Showing posts with label Holland. Show all posts
Showing posts with label Holland. Show all posts

Tuesday, 20 June 2017

🐣 SAUX — FOR I KNOW

Instantaneous. The lush pop rhythms and delicious pop flavours flowing and bubbling and resounding and spreading like a magical ether have a rare timeless appeal, an ease and fluidity that enables the track to reach you with instant effect. The first few seconds: the shuffling groove in the percussion, the indefatigable retro gloss of the glassy chords. It really is a lightning strike of pop. In 'For I Know' Netherlands musicmaker Saux has it covered: the simplicity, the sumptuous sounds, the summer-ready sulter. Barely any accoutrements dangle from the bones of the track, xylophonic luscious bones that frame the vocals lilting with pop melody, making this a minimalist's dream, a groovesome abstraction of cool longing.

Kicks thump, handclaps clop organically. The simplicity is one of the crowning glories of this track. Few elements come together to make 'For I Know' what it is. For added tropical poolside conjurations the constant stutter of a palm-muted guitar makes its sunlit entrance into the track, summoning a decades old adage of sound, heightening the retro quality, the simple lyrics as sung by Saux and friend Sjaak Thissen with its subtle harmonies slowly unfolding in the sashay forwards. Minor additions in the beat, the regularity of it, hi-hats, some shakers in the finale alongside, the guitar that mirrors the vocal hook. The sounds dissolve wonderfully into the well preserved space, reverb painting a sense of expansive universality whilst the dusty instrumentation, the intonation of the vocals rich and whispering, creates a sense of carefree intimacy, closeness not yet attained.




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Monday, 14 December 2015

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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Saturday, 1 March 2014

KA-YU – UNXSUAL

Ah wow, so yeah, hmm…! This is nice. This is really nice. And if you're getting tired of my continual surprise at finding incredible stuff that I never knew existed, then maybe you should get some childlike wonder of your own and stop being such an "adult" – woo look at you, all cynical and that, must feel pretty growned-up! You must get regular haircuts too! (The collective "you", no-one in particular).

That aside, this track 'UNXSUAL' really is nice. It's from a producer called KA-YU, who is a Moluccan (islands in Indonesia) / Dutch guy from a little place in the Netherlands called Oosterwolde. Real name Woody Latuheru, he's done something that I've always wondered about: remixed his own track. Yep, he's only gone and done it. And not only that, the original track – called 'Temptations' – is essentially a remix itself, heavily sampling the rich harmonies from Beyoncé's 'Rather Die Young'. It's a remix within a remix, a film within a film, a dream within a dream, and whilst not as confusing as that last one, it sure is as mesmerising.

Exploding in your ears, it's an instant hit, a total dopamine-engager, cradling your heart in its arms as it gets down and gets moving, your spirit inextricably linked in the very moment of now. Vocal cuts like orchestra hits blast out above the clacking roll-sway of a juke-flavoured beat, rumbling drone sub-bass gripping you in its apocalyptic frequency all the way. A gun fires three quarters through. "Oh my god" says a voice; "Aww, shit!" says another. This song knows its own immensity and it brims, pulses with confidence.

Well uh that was that. Happy? I am. And I'm also definitely looking forward to hearing more from KA-YU, which will be in the near future. Recently joining the Art In Melodies family/collective alongside four other musicmakers in the Netherlands, a new EP is currently in the works – check out this snippet of a very intergalactic-sounding remix of Brandy's 'I Wanna Be Down' taken from that upcoming release.



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Wednesday, 23 October 2013

PHACTS FROZEN

It's a sunny day! Hooray! Even in the mire of Autumn there are crisp sunny days. It's nice because it just enlivens the general atmosphere of your surroundings. Listening to music doesn't become the escapist lament of your environment and instead celebrates it, becomes a pliant soundtrack of your day. Yeah so yeah it's like this today and this song is sounding pretty cool. Making me want to go outside.

It is called 'Frozen' and it is by a Dutch producer called Phacts. He's based in Utrecht, Netherlands and also goes by the name of Asterisms, under which he creates "ambient, future garage". Phacts, in comparison, is a whole other kettle of fish. It's bassy, in-your-face, and most likely intended for dancing to - indeed he calls it his "bass/dancefloor alias", which it basically is. In 'Frozen', however, a number of styles go together in making this a genuine iceberg of classic and future noises that go towards creating a big, mean atmosphere.

Beginning with a strange, unplaceable few samples, of singing and a dusty piano playing, something that makes you anticipate some boom bap hip hop beats, it quickly winds into what he himself has tagged as a juke sound, akin to house with a more ghetto, aggressive sound. Attitudinal vocal samples loop over syncopated kicks, head-nodding claps, and hi-hats with fluctuating tempo. Every now and again, a full-throttle jungle beat teleports in from nowhere, providing a flawless switch of styles that is anything but jarring: sudden and smooth.

Futuristic soft synth wibbles and wails throughout, caressing and cushioning your ears and allowing the beat and samples to deliver harsh, rough-edged sounds instead. The fusion of hip hop style sampling, danceable bass and beats with ornamentation in the form of jungle interludes is something that gives the song a fidgety, schizophrenic feel, but this also means that it's bustling with energy and as such it's an exciting tune. Looking forward to hearing more from this man who has, incidentally, already performed alongside some pretty cool names already, including atmospheric Shigeto, Only Real and Cashmere Cat (to name a few), at the Valkhoff Festival in the Netherlands this summer.

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