Showing posts with label Manila. Show all posts
Showing posts with label Manila. Show all posts

Thursday, 22 April 2021

NO LORE — WITH LITTLE LIGHT

No Lore — With Little Light

⌾ LISTEN TO LITTLE LIGHT BY NO LORE ⌾

Poetry in gentle motion. ‘With Little Light’ is just that: ripples of emotive poetry and soft sounds flowing out from a centre of blissful simplicity. Created by Tita Halaman and Jerald Angelo, aka Manila-based sister-brother duo No Lore, the song features vocals from both, a continuous lilting harmony on a backdrop of glassy synth chords and acoustic guitar.

As the instrumental flows on, gleaming and nocturnal, the relatable refrain croons sweetly throughout: “How I wish I’m good at guessing / Oh how I wish I’m always right”; the intertwining of both their voices recalling the vocal duets of The xx, though with warmer instrumentals to accompany them. 'With Little Light' is a tale of emotion, crossing minimalist aesthetics and considered space with the soulful kinetic energy of a live performance.



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Friday, 2 February 2018

🗞 HUMAN TOY MACHINES: BUWANBUWAN COLLECTIVE AND DULO MNL TEAM UP FOR COMMUNITY FUNDRAISING

It is not usually the place of chiefly electronic and experimental music collectives to put on charity events; that is usually the realm of internationally renowned artists, with these smaller groups often being concerned only with music—sometimes with how it is consumed. However, it is the tight-knit support-network-type makeup of grassroots and underground musician and producer collectives that arguably puts them in a better position to understand bringing their communities up with them, not being too far removed from it themselves.

It is this personal connection with the local community that helped Manila-based collective BuwanBuwan nurture the idea for Human Toy Machines. The event, being held at Makati city's shiny new resto-cafe and eventspace Dulo MNL, is "A Fundraising Gig for the Benefit of the Children of San Diego Elementary School," with the specific goal of raising money to buy science-oriented toys and reading materials for the children of the school. It comes from the mind of collective member Luis Montales, aka producer AHJU$$I, who first encountered San Diego Elementary in his last year of senior high when tasked with thinking of a sustainable community project as an act of service.

"Upon research, we discovered Philippine Toy Library, an agency here in the country that provide underprivileged children with toys and reading materials, but more importantly a safe place to play and be creative," Montales tells YES/NO over Facebook messenger. Though all they had to do was donate to the agency themselves, he explained, there was a feeling of wanting to do more within his group, and soon San Diego Elementary School – "one of the oldest toy libraries that the agency has established" – came to light. "That’s how I got connected to the school," he says.


San Diego Elementary School. Photo by Luis Montales


San Diego Elementary School. Photo by Luis Montales

Later on, and more recently in the timeline of things, Montales approached BuwanBuwan Collective head Jorge Juan Bautista Wieneke V aka Similarobjects, in hopes of putting on a fundraising gig. The specific mission was to buy science-oriented toys and reading materials for the children because, as Montales tells us, "there's a stigma against taking up science-related careers in the Philippines."

A stigma?

"To be more specific, science research careers," he explains. "Parents would often tell their children to be a doctor rather than a researcher because the former makes a lot more money. Even my teachers in school who are researchers say that if you want to be a scientist, it’s like pretending you’re unemployed. Scientists here in the country admittedly lack funding and support from our government. Because of this, they look outward and go abroad to pursue their careers. This is definitely alarming because science and technology is important and even necessary to a developing country like the Philippines."


"By instilling in the children the value of science and technology at a young age, we hope that this gets them to pursue science-related courses and ultimately increase the number of scientists in the country!"

d It's a big community-driven dream which has a good partner in BuwanBuwan, itself the dream of producer Jorge Wieneke. Its history doesn't just go back a few years, but rather hundreds, based on the Philippine myth of the Bakunawa, a huge serpent said to be the cause of eclipses. In more detail, "buwan buwan" is the name of a children's game: one plays as the Bakunawa, and the rest in a circle on the ground (buwan — the moon), who must touch one of the players inside the circle without going inside the circle; a successful touch means swapping places.

In more relative terms, Wieneke explains that pre-colonial tribesfolk would try to scare away the Bakunawa by gathering outside their homes and banging on pots and pans, making a lot of noise, hoping to scare the creature away; others would take a different approach, playing gentle songs with bamboo instruments in an effort to soothe the monster to sleep so that a brave warrior could close in for the kill.

