METOME – SALAMANDER

Ah! Oof! Shit yes! Do you know what I mean? That's basically the sound of someone enjoying a spot of music. Namely, it's me. But it's weird to think that I would never, ever have this kind of reaction in everyday life – I'm quite reserved really, in general. SO I CAN BE MAD WHEN I WRITE. AND WHAT MAKES ME MAD IN A GOOD WAY? SUPER GOOD MUSIC, THAT'S WHAT.

AN EXAMPLE (ok that's enough) an example of some super good music is the inexplicably talented Japanese producer Metome. My love affair with Takahiro Uchibori (the real name of Metome) began last year, with his incredible fusion of deep house, lounge and funk in the sample-heavy 'Water Cycle' – if you have never heard it, I supremely urge you to check it the hell out. This was followed up with the ultimate in sultry lounge romance: 'Take This Love' – which in turn was followed by more and more and more (JUST check his soundcloud).

But right now, Metome's latest track 'Salamander' has got me going. More overtly dance-oriented, it's the kinda thing that could whip a crowd into a foaming frenzy in just a few seconds. Hear why by listening to it with your ears.

Characteristically full of samples, the song is a stuttering machine-gun rattle of sounds, an assault of pleasure in the form of popping, juddering samples and a beat that follows it; a hail of holographic candies that burst all over your brain with all the same vibrancy that explodes in an abstract Kandinsky painting (for instance, a single snapshot taken at some point in 'Salamander' could easily look like this) – shapes and lines and colour! TRUE EXCITEMENT; this wild repetition leads into thick-curry-rich sparkling synth chords to slow things down, epically aligned, before jumping back into the fighting-grasshopper lightning tangle of sounds. What more can I say?

• For more fun with Metome, why not check out this Y/N Lazy Interview in which he was kind enough to partake?
• Salamanders are not reptiles, they're amphibians.

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Metome on… → Facebook • Soundcloud • Bandcamp • official site • Twitter

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METOME – SAMPLE CHAIR [FREE DOWNLOAD]

It's only been a few weeks since we heard from prodigious Japanese producer Takahiro Uchibori, aka Metome – in the form of the moody 'Rainmaker' and its ominous video – but already there's something new for us all to savour. Yep, he's as prolific as he is good. And this time around it's something a bit different to the norm; usually Metome is all sumptuous post-lounge with free-flowing jazz instrumentals and rapid-fire sampling— usually.

But the oddly yet somehow brilliantly named 'Sample Chair' is a sketch of something different, a foray into a different set of sounds, an experiment with wide synths that seem to have been given off by some distant space ship somewhere, a far-flung space-disco orbiting a planet where we'll arrive hundreds if not thousands of years from now. Perhaps that's the case. The other possibility is that Takahiro's mind is as elastic and frenetic as his sounds, and hence the seeming strangeness of 'Sample Chair'.

That of course is not say that it isn't good. It's great! Irregular bouts of keyless almost atonal synths pop up unexpectedly, bouncing around as if being thrown and somersaulted in low gravity; here the virtuosity isn't in the notes themselves, but how the notes are manipulated, how they are placed with regard to rhythm, or maybe more accurately with no regard to rhythm. Organic kicks and claps and clicks occasionally pop up; the melody whirlwinds at times in a frenzied storm; high-register vocal samples chirp in the expansive galaxy of the blissful chords.

There is almost no reverb at work here at all, invoking a heavier sense of silence or rather the space between sounds than previous Metome tracks, which often were hazed or lightly breezed with soft and pretty reverberating sounds. It's experimental, taking the essence of glitch (look at the track image for instance) – which is to create glitchy sounds – and using it to instead twist and manipulate his sounds in natural, real-life, less digitised ways, as if his synths are putty that he simply plays with.

