Showing posts with label Magic. Show all posts
Showing posts with label Magic. Show all posts

Friday, 16 October 2020

CUUSHE — MAGIC


Cuushe is back. Recently she announced her upcoming album WAKEN via the fresh vitality of its first single, 'Hold Half'. This time around, it's 'Magic' that faces up to the grey piercing light of morning.

A slow steamroller of a beat thuds as the propulsion to 'Magic', rusted metallic percussion ticking faintly at its mechanical heart. A set of heavy-hearted piano chords plays a downcast reverb-laden refrain; "I just wanna die.." Cuushe's voice whispers from this fog of sound. Craggy synths crack in mournful reply, a glistening gloomy call-and-response.

Starting quietly, almost from another perspective, later in the track her vocals rise up, outraged: "Magic... Why are you so silent?" A question perhaps posed to the once-dreaming individual now scrutinised by reality. Lightness eclipsed. This refrain cuts through a wash of intense sounds, synths glittering and roaring together with the clatter of a bright guitar riff — a combination of playful concreteness and fantasy synthetic noise that runs through 'Magic'.

It's all been brought to life with a video by director Tao Tajima. On a backdrop of footage filmed in the wilds of Tibet, it's a tale of ghostly girls tied with string to insistent flapping birds, drawn in their phantomic pastels by sometime Cuushe collaborator Yoko Kuno. The music — mysterious yet methodical in its makeup — matches the stark marching mountains and vast empty tundra.


  • 🔔 'Hold Half' is taken from Cuushe's forthcoming new album Waken, set for release 20th November on her label home flau. Pre-order it over on the flau bandcamp.

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Wednesday, 6 June 2018

🐣 SANTINO LE SAINT — MAGIC

Somewhere in a desolate wasteland between completely despairing of your situation and carnal pleasures, the trade-off between sex and happiness, feelings and sparing feelings, is the incredibly feel-tastic lamenting lovesong that is 'Magic'. Created by London model, producer, singer and musician Santino Le Saint, it's a tract of scalding synth sounds winding between just a few notes making it feel cyclical – the going-round-in-circles of a restless mind in love – set against a trap beat that rumbles like gurgling lava, sharp industrial snares and ticking hi-hats like a sense of stomach-churning immediacy.

Obviously there is this trap heaviness to it. And to add to the lamenting vibe of this literally magical track there's some serious shredding going on, a Latin-infused '80s-metal guitar solo cavorts in aching interludes in the midst of 'Magic', before becoming the coda of the track, crying out, rapid-fire and raucous. But vocally it feels like an R&B-flavoured slow-jam—Santino Le Saint's satin voice skillfully lilts from the sensually stark and beautifully confused first few lines:

"You should fuck me in the back of this Uber, baby
I know this isn't something you're used to baby
Life's changed and I'm still getting used to it lately
Nothings what it used to be baby..."

Yet it's coated in this metallic decay, as if those words are already ruined, already not worth communicating to whomever they're directed. It's continues thoughtful and reflective: "I was sitting in the passenger, flicking through the calender, thinking about the shit we've done""If we were in a different situation we'd be better off." And doubtful: "Now you're saying that I love you but you never know..." And at times it's like a storytelling Bonnie-and-Clyde-esque stream-of-consciousness, e.g. "but if we're gonna die young then / you'd better promise me if you can shoot then drive""...and if they try and pull us over put the metal to the floor."

"I actually wrote the first line of 'Magic' whilst I was drunk in the back of an Uber on my way home from a party," said Santino Le Saint, talking about the track. "I like to arrive on a track with impact and this was so direct and to the point... I sort of forgot about the lyrics, and a few months down the line the concept came back into my mind and the rest of the track fell into place. You know when you're drunk or high, feeling yourself and just fantasise about shit, that's 'Magic'."

In all, the track brings an everyday, an everynight, Uber ride to a startlingly evocative and cinematic height, from where it drips greatness and sharpness onto you like tears and static—and in a unique vessel that crosses the epic poetry of guitar solo with R&B's sensuality and emotion.