"With monthly 'Bakunawa' events," he writes in an email, "Pinoy beatmakers and live electronic musicians of the BuwanBuwan Collective give a modern nod to these ancient lunar gatherings. With selections of both original and carefully curated electronic music, they aim to awaken, to mesmerize, and to bring people together." It is both this monthly sense of togetherness and the childhood origins of the name itself that ring true with the Human Toy Machines event. And further strengthening that bond of support and equity, he concludes: "In the playground that is music, everyone deserves a chance to be at the center."

The two agree wholeheartedly with each other, with Montales telling us on messenger, "I also wanted to host a charity gig because I believe that good music for an equally good cause is lacking here in the Philippines." After the event itself, and once the toys and books are collected, Montales and his group will be at the San Diego Elementary School every day for 2 weeks "to teach and play with the children and to turn over the new toy library to the teachers of the school!"

Dulo's eventspace. Photo by Nicollo Santos/Neil Patrick Valero

Even Dulo MNL fits the bill. A fusion of coffee and Taiwanese-Filipino cuisine on ground floor, upstairs is a wide space for the purpose of, well, anything. "The idea was to become a safe haven for dialogue and creative pursuits, for artists under all forms and genres of art, from one end or dulo of the arts spectrum to the other," writes Alyosha J. Robillos in a piece for NOLISOLI. In the same article, one of Dulo's founders Alexa Arabejo explains that they are a creative community platform, uncensored, unfiltered, and are driven not only by art but by a desire to contribute to the community, "as well as help artists and art enthusiasts by providing a space where they can gather."

Ultimately this act of gathering, synonymous both with BuwanBuwan's Bakunawa events and the ethos of the eventspace where Human Toy Machines will take place, is the rumblings of building a community. And when people are not helped and encouraged from the top down – by leaders, by parents, or whomever they may be – that help and encouragement must come from the bottom up, from the community, from the people.

✧✧✧

Human Toy Machines: A Fundraising Gig for the Benefit of the Children of San Diego Elementary School

Chinese Plastic Toys
Teenage Granny
Similarobjects
Jason Dhakal
Lustbass
Pamcy
Tito

Find details of the event on Facebook

✧✧✧


  • 🔔 The vivid flyer for the event was created by Gilbert Redona.
  • 🔔 Last year Jorge Wieneke put together a guest mix for YES/NO as Similarobjects, looking at the history of Filipino music by taking in both in urban psychedelic flavours as well as indigenous music. You can listen to that over here.


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Dulo MNL Internet Presence ☟
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Friday, 12 January 2018

🐣 LLLL — FALLING FEAT. U-PISTOL

Shoegaze guitars stab out staccato patterns in this latest one from Tokyo musicmaker LLLL, 'Falling', a catchy cavalcade of sound that mixes those chorused guitar chords with the piercing neon ice of trance synth, and elements of pop rain down like little gemstones: the uptempo beat and its rollicking tom fills, the breezy chord progression, and not least the vocals of featuring artist U-Pistol.

Also known as Moon Mask, and previously making music under the name Ulzzang Pistol, the Manila-based producer and singer-songwriter sings with mellowed emotion, his voice crooning and fresh. He spoke to us above reverting back to his original moniker: "U-pistol still means Ulzzang pistol," he told yes/no. "Ended up shortening it because the term confuses even the people who are familiar with it. I think shortening it makes it easier for everyone to approach but the heart and meaning of the name still lives on."

His voice flows easily in the cold detachment of LLLL's overdriven drums and spectral javelins of synth, weaving warmly in and out of the sorrowjoy crush of this trance-pop-gaze cocktail, joining with the '80s flavour guitar and cinematic composition of the track to give it its lovable human heart; guitar solo at 2:47 screams virtuoso fire, emphasising the speed whilst contrasting the pop-ness of this track, echoing its title and the frustration of being in freefall.


  • 🔔 'Falling' is out today on internationalist label Zoom Lens. You can grab it here.
  • 'Falling' is taken from LLLL's forthcoming Chains Phase 4, part of his 12-month-long "Chains" project, in which a new "Chain" will be released each month, split into 4 individual EP releases courtesy of emotive electronic label ZOOM LENS. Chains Phase 4 is out 28th February.
  • The artwork was created by Brenden Savi, and reflects the twisting icy tumult that erupts almost chaotically throughout the track.
  • 🔔 Back in the early days of yes/no we received a lovely guest mix from Ulzzang Pistol, representing a cluster of Manila music talent: here is YES/NO GUEST MIX 014.