• Discover a lil more about the lovely Metome w this lil interview he did for YES/NO

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METOME – RAINMAKER [VIDEO]

Well well well here is a surprise outta nowhere. Straight out of the blue up the avenues of unknown fizzing in a bottle of Diet I-Dunno opened to the world and poured out in a sparkle of sudden realisation. Anyway it looks as though Metome, the prodigious musicmaker from Japan, has made some more music. At least, I haven't seen this song anywhere before. It's a new one! And it's a video straight off the bat! Boom! Whoosh! Zip!

So it's something new and already you can hear that it has a subtly different sound to the shining Metome gems of old. These, from the up-tempo and blissful 'Water Cycle' to the slow jazz sensuality of 'Take This Love', are pretty much all free-form improvisational numbers, polished with an organic aesthetic and a penchant for glitch multiplicity, all smothered in wholly cool lounge-like atmospheres.

'Rainmaker' sees Metome take a turn for the darker, for the more mystical, perhaps just in the style of the vocal sample – utterly drenched in a fog of reverb – which as usual he gleefully twists and turns with deft touches here and there; but then this "darker" sound is also in the cold, glacial nature of the washes of chords that summon a certain swirling bleakness, a cloud sea quaking with sub-bass where components of the beat – tight snares that roll rat-tat sometimes, unassuming collections of clicks – and shoals of bleeps float in graceful flotsam colonies.

Made by Videcam Production, the video suits this somewhat more serious sound down to the ground, documenting a Pan's Labyrinth-type affair, in which a girl finds herself magically beckoned by a demoniac skull-headed magician and whisked to another world. The washed out colours of the video suiting the freezing breeze of sound in the song, its slightly unnerving vocal sample singing a plaintive lament that, on its own, could plot the fateful journey of the girl to the magic door in the video.

• At the end of last year, Metome released Objet, an album of old and new stuff. It deserves your attention!
• In addition, come have a look at an interview with Metome.

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METOME BLACK BLACK

Seriously. Seriously. If you don't already know about this guy, then please get to know him and listen to all his music - I mean, if you like this song, there is really no reason why you wouldn't like all of his other songs. If you do know him: share his music with everybody! Play it in your car, play it to your friends - for instance, the sounds of Metome are like, the staple of late night chilling & drinking with friends. This Japanese producer totally deserves more exposure.

Saying that, I really definitely missed out on writing about his last song. (Well, not entirely because I managed to cover it - name: 'Bshop's Ring Sun' - for Dummy magazine). Not to worry. Because he's literally just uploaded a new track called 'Black Black'. It's marked with what typifies a regular Metome (real name Takahiro Uchibori) track - smooth sampling, dynamism, definitive groove - but this one seems even more polished, more minimalist, deeper. I'm not altogether sure because each Metome song, despite their similar elements, sounds satisfyingly different.

Taking low-register vocal samples and spreading them over a bed of vinyl crackling and slow-moving swirls of clouds, the song starts in a chilled fashion, captivating and tranquilising with its ambient ataractic atmosphere. Always one for unexpected movements within his music, however, Metome turns up the heat and starts to fry us up with a delicious medley of flavours. With the samples till taking their lead position, he casually tosses in unmistakably funky slap bass - with the treble way up for for maximum raw twangs - providing foundation for occasional piano and synth chords. Dancing in and out of these delectable sounds is the intensely skiffling beat, noodling hi-hats sometimes shearing into the spaces between sounds.

Sometimes a bit of sub-bass bulges in like a mysterious deep-sea creature. What is an interesting addition to the fold is a bit of saxophone (at least, I THINK it's saxophone), jazzily tearing its way through the naturally resounding, porous space that Metome has left in his wake. That's one element that I think he never does away with: jazz. Jazz-inflections, jazz-spirit, jazz-improv. It's often in his songs in one way or another and it's a very unique way to present the genre; yeah, it's like electronic jazz. But it's not at the same time. Kind of undefinable, don't you think? I'll try again... electro-chill-jazz-step, perhaps. If you like this, share it with everyone. Oh, and Metome is currently working on an album, so I think it'd be safe to assume that 'Black Black' is taken from said album. Isn't it exciting?

Hey, here's an interview that I did with Metome — please have a read!

