Showing posts with label Netherlands. Show all posts
Showing posts with label Netherlands. Show all posts

Friday, 1 September 2023

RUUD VOESTEN — THE CRYPTO SHUFFLE

⌾ LISTEN TO THE CRYPTO SHUFFLE BY RUUD VOESTEN ⌾


The meandering noir jazz morsel that is 'The Crypto Shuffle' toes a balance between groove and chaos, organised structures and freeform forays into the abyss. Though it's kind of the saxophones that steal the show here, fluttering and squealing and smooth caramel all at once, the track comes from the the mind of drummer amd band leader Ruud Voesten, who says it's "about the capital sin of greed".

Ultimately it follows a concept of setting Dante's Inferno to music, this being the portion occupied by greedy people "who constantly bicker" with each other, as exemplified by rapid-fire frustrated feeling in the duelling saxophones, played by Mo van der Does (alto) and Wietse Voermans (tenor).

To lead his third single through this capitalistic subject matter, Voesten channels his stream of percussion, a successive fluid parade of ghostly liquid knocks and taps that tumble alongside a satisfying buzz and twang of bass. Ultimately, like I said, saxophone rules 'The Crypto Shuffle', being given ample space to wander, but perhaps that's a reflection of the "greed" that inspired the track - more, more, more - and it's a banger beacuse of it.


  • πŸ”” 'The Crypto Shuffle' is taken from a forthcoming Dante-inspired album. It's set for release later this month on Nethelands indie jazz label ZenneZ Records.

πŸ“ 
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Wednesday, 22 July 2020

SIM FANE — SOME SAY

⌾ LISTEN TO SIM FANE, SOME SAY ⌾

Though 'Some Say' could be quite easily seen as "future bass" and nothing more, it's the variation, the intense colours and the attention to the spaces between sounds in Netherlands producer Sim Fane's track that give it the power to not just occupy a space, but create its very own atmosphere. While it does build up with hyperactive pitch shifted vocals and snapping handclaps, and drops into a glooping tumble of frenzied piercing synth and soft staccato chords, Sim Fane offers up much more than a well-versed formula of builds 'n' drops.

Post-drop, the beat shifts into a frenzy of footwork-flavoured kicks, a sudden jet engine of propulsion that not only provides a boost, but also helps break up the track into a kinetic series of vignettes. Later, listeners await the final drop, but instead — after the sub-bass rumble, the scattering of bleeps and crashes promising one last popping refrain — the track falls away into a dreamy coda of fuzzed out keys, the explosive energy that was there depleted as the ship is cast adrift through a space-scape, nebulae and distant galaxies splashed on the void like abstract art.


  • πŸ”” 'Some Say' is taken from Sim Fane's Where She Lived EP. You can download and/or stream the whole thing over on Bandcamp.

πŸ“ 
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Wednesday, 25 April 2018

🐣 ALBERTA BALSAM — FEELS / I CAN'T SAVE YOU

It’s the enchantment of synthetic regularity and modern-day decay, and what that decay leaves roiling and gushing behind in its wake - absence, void - that fills the soundscapes of Rotterdam’s very own Alberta Balsam. Both ‘Feels’ and ‘I Can’t Save You’ are pristine currents curdled by a sense of warped disintegration, the synth burbling like overused magnetic tape, the tinge of distortion like fabric frayed at the edge and sun-bleached; ‘I Can’t Save You’ feels cold, a light phaser hypnotic and thin on its fuzzing columns of clouded sound, but a constructivist arpeggio (late-20th century documentary footage of money being printed; cameras panning up half-built skyscrapers) keeps spirits up, along with a soulful sirensong of a vocal oscillating in and out of earshot.

In both tracks too, the beat is this set of building blocks - in ‘I Can’t Save You’ patterns of polyrhythms layered on each other mix themselves into a cocktail of organic clacks and synthetic ticks, a snappy clatter of lightly cudgeling percussion almost nudging the track into the realm of broken beat. The decidedly darker ‘Feels’ uses percussive sound to punctuate the track with glistening mystery, golden exotic clockwork on electrified fields of thick synth with liquid ghostly vocals running through, and crunching columns of synth and a stuttering sling of skittering beats.