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LLLL Internet Presence ☟
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Wednesday, 20 September 2017

🐣 MOON MASK — TWENTY MINUTES DREAM RUNNER

Like a heavy heart this track shifts its way into your perception, that sinking stomach feeling, emptiness, beginning with a slow ominous luscious clopping clock and insectoid ticking and slumbering breaths and then we fall into the urgent synthpop of it all, and the vocals of Manila's moon mask opens up a deep croon: "Met you asleep in a dream…" Big thumping drums create a driving energy – a gotta-do-something '80s filmic montage of an atmosphere – with simple kick-snare alternation with stomping gloopy bass that cuts a basic booming groove beneath the miasma of electronics that glide and soar and punctuated by sparkling starlit melodies twinkling beneath it, bright neon chords electrify the heavenward introspective gloom of it, shocking strobes in the murksmoke.

But the dreamy atmosphere that dwells in 'twenty minutes dream runner' arises because, moon mask explained on Twitter, it's "based off a short story I wrote once about a decaying man reliving dream." There is indeed an aroma of decay that whirls around in this synth-laden dreamscape, the cardinal reverb that the drums are soaked in so they crack and roar in the song's verses, and in the literally decayed melody that twists and turns fizzing abrasive in the bridge, overdriven and piercing. The chorus is catchy, deliciously so, with rapid pogoing vocals: "20 minutes better run baby ah, 20 minutes left before they take you away…" A fantasy lovesong, an electronic pop elegy, this is the idealised grip of nostalgia manifested in the hazy hangover of something distantly dreamt.


  • 🔔 You may purchase 'twenty minutes dream runner' digitally via Bandcamp if you like. It arrives ahead of moon mask's EP scheduled for release early next year; "I've been trying to take a bit of a new direction in my sound," says our boy in the track's description, and the new EP will probably mirror that sentiment.


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moon mask Internet Presence ☟
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Thursday, 17 August 2017

🛰 GUEST MIX 029 :: SIMILAROBJECTS

"Over the years I've developed a nasty habit of digging for music during my spare time," Manila musicmaker Jorge Juan B. Wieneke V aka similarobjects writes in an email. "Whether it be the sounds of the past, present or future it always seemed like I've got a habit of seeking for something good for my ears to munch on." He's the latest artist to step up to the plate and smash a guest mix out of the park—and it seems as though he's a good choice because music, and not just making it, is a big part of this producer's life.

"For writers, people say that "reading is writing" and I feel like this applies to us musicians as well," he explains, "so when I'm not creating I just spend a lot of time digesting music from everywhere and anywhere."

In this guest mix, our 29th, similarobjects takes metropolitan Latin flavours and psychedelic guitars, moods conjured with gentle glossy keys and meandering jazz journeys, magical crooning pop party music, and gradually mixes them into the indigenous interiors of the Philippine islands with darkly chiming percussion and fresh organic textures: it is a cocktail of history and culture.

"As of late I’ve really been stuck on listening to a lot of Filipino records from the '60s, '70s and '80s that draw influences from Western jazz, Indo-jazz, jazz-funk, jazz-fusion, ethnic, samba, folk music, Brazilian, as well as some pieces that fall under the category of ethnomusicology," Jorge writes, taking us through the mix. "I thought I'd share a slice of Filipino culture through some of my favorite selections as a lot of these artists/songs really spoke to me and I hope this mix finds you well. And for those who follow my work maybe this mix can paint a picture of where my head is at the moment."

Previously the musical output of similarobjects has been typified by enigmatic atmospheres, otherdimensional flavours, beats that range from dusty organic to clipping and chaotic, a sonic world of synthetics and introspection. The gentle, cleansing house ambience in last December's two-track release Etheric is different to the high-concept frame of SoundCloud album Happiness is a deactivated Facebook Account, filled as it is with nerve-racking breakcore-style beat glitches and a hectic dystopian mood. He mentions in his email that he's working with RBMA Paris alumni JOHN POPE on "a collaborative EP in the form of a videogame," which will be announced properly soon.

This guest mix, however, acts as a precursor to another upcoming release that seems as though it will be moving away from his past futurist abstractions. It's an EP called UGAT.

"Ugat means "Roots" and it carries with it a sense of re-connecting with our roots as Filipino people," Jorge tells us. "The underlying concept of this EP is that the whole body of work is an ode to forgotten and lost instruments, rhythms, cultures, traditions and practices of the Philippine Indigenous Tribes and our Ancient Ancestors."

As such, some parts of this mix – the obscure mystery of 'Suling Suling' and 'Ugnayan' for instance – really feel like a moodboard for the producer, fresh paint on the palette for his next artistic endeavour, the next step of his musical evolution.