  • 🔔 This lovely piece of music is taken from Santino Le Saint's recent XENO EP, three-track offering that acts as a composite of these guitar, vocals and beat in a modern-day slice of Prince-esque compounding. You can – and most definitely should – listen to it over on his SoundCloud.


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Tuesday, 1 December 2015

SHIGETO – NEED NOBODY

It is time for some music by Zach Saginaw aka Shigeto. I heard this a while ago and thought mmmm yeah definitely need to write about this look how tasty it looks. But sometimes just because you can see something's tasty doesn't mean you run up and eat it right away. In hindsight I was lazy.

Recently I happened upon this particular track again and found myself with it gripped in my mucky trembling hands gut wrenching hunger and headful of loss and oozing pain and I bought it up to my mouth without hesitation and snacked upon it so gladly so succulent and running down my chin in rivulets of luscious opulence teeth stuck with its phantomatic remnants. I basically like it a lot.

"It" is 'Need Nobody', taken from a new EP by Shigeto called Intermission. It is so called because Shigeto sees them less as a "strong message" and "more a taste, like a halftime show of sorts," presumably between 2013 album No Better Time Than Now and whatever album might come next. And I say: Well well if this is the halftime show then please allow me to crash all subsequent events and demand their halftime show no matter how far through because this halftime show is... The point is that despite being an intermission in name as well as in its feel, sound, and intent, the tracks still shine as brightly as any other tracks in the world that don't come with this modest and somewhat self-deprecating disclaimer.

And 'Need Nobody' is the perfect perfect example.

The first thing to notice is the analogue synth sounds scorching out from the track with a fabulous flow of melody lines: this is the ominous fantasy music from Zelda: A Link to the Past twinned with music from Super Metroid in all its lo-fi space loneliness, seeming to gulp in sadness and broadcasting it out with soft sounds, a heartbeat attached to a mind wondering if there might be another heartbeat-mind combination nearby. That's it— it's like a plaintive living-and-breathing sonar song scanning the horizon, beautiful and sad.

This floats above a rough escarpment of giant earth-moving bass (picture this gargantuan contraption trundling through stark countryside) punctured with a sharp lightly ornamented and edited beat, through which flows a stream of clopping clack dinging chimely percussion sumptuous and magical-sounding summoning beads of water still and perfect on intense green leaves – the rhythmic and more delicate version of that satisfying feel and sound of searching through a chest of loose Lego for one particular piece but at the same time for the simple action of doing so.

It is a past-and-future sound, a moonscape of yesteryear modernly framed, casting forth into tomorrow laden with memories and experience a voyage in a wellworn vessel, with its lamenting beacon flashing a siren song into the unknown desolation of it all, searching, searching - relaying, relaying.




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Thursday, 27 February 2014

UKU – FOREST 5 AM (KIDKANEVIL REMIX]

I don't follow Kidkanevil enough. I should pay more attention. I'm sure between when I last wrote about him – which was possibly in the form of the interview that I did with him back in like May last year – and now, he's made some pretty nice music; but as you can probably tell, I've missed it all. What a failure I am. Well, not really, cause I'm here now innit. Better late than never, but that's a cliché and I apologise madly for that.

So Mr Kidkanevil, or Gerard Roberts as is his true real-life name, has gone and remixed a lovely track – it's 'Forest 5 am' by Polish producer Łukasz Plenikowski, aka UKU. The original is a high-speed clean-cut percussion-bristling clear liquid gloss of sounds, like your own heart and mind would in a forest at 5am, cold perspiration prickling, eyes wide almost bursting from sockets, every sound inducing paranoia, yet with the natural wondrous beauty of the forest whooshing by perpetually. This relatively sparse offering turns into something completely different in the hands of Kidkanevil, who imbues it with his characteristic glitch-laden style.

