Showing posts with label Summer. Show all posts
Showing posts with label Summer. Show all posts

Friday, 25 August 2023

RAYONS — A FRAGMENT OF SUMMER

⌾ LISTEN TO A FRAGMENT OF SUMMER BY RAYON ⌾

Images of summer float by to the drifts of piano in 'A Fragment of Summer'. A cicada screams in the humid green park. Bright blurs of dappled sun wave on tree-shaded grass like living islands. A collection of clouds cruise in a pale blue sky. Cricket and frisbee, sunset drives, salt-washed skin and sandy feet, mopping sweat off your brow on a melting pavement beneath tall gleaming buildings. While the song is a fragment of summer, it evokes many fragments of summer, like a beam of light shot through a prism, dazzling with an iridesence of vignettes and beaming photos.

This is the quiet power of Rayons, aka Masako Nakai, whose playing feels like waves, rhythmic and organic. Nakai weaves in a melody like a tapestry pattern, a motif following a swing beat like the rhythm of a train, a cantering horse, an active hearbeat. Washes of emotion range throughout, encapsulating the contentment, sadness and promise of summer. In Japan, this season comes and goes in a whirl of mind-altering heat, merging the human world and something altogether more earthly, deeply entrenched in the buzz of insects, the burning green of leaves, the hot grey heavy skies.



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Rayons Internet Presence ☟
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Thursday, 13 August 2020

🐣 GEORGE CLANTON & NICK HEXUM — AURORA SUMMER

⌾ LISTEN TO GEORGE CLANTON & NICK HEXUM — AURORA SUMMER ⌾

George Clanton's collaboration with Nick Hexum of rock band 311George Clanton & Nick Hexum — may not be something you instantly understand. A proponent of internet friendly vaporwave et cetera isn't the likely team-mate for the co-frontman of a band whose music represents, at least early on, that shredded splice of '90s proto-numetal and grunge we all know and love. And that is the point: Clanton is a big fan, so the real question isn't "why" but more simply, "why not?"

"This album is a collab no one asked for or predicted," Clanton says in a press release. "Nick has never pandered to a mainstream audience with his work in 311, they've always done their own thing and built their own culture around the music they wanted to make.

"I believe in that, and I've been doing my own thing for 10 years now."

Simply put, there's logic here. The logic of fandom and respect between artists that goes way beyond aesthetic tastes in genres, in stylistic direction. Calling it a "stoney side project" Hexum says in the same press release that it's "been a lot of fun to work in a new genre." Fun is the chief idea here, rather than a collobration that looks great on paper.

Happy with the "unique" project that's based purely on the music, Clanton makes it clear that neither he nor Hexum needed to do the collaboration. "I've never done one of those buzzy collabs with a hot artist in my own sphere just to get more plays," he says, adding, "There should be more records like this."

'Aurora Summer' is just one of the collection of tracks from George Clanton & Nick Hexum. Woozy Earthbound-flavoured synths waft in like the essence of some fantasy adventure or coming-of-age idea, cooked up in stew form, simmering somewhere way back in recent eons past. Hexum's guitars cut in simple melodies, adding sour to the earthy tones of Clanton's concoction; the former's vocals — distinct in tone, lilting and elastic — float fittingly in the scene.

The track summons laid-back living, warm weather, comfort, grass, sand, blue skies, clouds in small herds spiralling through the sky like the disappearing froth on a cappucino, hot pavements, beach bars, warped air distorting the space above the street. Nothing weird about this collaboration — just a concentrated cocktail of doing what feels right.



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George Clanton Internet Presence ☟
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Wednesday, 27 March 2019

πŸŽ₯ CHAI — CURLY ADVENTURE

In the video for Nagoya-based band CHAI's 'Curly Adventure', curly hair literally becomes synonymous with adventure; the protagonist as animated by LA artist Sean Solomon daydreams the lyrics of the four-piece's thunderous ode to curly hair.

"Long long time ago, my hair is troubling me…" the song begins with singer Mana spinning these hair-based lyrics composed by bassist (and art director) Yuuki.