☆TRACKLIST☆
00:00 Bong Peñera – Batucada Sa Calesa (1977)
02:54 Bobby Enriquez – Recado (1982) 
09:44 Flip Nuñez – See You Later (1976) 
17:14 Bob Aves – Gongs Can Swing (2014)
20:53 Boy Katindig – Midnight Lady (1978)
31:25 Dakila – Makibaka/Ikalat (1972)
40:06 Pasta Groove – Suling Suling (Dr José Maceda Rework) (19??)
42:08 Dr José Maceda – Ugnayan (1974)
52:02 Joey Ayala – Buwan Buwan (1991)



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similarobjects Internet Presence ☟
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Sunday, 30 April 2017

🐣 OLYMPÍA — FRUST

The sentiment of this one is loneliness, distance, the soft heart of this song left out in the cold. There is something in the way the guitar calls out, virtually tempo rubato, out of time with the sharp beat—it appears grieving and sorrowful, lapsing on rhythm and sounding more expressive as a result, natural in its mournful ache. This is the emotive centrepiece of 'Frust' (like 'frustration' + 'frost'?) by Manila musicmaker Olympía; these soaring solo guitar snippets could well work against their synthetic counterparts in the track but in fact exhibit raw feeling juxtaposed against the smooth, glitching electronics.

Whilst the echoing guitar tells its emotive tale, an intricate bed of beats spreads out, with rapid-fire thumping kicks, ticking hi-hats, delayed snare clusters and a stark click that reverbs into the downcast gloom of the frosty track. Plaintive synth chords clonk percussively muted and warm: a smooth foundation for the shards of bristling beat, the squirling needles of the guitar. Wordless vocals from Olympía add to this sense of softness. But conversely the spectre of glitch, abrasive and disruptive, pockmarks the tranquil sadness of 'Frust', preying on its chill sense of regretful acceptance – blurry at 00:31, crackling mechanical from 00:43, occasional throughout – peace disturbed by the disquiet provoked in the mind by overflowing emotions that attach one human being to another.


  • 🔔 You can find Olympía's own back catalogue of music on her SoundCloud, alongside songs she's featured on with fellow Manila artists like aries and crwn.


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Tuesday, 25 April 2017

🐣 PAOLA MAURICIO — CONSENT TO THIS

Arriving from Manila today is this solemn march of a track, this synth-heavy lament of longing, 'Consent To This'. Twinkling from its sombre and wholehearted beginnings, a moody VGM-flavoured intro with synth leads that lance into the distance, the song builds into loftier emotive heights where fizzing chords swell over the tumbling overdriven kicks and clacking snare hits, firework ornamentation with shivering metallics, the voice of Paolo Mauricio vaulting up into the ether and gliding on this dreamy bed of sound.

Those vocals drift throughout, slow, earnest, carrying their silky lilt over the various decorations to the beat – the additions and subtractions of hi-hats, the fluttering high pitch synth like blinking stars, the smooth flutey sounds in the last especially bristling chorus, the energised drum fill at 02:58, aaaah, the whole thing – over all of this exceptional soundscape swaying slo-mo and sleepy. All the elements come together perfectly, Mauricio's voice weaving through the aching bumps of the beat and the sultry swathes of synth draped over them, a beautiful sculpture.




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Wednesday, 20 July 2016

MOON MASK – GONE (IN A MOMENT)

moon mask is the artist formerly known as Ulzzang Pistol, a change that occurred at the end of Ulzzang's finale, the Zoom Lens-released Waste. The Quezon City, Manila-based newly named moon mask is now prepping to release his debut EP under the new moniker, Irreversible, and in the lead-up has dropped the first taster, 'Gone (in a moment)'.

With pinging delayed guitars and staccato steel-pan synth chords painting a electro-tropical backdrop, a strong retro beat beating bouncy time, the whole thing drips in reverb like a hazy, soft-focus watercolour, painting memories tinged with regret, the combination of groove with the bass and beat, the spacey melancholic instrumental and vocals – positive melancholia? – reflects the bittersweet nature of the lyrics and meaning; a blast of pop as pop should be: catchy and meaningful.

mm spoke a little to me via email about song and the EP. "They're based on romantic pursuits I had long ago, written to be more general and relatable to anyone sharing similar experiences," he explained. The song "focuses on the feeling of getting a connection with a stranger at a certain place and all the thoughts that argue in one's head regarding them making the first move or not."