An unrelenting loop of bleeps that muffle and sharpen with the song's changes in dynamic: this is its opening riff. Alongside this, swipes and swishes and buzzes and chitters of percussion tumble along like a torrent of small stones and pine needles, crashing through the standing giants of the forest, dawn on its way, night still thick amidst heavy magic of the forest's atmosphere. A new set of bloops, rich and percussive zoom towards the end, bogged with sub-bass kicks, soon turning mystically thin, the melody transitioning to the timbre of glockenspiel glistenings as the track slows to a near halt. Its very last moments pop and click, bop and beep, blip and bwop, with an endearing, minuscule sense of silliness, as the first shards of dawn cut jagged through the trunks and thickets, shining light and relief onto the once indecipherable, eidolic scenes of twilight, fading out into day.

Grab UKU's Intension EP – from which this remix is taken – over at his Bandcamp for 5€. A small price for such delicious sounds.



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Friday, 7 February 2014

LAZY INTERVIEW #22: VULKANO


← #21: DCUP #23: HARRISON →

Meet Vulkano. Do you know them? It's ok if you don't. But perhaps you should. They inhabit a strange esoteric area of music, a kind of mystic post-punk – a Swedish girl duo who screech and sing and howl, pogo-stick with whirling energy and bash the spirits out of drums: all with visceral intent. Formerly members of Those Dancing Days, this week (3rd Feb) they released their debut album, Live Wild Die Free. It's a journey through forests, crepuscular creepings, rites of nature, cold and spooky atmospheres cradled in raw craggy basslines and frenzied drumming, as synths float like mists and farflung vocals hold your attention with their endearing high-pitched warcry tones.

But that's what Vulkano are like. Nature, love, friendship – these three things imbue their music as much as they do the people themselves. Having been making music for a long time, perhaps they feel that they have finally arrived at a juncture which allows them to couple their creative output directly with what their hearts feel. The energy of their music is overwhelming, the enthusiasm is evident; and (so I have heard) their live shows are, unsurprisingly, rather mad. Feeling the music is always a sign of a genuine love for music, however. Anyway. They were very kind in answering the YES/NO Lazy Interview, which is below.


Who are you? Where are you from? What do you do?
We are a two-girl band called Vulkano based in Stockholm, Sweden. We like to think we come from space and we are here to give music to the world. Cissi Efraimsson sings and plays the stand-up-drums and Lisa Pyk Wirström plays the keys and percussion.

Why did you decide to start creating music?
We got to know each other when we were 14 and we started to hang out because our biggest interest was music. We went to a lot of concerts and both of us thought it looked so much fun to be on stage playing for an audience and being on tour so we decided to start a band and since then we've played together. For us music is magic.

How would you describe your sound? What makes you and your style stand out?
Our sound is raw and filled with energy. It’s fun, primal and straightforward. We stand out because we follow our instincts and not any rules. When we play together it’s like the world around us disappears and we create our own crazy colourful creepy fantasy world. I think people can hear that in our music and like to be a part of it.

Is there a perfect time and place for listening to your music?
Under the full moon in the desert with a cold beer in your hand. You’re sitting in a nice chair in warm cloths with a home knitted blanket over you. You lay back, watch the stars and let the music take you out of your mind and out of your body.

What inspires you most when writing a song?
Nature, great songs, art, the superficial, volcanoes, other dimensions, colors, science fiction, space and life on Earth. We also inspire each other a lot. We are like ying and yang.

What is your most memorable musical experience?
God this is hard. Ok we’ll choose three.

  1. Our first gig with our first band called Her Peace. We were 14 years old and played at youth garden outside of Stockholm. Cissi who was the drummer played every song so fast. Lisa was so nervous so she had to skip school the same day. The gig went quite bad but the feeling after was something new. We totally felt like rock stars!
  2. Going to Japan to play with our previous band Those Dancing Days.
  3. Recording our debut album Live Wild Die Free in the nicest studio we’ve ever been to with the coolest people Patrik Berger and Nille Perned. The studio’s called Ingrid. It was three of our best days of our lives.
What are your favourite three songs at the moment?
  1. Julee Cruise - Floating
  2. Tussilago – The Sulfur, the Tar and the Smoke
  3. Talking Heads - This Must Be The Place
Who do you most admire in the music world?
We admire artists that go their own ways without compromising with their music and style. For example: David Bowie, Björk, MGMT, Siouxsie Sioux, Syd Barrett and Lykke Li.