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JULIEN MIER SUPER TROPIC TRAMP [VIDEO]

The Netherlands. Holland. Dutch place. Whatever you call it, it's the same area: a country in Western Europe. Why the brief snippet of geography? Because it's this country that the producer at the heart of this post, Julien Mier, calls home. Or if he doesn't actively do that, then at least we can safely say it's where he's from and is currently dwelling.

I have written about Mr Mier before, back in August, namely his song 'Porcelain Dust', which came from his LP Jane's Junkyard released earlier this year. It was a glitchy affair that was awash with lush, clattering percussion - a rich yet close-to-delicate sound. An interesting take on things, that's for sure. And what's better than interesting? Well, not much. Interest in stuff is what holds your attention; interest breeds "like" and "love".

This time around I have the brand new video for his equally brand new song, the nicely named 'Super Tropic Tramp'. The video was created by animators Koji Aramaki and Hiroki Kato and feels very much like an abstract and immediate reaction to the music itself. Prepare yourself for a colourful collage of rhythmic shapes.

Exploding out of one initial clap, the song's intro shines with long icy chords with a faint, panning delay to them that puts this sound very much in a space-age realm. Noises like, or that actually are, birds chirping join the show as the lead up to the song proper builds up. Again, it's a glitchy affair, frantically bubbling synth bubbles wild stuttering synth chords - it has this triumphant feel that is very difficult not to love. Under this a half-time beat provides a downtempo head-noddingly fine rhythm, a nice consistency for the synth-assault above.

After this stops, we're left with the nervously avian heartbeat of the kick and clinks of percussion continuing the song to its end as thin chords again take us into a floating, space-like place. It's a nice way to kick-start your senses - this intense slide from calm to crazy - yet at all times it feels masterfully restrained. The sign of a producer who knows how to get people's hearts racing, that's for sure. The song is from an upcoming collection by Julien Mier called When Will They Wake Up featuring remixes of his music from people like Sun Glitters and Alphabets Heaven, released on lovely Canadian label King Deluxe (Metome, Aleph, etc.), 11th November.

PS. I made a small test mix a few days ago that included this song at the end if you wanna hear it.

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METOME VITAL SIGNS

Jazzy jazz jazz. Lounge jazzy loungey jazz. That's what first springs to mind when I listen to this fantastic new song by the aurally appealing Japanese producer Metome (aka Takahiro Uchibori). It's called 'Vital Signs' and it is nothing short of bursting with life, love and romance. Takahiro was kind enough to answer some questions in a small Q&A with me, and it's clear from his answers that music for him - the same as for many people - is the most personal creative medium. It's certainly the one that works for him; he uses the medium with expert precision.

There is always something exceedingly - well, sexy is the wrong word here but it often is the right one - romantic about Metome's songs: not Romantic (daffodils and Byron etc.) but romantic. 'Vital Signs' could be illustrating that awakening of feeling that occurs right at the start of a romance or relationship or fling or whatever - the vital signs are just beginning to show.

And that's exactly how it goes in the song. There are no drops, no build-ups, just a consistent twitching of soulful samples set off against setting-the-mood electric piano that simply oozes jazz-cool and lounge-chill - imagine if the start of all relationships sounded like this: offhand nonchalance and indomitable yet coolly understated confidence.

Do you see what I mean or am I crazy? Interestingly also it is a song of two halves: the first is fidgety with nervous stop-starts, the second (starting at 2:09) is more relaxed and eased into itself - only because of a thicker sound, helped by long sustained chords - the beat more regular, too. In any case, this is just a small observation - whether it was intentional or if it was not, who knows.

But what is really nice is the sampling. Metome is always really good at chopping up those samples and scattering them to grow and sound just how they're supposed to sound - like little flowers. I understand it can be quite hard doing this kind of stuff, very intricate, and how effortless he makes it seem is testament to his extraordinary talent. Just, well, what more can I say, just listen to those samples. And the beat... oh my goodness. Slow-tick hi-hat, liquid clap, soft kick. Just perfect for this song.