He went on;

"it's a bit pessimistic since the song is saying that there is only but little time and that the person will be gone eventually and even if one does make a move, relationships do end and someone has to leave."


  • The Irreversible EP will be self-released on... date TBA.
  • Co-production on 'Gone (in a moment)' comes from mm's dad, Jun Gomez; mix and mastering by Jorge Juan Wieneke V (aka musicmaker similar objects)


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Thursday, 25 September 2014

LOCAL DISK (C:) – ERROR

Please allow me to introduce Local Disk (C:) – a musicmaker from Manila, the Philippines, and part of his friend Ulzzang Pistol's collective, Youngliquidgang. I was first acquainted with his music when Zeon (that's Ulzzang Pistol) shared a guest mix for YES/NO, a representation and showcase of his collective's artists, including a track called 'Event Horizon' from Local Disk (C:). I really like typing Local Disk (C:) so I'm gonna write it fully every time.

His latest track 'Error' is a step above that one though. And in fact, his track before this, the soundtrack-to-a-crisis of 'CommandPrompt', was also a step above that one. Both of these things mean one thing: that he is developing, improving, as an artist. Anyway here is 'Error' – it sounds like this…

It's lush and expansive, a floating medley of phasing synth chords, subtle slap bass, euphoric anime-soundtrack-style strings and a lounge style beat, complete with rim shots, gloriously off-rhythm hi-hats, rapid kick flourishes – a fog of longlost memory seasoned with the joy of remembrance. It doesn't do what you expect it to do; from those first few touches of piano it takes a different direction, ending up gorgeously ornamented with a long, rich and vibrant synth solo. It's like chillwave with jazz-pop and trap / R&B influences, too… but y'know everything's always difficult to pin down, especially when it's such a medley of sounds as this.

Certainly my favourite track from Local Disk (C:) so far – but he keeps getting better, and also his previous work sounds a little different to this (in general), so I'm excited to hear what's gonna be next.



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Tuesday, 5 August 2014

NO ROME – HEAVEN

Been meaning to post something about this for a while now. Better late than never though. So here it is. It's by a guy who goes by the name of No Rome (irl: Rome Gomez) and he's from Manila – actually, he's the brother of Ulzzang Pistol: they're both part of the tight-knit, underground collective Youngliquidgang, or YLG to be brief, one of a few in the capital's bustling music scene (another being, for example, Buwan Buwan, headed up by Similar Objects).

Mastered by collective-mate SOUL_BRK, 'Heaven' is basically a beautiful song. I thought it was beautiful when I first listened to it, but it wasn't until I was in the shower a few days later when the vocal hook came back to me: I found myself humming it (and noticing, also, that it sounded a little like Rikrok's part in 'It Wasn't Me'). This two line fragment repeats throughout, lending the otherwise chill-hop-leaning track – itself awash with a fluid cascading koto-esque instrumental, chopped and looped, with sub-bass blasts – an R&B flavour. Punchy beats with satisfying sharp and shiny hi-hats drive this mantra forward, becoming deliciously rapid-fire and frenetic towards the end, with sampled punctuation in the form of "wow!" and another, wordless exclamation. It's difficult not to be drawn into its spiral of hypnotic repetition, which is to be fair dotted with dynamic breaks and additions along the way.

It's when you hear about the background, the context of this song when it becomes even more poignant and even moving. Within the space of a week Rome lost his grandfather, and his friend Guillo Cesar Servando, a fellow student at De La Salle–College of Saint Benilde, who was killed in a fraternity initiation. The lyrics take on a more poetic edge in this instance; every time I hear his voice singing it's easy to feel the emotion. On the other hand, they're neutral enough so that people hearing it for the first time can still vibe to it and sing along, as with any catchy pop song.

LYRICS:
and i’m playing with the radio sound, i don’t wanna hear what’s going down
and i wish i was with you now, heaven probably told you to say goodbye

Yet another (but the greatest, I think) in a string of cool songs from No Rome, another URL-based J-culture-appreciating talent of Manila with big things ahead of him – it's almost guaranteed.



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Thursday, 17 July 2014

Y/N GUEST MIX 014 :: ULZZANG PISTOL'S YOUNGLIQUIDGANG FOXHOUND MIX

I love the internet. I just love it. For things like this, i.e. actually communicating with artists on a one-to-one level, it's just the best thing ever. There are a lot of other inventions that are quite useful, like toilets, airplanes, and various medical advancements, but the internet is just parfait. So I was chatting to Zeon Gomez aka Manila-based artist Ulzzang Pistol on FB & I asked if he wanted to make a mix and he said yes, so here we are.

