Showing posts with label Melty. Show all posts
Showing posts with label Melty. Show all posts

Thursday, 13 July 2017

🐣 STEW STIM — FEDORA

The glitter oh the glitter of this track, 'Fedora', the gleaming in-the-sky noises that veil this track with an intimate expanse of heavenly proportions. The liquid waterfall sounds give a sense of cool fluidity, a sloshing wateriness that feels refreshing, and twinned with the chimes and the tract of metallic objects tumbling teasingly throughout, these sounds provide an almost overwhelming blanket of texture, an intense eartickle of sharp glossy insectoid noises, like the piercing ambient noises that swirl in rainforests – the scratchy bugs, the rustling leaves, the crunch of feet on the ground, a neardistant stream – a thicket of sound that is undeniable in how it satisfies the listener as much as a close-up smell of something so beautiful it verges on unbearable, the scent of Earl Grey tea imprisoned and released from its tin, the zing of alcohol and rushing mellow sweetness of vanilla extract. It is a close-up sound, a minuscule sound, a microcosm of these minuscule sounds, a colony: in other words, as far as your senses are concerned, it is alive.

And with this bristling jostle of bright solar powered life glinting and clink clanking with sheen and sparkles Stew Stim adds the gentle haze of synth chords, breezy tones that herald peacefulness and relaxation, they way they rise into the atmosphere like distorted air on a hot summer's day, resonate gladly as the track introduces the beat—overdriven kicks bump into the halo of percussive minutiae, hi-hats shuffle, slapping hand-claps clatter in syncopation—a reflection of human clumsiness, heavy-handed violence in the purity of this delicate imaginary space. And in the midst of this robust clacking and banging the track continues to bubble and wobble with electronic chimes, melodies that appear and dissipate like clouds, small bopping arpeggios that appear to ascend like sped-up incense smoke. Sweet and substantial, this track has the power to lull as much as excite, a beat experiment firmly on the outer reaches, a blissful orbit of shimmering idealism.


  • 🔔 'Fedora' is the opening track to Stew Stim's recent album, a collection of introverted noisy beats and spacey experimentalism called Swine, though 'Fedora' isn't necessarily representative of the more leftfield, often dark bulk of the project. It was released via FRIGHT HOUSE, child-label of rising net-based sensation DESKPOP.


📠
Stew Stim Internet Presence ☟
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Saturday, 22 March 2014

MELTING MOODS – WAHULA

Ohhh yeaa, here's a track for you. It's a nice one. God I gotta stop talking like this. This arrived in my inbox and I really like it. Please keep sending things, I love to hear things. Anyway, the track is called 'Wahula' and it's by a Brooklyn-based maker-of-music called Melting Moods.

There is indeed something extremely melty about Melting Moods. Real name Andrew Krzynowek, he manages to create some explicitly melty atmospheres in all of the three songs on his SoundCloud. 'Black Magic' is a skewed reality of a track, a semi-nightmarish carnivalistic psychedelic electro number, and there is a ton of melted-sun funk aesthetic appeal in 'Space Walker', but the one that stuck out most to me was the most recent, 'Wahula'. Like I said.

Anyway um the synth in this track is gloriously affected, twisted with pitchbends and wah-wah, writhing over the top of muffled pulsar squelch bass, soon joined by scathing waves of distorted saw-wave chords and a crackling melody of high-register hollow synth. But in the middle we're treated to delicious portion of sumptuous funk, guitar crying carefree and groovesome bass mixed in with weird vox. These come up again, eerily repeating the song's name in barely audible lows (I thought I was hearing things at first).

All in all 'Wahula' sways with its ultimate chillment rubbing shoulders quite comfortably with the bummed-out vibe inherent in its stylised sounds, like someone artfully shrugging on a backdrop of eternal summer afternoon. I really like it. It kind of waxes your mind as if you're standing absent-mindedly watching your car get washed in a gold glint of sun through water.



