Showing posts with label Romanian. Show all posts
Showing posts with label Romanian. Show all posts

Wednesday, 25 April 2018

🐣 MAX ANXD — WAITING

The textures here are gorgeous, soft snow flurries and twinkling icicles, the crackling fruit juice appeal of Fox’s Glacier Mints in hologram format, the pixelated glassy clink of Chaos Emeralds, the sparkling metallic impact of the gleaming Big Key falling from the sky when you defeat Bowser in Super Mario 64; the sound of treasured trinkets now airborne and floating in a speckled cloud of crystalline decay; memories held dear now swirling in the contemporary realities of life.

These are the synth sounds that take flight and conjure exotic nothingness in ‘Waiting’ by Cluj-Napoca-based Romanian musicmaker Max ANXD. Ascending melodies paint intrigue whilst its irregular patterns and seeming randomness summon up an elsewhere yet to be explored, unfolding in the mists before our eyes.

It moves in three parts: firstly the glistening synth of the beginning soon is joined by swathes of thick sound like hurricanes in slow motion or the slow unfolding of an alien landscape as your mind hovers above it; secondly there is a bold crunch of distortion which heralds this new minimalist urgency as the synth, equal parts soft and sharp, stutters in rapid-fire bursts; thirdly, we emerge into a cradle of sound where the hush of vox synth becomes the overriding voice, a finale of soothing synth chilliness, the atmosphere calming itself in choir, re-balancing after the anxious midsection. It is a sonic illustration of the impatience as much as the resolve of an active imagination, the expanse of externality as much as the depths of internality.




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Tuesday, 29 August 2017

🐣 SILENT STRIKE — MELANCHOLIA FEAT. EM

The space in this track give those simple electronics that ping and twinkle a luscious cushion, the best cushion: room to breathe. The muffled but sharp lo-fi fuzz of these synth blips resonates into a thick void, making this track by Romanian musicmaker and film score composer Silent Strike one that is nocturnal and sultry, aided of course by the aching vocals of featured singer EM which shimmer with a mist of vocodered plasma. Slowly the song unfolds, sadness haunting its every graceful kinetic step.

Alongside the vacant space and reverb in 'Melancholia' there is warmth. Bass kicks boom tumbling along, a trickle of blooping boops spread softly, a fizz of synth warmly winds its way into the mix, a delicious fingerclick keeps time. And in the chorus it grows ever thicker, swaying with EM's now lilting layered voice and a slew of unexpected ornamentations, high-pitch chords that flash like mini shards of lightning, locking in with explosive snares, and hi-hats that tick and then rattle and then uzi drill panning left to right. The song is an exercise in creating pop music with real experimental elements, the almost outlandish use of noises, rhythm, space, makes this an evocative piece deserving of its title.




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Thursday, 15 June 2017

🌭 AYLIN — ON MY OWN

This luscious slice of music is a wondrous illustration of pop, with its delicious sumptuous percussive sounds, the shuffling shakers, the streaming liquid gurgles, its chimes and its crying-out vocal samples. And in this tapestry of textures, the lush thickets of percussive bristling, there is a smart, city-leaning clarity about the track, seeming to mix this tropical spirit with the colder angular soul of an urban environment, the slick-smooth syncopated chords, the clean subtle gloop of the bass; something restless and lonely in the verses where the synth flutters, confused, from left to right.

Whilst Aylin questions herself and expresses doubt in these more mellow verses, confident resolve arrives in the chorus: "so I'm thinking of myself not you, like I should do" and "I'll be thinking for myself alright, should be just fine." The Romanian singer, in the midst of the snappy funk of the track, sings with a voice that is at once as malleable as it is crystalline, seeming to purr as it sparkles. There is a certain emptiness in 'On My Own'—staging the decision to go it alone as the chorus suggests rather than stick with something that isn't working, even something that's pulling you down, is a difficult thing to do, and the struggle to come to that decision is illustrated with dynamic contrasts between the verse and chorus, between a chilly empty feeling and one of fresh determined wholeness.


  • πŸ”” This track is taken from Aylin's upcoming second album This Is My Otherside, a collaboration with Otherside.
  • πŸ”” Aylin, full name Aylin Cadir, is also an actress at the National Theatre Bucharest.


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Monday, 24 November 2014

THE FUGEES VS. NAS – SURVIVING THE TIMES (BOEHM REMIX)

Here's something courtesy of Boehm, a musicmaker from Bucharest, Romania. A good mash-up (do people still call them that) is always appreciated, and here Mr. Boehm (perhaps named after the German musician/inventor) has shown that you can be wildly creative even when there are TWO original tracks to consider.

There are no holds barred in this future leaning remix, totally juddering with an addictive tropical beat and accented with the glorious reverb of beachside guitars with the occasional ornament of bendy slide guitar like a seagull swooping as a sunset splashes its muted fire over the still-warm sand and gentle sea.

Xylophone tumblings give this a lovely forest-jam flavour, I say forest but I mean more like a little copse of palm trees, a coastal vibe that incorporates jaunty harmonica from I don't know where. It samples 'Fu-Gee-La- by The Fugees, the hook from the track reworked and interspersed between verses from Nas' track 'Surviving The Times'.

All of it sounds perfect to the bouncy rhythm here, the piano chords and the groovesome synth bass and the soft, triumphal chords; the backdrop to wild synth solos that seem to diffuse into the air like a solar flare in reverse, or like the synth-happy soundtrack to one of my favourite SNES games, Top Gear. It even ends well, the instruments bowing out to each other as we're left with the wooden roller-coaster of the xylophone melody to contend with, amongst other things.

Luscious sounds and a rhythm you can totally groove to; perfect for listening or moving. Probably goes well with a bowl of unadon or as the last song to play at work before you leave to go home, glorious glorious home.



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