But this is a mix with a difference: besides being the 14th Y/N Guest Mix, it's also a showcase of a collective part-founded by Zeon himself. "I make my own music by mixing J-pop influences with house, disco and dream pop, usually through the use of Japanese lyrics," in an email he tells me about what he does. "I don't know if you can label it as J-pop, but I'd like to call it that way I guess. I am also a Co-founder of the Manila-centric collective called YOUNGLIQUIDGANG, where I handle PR and Artist Management duties."

Youngliquidgang itself is a hotbed of creativity – a 12-strong (and still growing) group of young and talented Filipino music artists, mostly all electronic; "Basically," says Zeon, "YLG is inspired by a family/brotherhood kind of feel, where like-minded artists support each other into creating material and refining their talents." The collective was co-founded along with No Rome (aka Rome Gomez, his brother) and Keats Collective affiliate, MERLINDA/WALLS (Ethan Namoch, also making music as COEXIST). Zeon describes the simple story behind its conception: "We only wanted to make a community of electronic musicians around our university [De Lasalle-College of Saint Benilde], but it ended up being a nationwide collective after we decided to move out of the school's music scene."


though we are generally like-minded we also have our little differences that we love and try to accept about one another

From the downtempo soul of singer/musicmaker Hana ACBD and the cosmic blizzards of Local Disk (C:), to No Rome's lush glitterscapes and vapor-leaning R&B tracks from Colombo Beats, YLG is a varied bunch – but there's a bond between all of them that's less loose collective, more tight-knit gang (hence the name, I guess). "What connects us all together, apart from similar tastes in music," Zeon elaborates, "is this CULTURE we shaped inside our group, this family-like atmosphere, where we don't just meet on a artistic level but on a personal one as well, we sort of look out for each other." You can see this in the various remixes they do for each other's tracks, or in the way that vocals are offered up from one to another, etc.

"In short," he continues, "it's about love and respect, where we believe in the skill of others (especially the under-appreciated artists/talents)." Which is a lovely message that I imagine (or hope?) many others in the music community share and equally uphold; I mean, it was/is the YES/NO's raison d'être in the first place.

As for the mix itself, it's choc-a-bloc (bet you never thought you'd hear that ever again) with goodness from the fair isles of the Philippines, beginning with the moody 'ALWAYS' by MSN メッセンジャー (that's 'Messanger' in katakana btw) with its booming kicks, pitch-shifted vocals and classical ambience, continuing on a smooth journey of differing slices of electronic chill, and ending on a high with colourful dose of electro-pop The Valiant Vermin (self-described as: "Bedroom Project of some high school chick") with cute 'n' catchy rapid-fire vocals.

Zeon sums it up: "This mix goes to show that, though our artists are from different genres of electronic music, we share a form of cohesiveness or oneness with the vibe our tracks emit, to give a tag it'd be 'UNITY IN DIVERSITY', much like a family."


• T R A C K L I S T •
  1. MSN メッセンジャー – ALWAYS
  2. What is Andromeda – If these trees could talk
  3. MERLINDA/WALLS – Departure
  4. SOUL_BRK – Nights
  5. Local Disk (C:) – Event Horizon
  6. Colombo Beats – Cater 2 U Edit
  7. Hana Acbd – Like Butter
  8. COEXIST – Fare Thee Well
  9. Ulzzang Pistol – ??????????
  10. No Rome – Heaven
  11. The Valiant Vermin – Good Girls Sin


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Wednesday, 4 June 2014

ULZZANG PISTOL – PASTEL 女の子 (ET ALIAE REMIX)

Welcome. If you've never been here before, well done to you; if you have been here before, well done to you, too. Basically, we're here today to talk about a remix of a song, or perhaps more specifically a remix of a track. I actually heard the original track, 'PASTEL 女の子' (where '女の子' – onnanoko – means 'girl' in Japanese), a few weeks ago and thought "hmm ooo yea I'ma write bout dat" but it seems it never happened. However, now that I'm here, and you're here, it's the perfect time to give it a sprinkling of spotlight.

So yes, the original, by Filipino musicmaker Ulzzang Pistol – who also heads up the Philippines-centric Youngliquidgang collective – is a Latin-flavoured slice of synth-lounge, complete with groovesome bassline, 80s-drum-machine tom fills and glimmmerings of glockenspiel. A kind of laid-back, easy-listening, city-by-night feel, flourishing in its own sense of romance.