In your opinion, what is the future of music?
Music is constantly changing. I feel like music right now is moving to a more electronic sound. I see a trend with less bands and more solo artists. More synth and more drums, less guitars. It also seems like indie bands and commercial bands sound more and more alike. I guess it has to do with that it’s so easy for anyone to learn how to produce music nowadays. I’m not sure I like this trend. I hope to see a much wider sound spectra in both electronic and “real instruments”. I also wish people will be brave and dare to make weird and different music. I don’t want commercial hit music to be the ideal for everyone.

What's the future of your music - what do you hope to do next?
The future of our music is to explore deeper parts of our creativity and come up with even better music and ideas. We don't want to be held back by anything, especially not ourselves. When we write new songs we are being totally open to whatever feels inspirational so that we don't risk losing anything on the way. We hope to tour around the world with our music. We recorded a psychedelic short film that will be released this year and we’d love to do more films beside of the music.

What, aside from music, is most important to you?
Love and friendship. It's important that we treat everyone the same and are open to whoever comes across our life paths.


As for Live Wild Die Free, perhaps you've heard 'Spider Spider', an eerie clanker of a song they offered up as a free download last Halloween, or maybe you've heard the epic wooded mystery of 'Vision Tricks' – both are a good indication of the album's proceedings. But it's more varied than you'd imagine from my descriptions – sometimes outright punk (as in 'Too Young To Die' with its mad screams of "Don't kill me! Don't kill me!"), sometimes gentler pop sounds, sometimes inspired by nature ('Jungle', for instance, which literally describes a trip through a jungle), sometimes not, sometimes noisy, sometimes stripped-down. But it's always a daring sound, sonically diverse and certainly appealing to anyone looking for a bit of energetic music in their lives.

You can stream the whole thing here.



← #21: DCUP #23: HARRISON →



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Wednesday, 4 December 2013

DCUP MAGIC

One of the many cool things about the world is that it's always gonna be summer somewhere. Whilst we freeze and shiver here in the arctic Northern Hemisphere, our Southern counterparts enjoy hot days and warm nights, and vice versa of course. As such, it means that the music of summer never stops being produced, never dies, so there's always something to get your blood up to temperature and whisk you away to tropical shores, rosasite seas, waves breaking slowly on the reef, still lagoons, breadfruit for breakfast... long live our tropics.

Why do I speak this way? It's because of this song by Melbourne producer DCUP, 'Magic'. Just one day old right now, the song comes from a legacy of hot-blooded tracks including the very nice 'Don't Be Shy', which included a remix by Japanese purveyor of emotional and retro house, Boys Get Hurt. I was touched by the message that DCUP, aka real person Duncan MacLennan, left as a description for the song, saying its purpose was "...to not only keep you dancing through these beautiful summer nights down in Oz, but to keep our friends in the North warm on their chilling winter eve's." That's what I like to hear. A bit of togetherness. Global community spirit.

True to its name, 'Magic' is a little goûter of magic. Within seconds of the track starting an unbeatable bassline pops in with a funky bounce, soon joined with samba type piano chords, augmented with excitable bweeps and the occasional flash of synth chords. That samba rhythm in the music gives the track a hot and sweaty atmosphere, something sensually calling out with a wink in a where-will-this-lead manner in the midst of the driving slo-house, disco-evoking beat. The sample of some husky voice saying "Magic..." is a great touch, beautifully placed dynamic punctuation in this exciting sentence of music.

The mix of funk, latin and disco in 'Magic' lands in the cradle of your ears like something retroactive, a time capsule dusted off and polished with modern tools to give it a zeitgeistical familiarity whilst it shines with its own lustre: the sheen of nostalgic novelty alien past. It feels fresh, especially with those varying elements, and clearly comes from a mind that loves to create music for people to dance to.

Fun fact: DCUP collaborated with Australian band Yolanda Be Cool for 2010 hit 'We No Speak Americano'; now that Latin lilt to 'Magic' makes more sense and I love DCUP all the more for it.



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