I can't say anymore I'm too hungover.

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LAZY INTERVIEW #9: METOME

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← #8: SPAZZKID #10: STARLIT EVERGLADES →

Ever since I first heard, and thereafter frantically and gushingly (yuk?) wrote about, Metome's 'Water Cycle' I've been hooked by his sound. Hooked ON his sound. Real name Takahiro Uchibori, he's a Japanese producer and DJ who makes some pretty sumptuous music. And when I say pretty sumptuous, I mean downright delectable.

He is a complete whizz-kid at chopping up vocals samples and creating different rhythms with these truncated vocals, often caught mid-breath, mid-word and often unintelligible. He uses them like an instrument, making the noises glitch and stutter to create a new and alien language that winds alongside smart, sometimes-clinical beats. 'Water Cycle' was like this, if you need an example. He creates blissful atmospheres, not always chopping up samples, but taking lines of sung vocal or instrumental samples and letting them breathe organically - for instance, his 'Take This Love' (also written for Dummy magazine) is just perfect in this case. As is the stunning atmosphere of 'Rain Comes From Clouds'.

What's clear is that he is a very talented guy. Already making waves in Japan, notably in the Tokyo electronic scene, there is no reason that - given a little more coverage from larger publications too blinded by the general proclivities of well-established acts - he couldn't be rather a lot bigger and better known than he is. However, these things take time I guess. Anyway, Mr Metome was kind enough to fire back some answers for the Lazy Interview series - so have a quick read and learn a little bit about what makes him tick.

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Who are you? Where are you from? What do you do?
　Hi, I'm making music as metome and live in Osaka, Japan.

Why did you decide to start creating music?
　It might be quite recent that I intended to make music by myself.
　Till then, I made music vaguely. I think it has been 3 or 4 years since I started to make music as an artist.
　I think that music is the most personal thing compared to other creative things such as music, fashion, architecture, etc.

How would you describe your sound? What makes you and your style stand out?
　It might be a little hard to explain my sound.
　It doesn't mean my music is hard to listen to, because I think I pick up a lot of different music and mix it up to make my music.
　If it isn't talking about a genre of my music such as electronica, jazz, funk, bass, rock and more, then I think my music is pure and romantic.

Is there a perfect time and place for listening to your music?
　Well... home, outside, club, or many places, but I choose music which fits the atmosphere of a place.

What inspires you most when writing a song?
　There are a lot of things that inspire me.
　It could be music of different kinds of genres or also it might be nature or love.

What is your most memorable musical experience?
　I just remember that there was a Japanese drum class at a shrine near my house and I joined it.
　I stopped going there after 6 months but it was my first time to play an instrument.

What are your favourite three songs at the moment?
　The songs that recently I've listened to are:

　John Coltrane - Acknowledgement
　Ryuichi Sakamoto - Bibo no Aozora
　Wayne Jones - Run For Cover

Who do you most admire in the music world?
　I respect all people who make their music having their own world views.

In your opinion, what is the future of music/your music?
　The future of music... Now different kinds of music all over the world are mixed through the Internet.
　I think we are gradually heading to the world where people are united more, or get closer to each other.
　However in this situation, it is a fact that music which focuses on or shows where it comes from or its own original culture gains acclaim.

　I have a feeling of worry and hope for the situation that things are heading into one union (integration) as much as possible through the Internet.

What, aside from music, is most important to you?
　What I care about the most when it's music is expressing myself; effort and love.

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It seems that Metome's style of music - that is, his knack for extracting samples from here-there-and-everywhere, mixing things together - is reflected in his view of where music is heading, and at a very basic level in the varying genres of his three favourite songs of the moment (jazz, orchestral, funk - respectively). It's a mix, all of it's a mix, and it's only going to get more and more mixed up. But as he quite sagely put it, there is certainly "a feeling of worry and hope" for the future of music, given the ease of sharing/stealing sounds thanks to the internet especially. But enough of tomorrow. In some ways, we can worry about it when it gets here. Mañana por la mañana...