Made for and taken from the net-station/label datafruits.fm compilation, Funky Freaky Freestyley, Ulzzang Pistol put it up with downloadable stems, allowing anybody to remix it. And that's exactly what et aliae (which means 'and the others/rest' in Latin, but it's feminine plural so could be translated as 'the other girls' or sth like dat) has done.

Mixing the dizzy potential of R&B-inflected beats and neon-tinged tremolo synth chords with softly reverbing marimba and gentle glassy cascadings, the London-based et aliae produces a stunning remix that simpers high above the original; a persistent ghost of swirling cloud-sounds that summon silver-outlined dreams.

Say, if the original was the actual soundtrack to a person wandering around the heart of a city replete with bustling streets and entertainment at every turn: then this remix is that person's out-of-body experience, their true consciousness floating as their body is jostled by crowds, beset on all sides by relentless sights and sounds and smells, seeking without end something indescribable.

Or at least, that's what I get from it... so uh...



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Tuesday, 22 April 2014

SIMILAROBJECTS – FELT_IT

I dunno about you but when I first heard this song it tickled my ears so much that I needed to itch em. No jokes. I don't know if that's meaningful or anything but I've written it now so let's just leave it at that. Anyway, point being: it sounds real good. What sounds real good? This track 'Felt_It' by Filipino producer Similarobjects – real name Jorge Juan Wieneke V, from Makati (one of the cities that makes up Metro Manila), there are but two songs on his SoundCloud, one of them being a repost, which is this particular track.

There's something real nice about this track – a narcotic haze that seems to veil everything, a drugged atmosphere that leans towards the cooler streams and tidal pools of chillwave's breezy style; even the beats seem to be shadowed, blanketed, by these rich fog of synth sounds, out of which appear vocal samples which seem to ripple in the vast fluid expanses of synth, moving in huge, slow waves of sound.

But then there's this break in the middle, where the vocal samples seem to be turned down a notch, taking on a low-register, nearly menacing tone – the beat changes too, becoming a double-time jaunt of hip-hop to the trickling sway of trappish design at either sides of this little break. After this, the vocals become higher, become more frequent, jumping out of the richly textured mass of cloudlike sound like glossy dolphins breaching the surface of a silvery sea in slow-motion, the sun turning splashes into golden glints that explode with each samples breathy entrance to our ears.

It's quite beautiful – ambiently so. And then at the end it morphs into something different still, a slice of chillout where indecipherable yet soulful voices fade into a resounding void – if the title is anything go by, well, yes: I felt it! There is feeling here! Wondrous feeling. Wondrous yet lonely – the busy feeling of being encased in a bubble of unconnectedness in the midst of a bustling city full of people. And I hope you liked it. I am looking forward to more from this guy.



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Thursday, 17 April 2014

VOYAGER – PARSEC

Just to clear things up to begin with, a parsec is "A parsec is an astronomical unit of distance derived by the theoretical annual parallax of one arc second, and is found as the inverse of that measured parallax" (thanks Wikipedia), wherein 1 parsec is equal to 3.08567758 × 10^16 metres – of course. Duh. What else is new?

It's a pretty big distance. Big distance for a big place: SPACE. I wonder if it's longer than a light year… (just looked it up, IT IS). So it's like... just a different measurement. Even in space there's a metric/imperial-style confusion and conflict at work. We never learn.

So anyway, now that that's outta the way we can have a listen to 'Parsec' by VOYAGER, or stylised V O Y A G E R (but it's too much effort to write every time) on his actual SoundCloud, the moniker of musicmaker Paco Santos from Manila. 'Parsec' is a basically a groovesome piece of music that finds its feet in funk as much as it does in the slow sensuality of R&B.

Beginning with a glorious palm-muted guitar intro, suggesting that we will be delving into a wholly funky number, we soon find out that we're in something else entirely, something a bit more intergalactic or spacey, suiting the track's name. This is a soaring morsel, deliciously rich with ever-reverbing piano chords that provide a beautiful blanket of noise on top of which everything else sits quite nicely – below this, the bassline ascends and descends, supporting the slow, R&B-style beat. There's something ultimately chilled about this, laid-back, barely sung vocals echoing amidst the smart synth arpeggios and lead guitar-esque melodies.

It's basically like a cross between a pop song and a vision of what indie music might actually be in the future – without going as far as saying it's outright funk, R&B (not least with the "future-" prefix), chillwave, whatever. Really genuinely beautiful & catchy stuff here.