These two morsels illustrate a deeply embedded duality that is always recognisable - that idea of dark and light, night and day. Though icy, robotic and eaten-at, ‘I Can’t Save You’ is Alberta Balsam’s bright-side, no matter how lonely the minimalism makes it seem; ‘Feels’ is its antithesis. And yet how its creator is recognisable in both, like sonic siblings they complement and oppose each other, each a distorted reflection of the other.


  • πŸ”” You can stream and download 'Feels / I Can't Save You' from Bandcamp, if that is something you wish to do. This double single arrives after Alberta Balsam's debut track which dropped back in January, 'Ngelem'.
  • πŸ”” ‘I Can’t Save You’ comes with a music video too. Shot in Rotterdam, it “follows a lost spaceman on a journey through a desolated city filled with alienating architecture,” Alberta Balsam herself tells us. Directed by Rick van de Dood, and with Boris Chomette starring as the Spaceman, it illustrates the angularity and singular feeling of detachment with which the track is imbued. You may watch the visual treatment below at your convenience.

  • πŸ”” Unsure whether the moniker Alberta Balsam is based on the title of the Aphex Twin song, or whether it’s based on Alberto Balsam, the line of shampoos and other potions which is the song’s namesake. Maybe we’ll never know. On the other hand, her human name is Aniek de Rooij.


πŸ“ 
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Tuesday, 20 June 2017

🐣 SAUX — FOR I KNOW

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

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




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Monday, 14 December 2015

EEVEE – FORGET YUR NAME

The first I heard from this Netherlands-based (is it Netherlands or the Netherlands and if so WHY does it need a definitive article, like Ukraine and the Ukraine, what's the difference? Is it an area? Is it a country?) beatmaker was a track called 'Opium'. And I was gonna write about it too; the gloomy rain-washed synth sounds of its Japanese scale melody really sounded like the theme for the Ruins of Alph in PokΓ©mon Gold/Silver, though I don't think they're exactly the same. But I was totally hooked on the watercolour dripping half-decayed evaporating quality of the synth sounds, like listening to an ancient cassette tape with fresh beats laid beneath it for support and clarification.

That was until I heard 'Forgot yur name' and then I knew I had to write about this one because it's just so ... wow. It's a tract of minimalism in beatmaking, an exercise in polished antiquity in music, of creating fossilised music from a fresh mind and body and giving it those hairline fissures and lo-fi anti-gloss of authenticity.

[The beatmaker is stylistically called E e v e e but I'ma type Eevee; also I think it's short for Eveline but there's no surname, and it seems that she's from Dordrecht, Netherlands and that's all we know.]

The beats on this track thud with authoritative intensity, the kicks full and dust-disturbing, the snares clacking and crushed, with the hint of other percussion haunting the spaces between sounds of this track the whiff of golden age noir nostalgia permeating the air like rare perfume balmy nights balcony the nearby seashore whispering in the luxury-lit gloam surrounding the white stucco walls of the hotel. It's that kinda vibe you get me?

Then there's that sampled string insturment, a romantic tone and melody but played with as if listened to when high or drunk or both, the frequency dropping in and out of perfect pitch, the speed also fluctuating minutely, both adding to a sense of reality but as viewed through a film, of the romantic setting of 1950s Tangiers (forgive the colonial overtones) and live music and cocktails but as heard through a radio, life, but viewed through memories. All of that sort of thing maybe. Maybe.

But the point is: the beat is real, it is soaked in atmosphere, is emotive, and cleverly reflective of its title (which a) suggests that a memory of past love has finally faded, b) suggests some sort of intoxication or laissez-faire nonchalance with the misspelling of 'your' as "yur") with the old-school sounds further warped and wobbling out of sight and out of mind. A haunted and inspired too-short-too-sweet number; luckily Eevee makes a lot of music a lot of the time.