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Tuesday, 18 March 2014

YES/NO GUEST MIX 011 :: MELTY

Last week I fell in love with this song. Maybe I fell in lust with it. Maybe I just really liked it. Whichever it was, I wrote about it. It was called 'Destiny' and it was by a new artist called MELTY. Melty. I can imagine only cheese on toast, only croque monsieurs and madames, only dripping nacho gloop, only pizza-topping aching stretch.

Anyway… MELTY was kind enough to create a wonderful guest mix for me and, well, it's a celebration of bass and darkness and attitude and I think you'll like it.

A particular and nice surprise: Nestled between the overdistorted bass of Exhalted.'s 'VAPOURGRAVE 2001' and its creepy lo-fi vocal sample "There's no such thing as miracles…" ("…Or the supernatural, only cutting-edge technology" – sampling the speech of Revolver Ocelot from Metal Gear Solid 2), and the apocalyptic ghetto house track 'Bass rattle stars out the sky' (it's all in the name), is an exclusive from MELTY. Called 'Untitled' for the moment, it flutters with golden vocal samples against a bruised background of bass before pulsing with electrified waves of synth, lapping gloriously against your ears as the beat skitters addictively onward.

It ends with an explosive remix of 2PAC's 'Fuck Em All' by fellow Sydney-dweller, IMCHILD, which glides effortlessly into the shadowy creep of 'Get Yah Head Bust' by SpaceGhostPurrp. All in all, a mix that stuffs the trappish underground quakes of footwork, ghetto house (WHATEVER), into your ears like kilos of cheese into a bulging panino.


T R A C K L I S T :

  1. NGUZUNGUZU – Skycell
  2. Ryan Hemsworth – Slurring (Baauer Remix)
  3. Lil Ugly Mane – Cup Fulla Beetlejuice
  4. Exhalted. – VAPOURGRAVE 2001
  5. MELTY – Untitled (Unreleased)
  6. Death Grips – Bass rattle stars out the sky
  7. Lil Buddha – Return Of Jah
  8. 2PAC – Fuck Em All (IMCHILD Remix)
  9. SpaceGhostPurrp – Get Yah Head Bust


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Monday, 10 March 2014

MELTY – DESTINY

Bass bass and more bass. Bass so big it transfuses all your body's vital fluids with rollicking sound waves, rumbles you off your seat, trips you over, gets you dancing on the floor like The Simpsons during an episode of Battling Seizure Robots, twirling like a Beyblade 'neath the Boogieman's sun-obscuring discoball. Gloriously greasy bass drip-dripping in chunky droplets— hey! That's enough; stop!

Bassically, I speak this way because I've been debauched by the bass in Melty's fresh-fresh track 'Destiny'. From ??? (SYDNEY), Australia, its this guy's only upload on SoundCloud, a tantalising morsel that gets your ears salivating and literally starving for more. So yeah there's bass as well but but but there's more as well. There's atmosphere and energy and a footwork-flavoured beat that scream to be listened to, jostle to possess you, to guide you into the magic circle of the dancefloor and, well you know speaking in tongues? That's what it wants to do, but to your legs 'n' arms.

It's four minutes of fun. Adopting the ever more widely heard and widely practiced yet cultish and shamelessly addictive rhythm of juke/ghetto house/footwork (what's the frikkin difference, what the hell let's call it jukework house) rhythm, it drops into gloopsome tar pits of sub-bass pitted with a sparse hail of snare, flocks of vocal sample swimming through the air in skittish mayhem. Yet despite this seeming craziness it's minimalist, dropping into real melody only in its central break in bass, where high ringing distorted synth glistens in raindrop sequence – contrast this with the end, where the song explodes in crashing syncopated beats for a brutal finale. Not to mention the haunting low-vox sample of "Destinyyy..." (from the John Talabot/Pional song also called 'Destiny'?) breathing out like a mix at both ends of this immense track.

Give us more Melty, give us more! I love the name too. Melty. It is innocuous, hiding behind the cutesy moniker a swirling swathe of phantoms, bass-hungry demons and a void of nothing that only attracts the largest of sounds. Let's hope there's something soon before we all go insane.



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