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Monday, 12 August 2013

SPAZZKID IF NOT YOU THEN WHO [VIDEO]

At the time of writing this, I've just come out the bath having listened to Spazzkid's live set on e-venue SPF420 (that's a place where people can stream a live performance of themselves to people all over the world). It was really relaxing. The style of his positive-vibed sounds and samples combined with his slow yet groovesome pace really went well with relaxation time in the bath. You could call it "bathwave" but I'm not sure if it will catch on. If it does, then Spazzkid has the rights to be Godfather of bathwave. If it doesn't, we'll pretend I never came up with it.

Anyway, all of this aside, just today Spazzkid has released a new video for a song off his most recent album, Desire (願う), called 'If Not You Then Who'. It's a glistening waterfall of a song, dealing with the feelings of loss and longing that go with a broken heart. That's what it sounds like to me anyway. The romantic plucked strings of the guitar sail gently beneath the vocals that lament their own fortune. But it manages to sound beautiful, no matter how sad the feelings behind it may be - a beat soon drops in with waves of distorted bass synth. Soon you're bopping along, forgetting that sadness.

The video is pretty cool too. It's freaky, with footage from Japanese sci-fi film, Tetsuo: The Iron Man (1989), that seems to spookily match up with the dynamic changes in the song. Despite the prettiness of the song, the scare-factor in the video is still inescapably there. Maybe that jarring effect gives a perfect illustration of the feelings of coming out of a relationship.

Pretty weird, huh? That metal arm thing reminds me of how the guy's arm in Akira begins to get all weird. One influenced or inspired the other perhaps.

Back to the song. That beat is given some well-placed limelight on its own with the subbiest of basses from around 3:40 for a few seconds. It's only a little bit, but it's enough to come up for a breather - so to speak. That beat sounds damn good on its own (maybe he just wants to show it off?). It's something that Spazzkid seems to do very well in quite a few of his songs. These little dynamic changes don't appear to be much, but I'm sure the amount of thought that goes into where they go, what's going to be involved, what to take away, how long they last, etc. etc. - the result is of course very much appreciated. At least it is by me.

The koto, plucked Japanese instrument, is a lovely touch. It's the kind of instrument that always seems to summon elegance, wherever it may be used, and in this case it's no difference. It adds a timeless appeal, making it sound quite mature at the time. He doesn't have to "rely" on synth, but even in this case those scattered synth chords are really very nice, giving it a trance-like edge. Very nice. Weird vid, but oddly works.

You can go and download 'If Not You Then Who' for free if you like :)

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Sunday, 26 May 2013

SPAZZKID GETTING TO KNOW YOU

Hello. There is some music that is created with such an atmosphere, music that evokes different fantasy worlds almost, ones that you can taste on the tip of your tongue and feel on your skin like rays of light from the sky of a world with two suns; or if that scares you, just a regular perfect-world version of our own world. Colours alive, gentle breezes, mild nights.

Yeah yeah, this is the kind of vibe that inhabits 'Getting To Know You' by Spazzkid - but who is that? Well otherwise known by the real world name of Mark Redito, he comes from Manila but currently resides in LA. What he has created is a sonic wonderland, the perfect scenery for the passing of a perfect day, a beautiful escapist soundtrack that bursts with carefree electricity and popping colours that paint the fantasy-land as it moves along, like a stage from Yoshi's Island or something.

I suppose in a way the song is reflective of its title: it illustrates all the butterflies and small smiles that accompany the sweet feeling of getting to know somebody that you already know that you like a lot. It's sentimental without being emotional, capturing instead the side of emotion that triggers haphazard happiness. See fo yo self.

Cutesy synth piano sets down the melody and cut-up acoustic guitar chords gives the song its foundation, to which a nicely modulated bass responds in kind. Interestingly, the whole song is backed with a dubstep beat - I don't like saying that though because it makes the song sound as though it is a "dubstep" song, which it ain't. It's a half-speed drum and bass rhythm, giving it a laid-back-yet-restless feel. Vocal samples feature throughout, yet are at their best in the song's halfway breakdown, when the beat is given room to breathe - here the vocal samples are chopped up and used as an instrument themselves. At this point, too, a solo synth melds over the top: lovely sound, like a stylophone.

Towards the end, a nerf-machine-gun type popping synth sound - a synth tom drum, maybe? - crazes its way towards the finish. A very electro-pop sound, in a world of cute-chill. There are also vocals from Mr Spazzkid himself, lo-fi and reverberated, that pop up just a few times in the song. Overall, everything in this song comes along in such varied ways and the dynamics are played with - it's a playground of sound that is just too fun not to listen to at least twice in a row upon first hearing. I know I did.

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