed-out skull of deadbeat intoxication – with a beat reminiscent of 'peter.wav': almost pure trip hop: spacey strings and surprising sub-bass as accoutrements to a slowed-down beat that uses the "Amen break"; 'esprit.wav', whose tropical washes of sound cloak a familiar sample and ghostly vocals, matches with 'iwillbe.wav', which finds its partner in the aching 'withyou.wav', the two essentially one track cut in two ("i will be with you"), both sufficiently equipped with steel pan stylings and epic tom drums to evoke a bepalmed beach paradise at sunset – titularly including the fantasy love-(or-lust)-of-one's-life.

Then there's 'warmjet.wav', a master-class in warm, modulating synths, focusing also a lot on empty space, syncopated bass and the loving sway of the beat, similar in a way to 'love.wav', a jaunty track with twisted, drugged-out synths, upbeat percussion, and the shadow of an angelic choir oooo-ing for extra romantic flavour, as well as the wholly retro 'gameover.wav' – staccato-chopper synths over a slow beat, with weird moo-box-style decorations; for virtua.zip, it's an ending that couldn't be more different from the romanticised glistenings of its beginning.

It's certainly an eye-opener, an insight into new territories of sound that paradoxically – and conversely to many "futuristic" sounds in music at the moment – are drenched with cassette-tape fuzz, imbued with nostalgia and, ultimately, could well have been made 20, 25, 30 years ago. Even though it runs the gauntlet of chillwave, retro game music, hip hop, synthpop, and yes: vaporwave – virtua.zip just effuses freshness effortlessly. And it's all condensed into around 21 minutes of music, making it a brief and blissful slice of escapism; I did, in fact, at many points find myself whisked away somewhere else. Basically, this album is like a modern version of exotica ("a musical genre, named after the 1957 Martin Denny album of the same title"), itself an offshoot of lounge music, and intended to provide listeners with a synthetic, sonic experience of Pacific islands, African jungles & South American mountaintops.

What ESPRIT 空想 does is very much the same: from its very concept, as a .zip file, you have this strange, digitally tangible feeling for the music even before you've heard it; then, when you're listening, you could at certain points be in a videogame ('slow2014.wav'), in the past ('whisper.wav'), on a beach ('withyou.wav'), or – for something more descriptive – stuck at home on a rainy day during summer looking out the window ('esprit.wav'). The places it can take you depend on your imagination, of course, but to have made songs that are capable of acting in this way shows, maybe not intent, but at least a capacious and reflective imagination in the first place.

This is vaporwave's answer to lounge music – or perhaps vaporwave IS just an unknowing, modern interpretation of it – and it really is lovely.



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Friday, 4 April 2014

MIRROR KISSES – GENIUS [VIDEO]

Is this a photograph of the young George Clanton, aka (or at least the brains behind) Mirror Kisses? I think it might be. Now, with that kinda cleared up we can move forward. Who is this George Clanton? He is a musicmaker from Richmond, Virginia (USA innit) who creates hazy nostalgic vaporwavey tracks under the alias ESPRIT 空想 but with Mirror Kisses – a more real, less dreamy, less idealistic project – there's something quite different going on. Maybe there's a similar sense of nostalgia, but that's where comparisons end: this is truly heartfelt: a live, wriggling entity with 80s aesthetics, punk energy and a romantic sensibility, seemingly miles away from the bedroom lassitude of ESPRIT 空想.

The perfect opportunity to show this off arrives now, in the form of the brand-spanking-new video for 'Genius' – taken from Mirror Kisses' album of last year, Heartbeat, it's a brilliant example of the sights and sounds that go with this exciting project. In the video we see shots of the man himself singing live at a show in Washington DC, alternating with two guys painting a wall black and then erasing what they've done with white paint. "I didn't even know he [Robb Payne] was making it," said George himself. "It was shot at a show in Washington DC and a couple of the guys who were there made a painting for the song." Luckily, or maybe it was something that was just meant to be – either way it worked, and it suited the song: "I think it's really cool how they make it and then erase it," he said, explaining, "I thought it was very fitting to the spirit of the whole song about second-guessing yourself but still doing what you love in the end."

So without further ado…

It's George's favourite song from the album and you can see why. It's a corker of a song, a cracker even, one that bulges with as much drunk shuffle-dance-inducing sway as it does heartfelt emotion. Thin flanging chords keep their sombre time above the slow 80s-style lo-fi drums with syncopated hi-hats, whilst ear-pinching icicles of high-register synth strings pierce the air above the heavy muffle of the jouncing distorted bass squelch. But what makes this so real, not that the music isn't dead nice on its own, is the vocals, the voice of George, an aching rich baritone that simmers with just enough reverb, crooning lines like "I know… I'm no genius / But when you say those things / It makes me feel so dumb" that seem summoned from a deep well of emotion, gently echoing into the atmosphere.

NB. If you ask me, it sounds kinda like a slowed-down version of 'Last Christmas' by Wham (minus any Christmas-theme ofc) which ain't a bad thing at all. It shows that the 80s synthpop influences are there, well and truly, and they're blissfully endearing.

  • In honour of this fancy new video, the Heartbeat LP is now available for FREE.
  • A little birdie told me there will be new Mirror Kisses stuff soon, so GET ACQUAINTED with pre-existing stuff (see first bullet point).



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