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Friday, 11 April 2014

TERUGKLAP – SILICONVERSION

Imagine an Earth dangling on the precipice of the 30th Century. Just imagine that for a second. Ok? Done? Well this is the concept behind ultracool Canadian label Kind Deluxe's ongoing thang, The 2999 Project. "What do you envision for our future? Specifically, in the year 2999?" is the question they ask; it is answered by electronic musicians, who provide a track with an accompanying piece of text (most recently, and this time around, composed by Amit Dutta) as a description of their vision. Alongside this, illustrators create cover art for each track inspired by the music – the resulting combinations are different every time and the output is nothing short of TOP QUALITY. & It's a great way to find new artists to listen to :)

This time around, Netherlands producer Terugklap (real name Sander Haakman) has created a nightmarish vision in 'Siliconversion'. It represents a post-human earth, described thusly Amit Dutta: "Waves of carbonic acid lap up against the glittering green and silver beaches formed by the the dissolution of organic marine life and the discarded circuitry detritus of a millennium of electronics evolution. Beaches rise up through to agate rock steppes formed by layers upon layers of concentric banded geometry… Further inland the landscape gives way to geysers of molten silicon bubbling at 1400 degrees and thrown into the air where it immediately solidifies into rock… dirty yellow volcanic snow-ash drifts down in thick sheets and is blown and hardened into tortured sculptures by the lowered jet stream as a planet slowly converts from Carbon based to Silicon based life."

Hence the title 'Siliconversion'.

This is one darkly heavy-duty track if ever there was one. Nominally "experimental", beginning with alien snorts and sniffs accompanied by noxious breezes like those on an unrecognisable Earth, the track burns with an angry molten fluid intensity, bristling and crackling all the way, as if replicating the now acidic waves of the ocean. And from the tortured planet's heartbeat we have this brutally booming rich infra-bass thud – a disorienting plosive sound that, along with the high-pitched tinnitusesque squeak that fades in and out, gives a feeling of deafness, sense deprivation, fear and complete unknowingness. It is the semblance of a beat, which is a massive understatement, later joined by a snare that seems lost in the midst of these vicious sounds.

  • It's yet another showcase in King Deluxe's illustrious line of offerings, all of which YOU CAN SEE HERE and the earliest of which you can download from their respective places.



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Saturday, 1 March 2014

KA-YU – UNXSUAL

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

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

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

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



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Monday, 4 November 2013

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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Wednesday, 23 October 2013

PHACTS FROZEN

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

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

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

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

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Tuesday, 27 August 2013

JULIEN MIER PORCELAIN DUST

Yeah so I know this isn't new. I know that. If you've heard this already thinking 'omg dis aint nu' then I have that one covered. I just like it. But then again I always shoot myself in the foot because of this simple fact: not everyone is always clued up music (I'm definitely not), and I'm sure there are some people reading who will treat this track as new as I am finding it to be - which is extremely new, because I've never heard it before. But then again why am I touting this as a "new music" blog? Who CARES anyway why am I talking about this.

In any case. Well! Well well well. This is a really nice song. It's by a man called Julien Mier, who is from Apeldoorn in the Netherlands (do we always have to say THE Netherlands?) and it is from an album he released earlier this year called Jane's Junkyard - so called because Mr Mier likes to salvage old and tatty bits of sound to create new beautiful stuff. And he really does do just that. The results are rather lovely.

Beginning with minimalist snapping clicks and momentary synth waves, high-pitched melodies descend from above - sometimes clear and sometimes glittery - and a low pop of a kick drives the song slowly along. Right into a raining-down of veritable junkyard percussion, zing-clinking bashes, drillings, a tin-pan assortment of concussive donks that spices the beat very nicely indeed. Sounds too - synth washes, squeaks, bleeps; all frenetic and brought to life through tireless and careful attention to detail.

Vocals - sample or Mier's own I dunno - cut through emotively charged and almost caught in heat distortion from the intense noises of the track. There's something in the voice that charms, even whilst the near-chaos of the sounds boils underneath. It has the feeling of recycled life, coming up for air after a long stressful time, things whirling around your head still but at least knowing that you now have time to relax. Kinda like porcelain dust, in a way: the thing's been smashed. Now there's just the dust to contend with. But still there is the memory of the breakage. That's what I get from it anyway.

If I had the time and if I were not so lazy I'd talk about the whole of Jane's Junkyard, but instead I am just going to heartily recommend that you listen to it.

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