As for Metome himself, it's obvious that he loves what he does. He talks about his inspirations being love; love being important to him; music being the most personal creative avenue you can go down. He may well be right. The loving way in which he treats his songs is evidence of this - I may have even said these exact words in reference to Metome somewhere else before. But that's just it. His is a labour of love, and often it turns out that those kind of labours yield the best results, not only for his own sense of achievement, but for the joy of his audience, for the contentment of our ears as his sounds caress them. Thankfully, there's an EP on the way so we have that to look forward to.

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← #8: SPAZZKID #10: STARLIT EVERGLADES → - - - - - - - - - - - - - - - - - - - -
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METOME TAKE THIS LOVE

I wrote about this fantastic Japanese producer Metome last month, when I stumbled across his brilliant song 'Water Cycle' - a whirlwind of artfully whizzing vocal samples that was like eating a whole bag of Tangfastics but without the feeling of guilt/fullness that comes after that physical ingestion: tangy stuff.

So it is with pleasure that I wholeheartedly welcome his latest track, 'Take This Love'. Even though the song's title is imperatively commanding, it is only Metome who is doing the commanding - yeah that's right. And he again commands vocal samples as if they are so many Pikmin, just as colourful and helpful to the general vibe of the song that, without them, it would feel a little washed out. But that isn't to say that the rest of the music isn't fab - it just wouldn't FEEL like Metome without that sampling prowess.

This also is quite exciting because I do believe it comes as the first release from an upcoming EP that Metome is working on. And that just means more exquisite music. But for now let us all have a nice little listen to this track eh.

It is completely lush. Glitchy beats gently saunter around, like a small rowboat on a huge sea of sub-bass writhing slowly beneath it. Electric piano warms the heart. The vocal sample - "Take this love..." - comes and goes, toyed with and pushed up and down octaves, sped up and super-slowed down. A saxophone sample gives this the ultimate lounge music vibe. More wordless vocal samples fall like droplets of the feelings of a romance you'll never forget.

And we are privileged to navigate it via Metome's ingenious dynamism, which flows organically like currents. He takes the right breaks in the right places, leaving it sparse where it needs to be, and showering it with breaths of feeling in other places. A genreless slice of dreamworld. This producer is a fantastic addition to the world of music and if you don't like it, even a little bit, then you are mad.

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METOME WATER CYCLE

It's uncanny, but do you ever get that feeling when you just start listening to a song you've never heard before - and about which you have absolutely no preconceptions - and within the first second you just know you're going to like it? Love it, even. I'm not sure whether it's more evident of an accepting and happily yielding mindset, or if it's proof of a song's quality and thereby the song-maker's talent itself. Perhaps it's a bit of both.

In any case, when I first started listening to 'Water Cycle' by Tokyo-based producer Metome (otherwise known by his real name, Takahiro Uchibori) this is what I felt. Beautiful from the outset. Smart and clean and fresh, like freshly washed sheets hung to dry, like a clear brook rushing from a spring, it is a lush balance of complex sounds that breakdances energetically in your ears whilst at the same time providing a ice-tea-with-mint-smooth stream of chill.

Yep, it's kinda deep house with a funky edge, provided in part by a bamboozling arrangement of vocal samples that sound absolutely gorgeous against the textured synths. Sounds like the below.

The melodious synth that starts this song reverberates all around, supporting a whispering wind of a sample that almost whistles in the background. Then we're treated to a solo from the vocal samples, which Takahiro handles with expert sensitivity, twisting, reversing and plunging them into spaces between the soft synth glitching out in a gloriously off-beat rhythm. The beat shuffles, invades your toes and head, infects you to the very core with the joy of movement.

A drop in the latter part of the song, which starts building up around the 3:30 mark, gives you an insight into the kind of musical energy this guy can create - yet it's not too much, it doesn't leave you aching for an end, striking just the right balance between stylish chill and electrically charged build-up. But the details are too much to talk about - the whole thing, this song, is wonderful. I love it. Metome has a new EP coming soon.

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