With the fizzing-crash of the drums alongside a galloping funk of bass, plasma watery synth shoots through this track distorted and fluid all at the same time, a storm of summer-summoning sound; half '90s-remembered sparkly sun-soaked jam, half explosive reaction against the slump of frustration.

Lines in CHAI's song like "curly hair: that is amazing" and "curly hair means being yourself" can resonate with anyone having to alter themselves for the sake of uniformity. And this is reflected in Solomon's video for 'Curly Adventure', with its carefree spirit, popping colours, winding roads and undersea treasure hunts.

Watch it below, obviously.


  • πŸ”” 'Curly Adventure' is taken from CHAI's 2019 album Punk.


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CHAI Internet Presence ☟
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Wednesday, 9 May 2018

🐣 KERO KERO BONITO — TIME TODAY

Taking off into a world of ceaseless leisure, whimsical hope, the hefty air of summer and free time finding its way into our hearts, this is the wonderful 'Time Today' by the trio that is Kero Kero Bonito. Usually and perhaps more well known for their bilingual Anglo-Japanese playground-rhyme-raps and polished analogue collages of electronic sound, 'Time Today' is a bouncy bopper of a track, with all the airiness, kinetic journeymaking rhythm, and tomorrow-never-comes sweet stoicism that'd make for a good ending theme for a slice of life (or other genre of) anime. The outward appearing of the track says as much, but so do the lyrics, cradling ambition in simple lines like opener, "I got so much time today / I got hopes and dreams and plans all yet to be made" and "But I don't / Even know / Where I should be trying to go / So I guess I'll follow my nose." All honest, all relatable.

It bears a resemblance to Shibuya-kei, the Japanese genre defined by its mix of styles, and yep it's all here: the lounge atmosphere, the electronic keyboard sounds, the jazz chord progressions, the busy upbeat tempo. Those gently unexpected progressions – founded on lovely warm bass, which really complement the cosy, comfy texture of the organ-ish chords – make it colourful and full of feeling, whilst typically KKB musical asides like chiming little melodies, sun-glinting sparkles, whoopy instrumental warbles, and drum machine fills decorate it with engaging nuance and keep things fun.

It is also brief—not too brief, but the sort of brief that mirrors how the song feels and what it says: that time, especially when everything feels right, seems to stretch on and on ahead of you – that "I got so much time today" refrain right? – but before you know it you're thinking, where's it all gone? With its lyrical references to day and night, dawn and sunset, you can see that it's a hopeful start-of-the-day song for the end of the day, a late afternoon reflection for tomorrow's bright morning.


  • πŸ”” This lovely song is taken from the upcoming NEW Kero Kero Bonito album Time 'n' Place, which is coming soon. That's all we know.
  • πŸ”” KKB also took part in YES/NO's Lazy Interview series all the way back in 2014. Have a lil' read if you feel like it~


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Kero Kero Bonito Internet Presence ☟
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Tuesday, 8 August 2017

🐣 GIRAFFAGE — SLOWLY FEAT. MATOSIC

The freefall bounce of this track, the fun of it, the joy of it, the muted sparkle of its soft pastel ping pong arpeggios, the thick modulating synths, the glooping subtle heartbeat boom of the kicks, the unexpected switches that it goes through, the undeniable romance effusing from it. The first dynamic twist, the staccato chords alongside acrobatic synth bassline, the vocals panning left to right with each word, the fizzling catapulting energy of this part, and the chorus launching like a jet ski on sapphire teal seas, the simple French touch feel of the beat allowing those rich synths and the croon of the vocals to truly sparkle, tropical summer atmosphere bubbling up like heat distortion.

And! Another dramatic turn, the energy toning down from this azure beachtime clarity to something tinged with much more slow, much more ache, Giraffage and co-producing feature-spot Matosic opening up a glittering dreamworld halfway through 'Slowly', the glisten of digital synth keys and the gorgeous major-minor jazz-lounge chords in their complexity glassy wonderful in this new quiet space of the track, exuding a very vintage R&B atmosphere, with its snapping fingerclicks and pitch-shifted vocal and tinkling chimes, the texture made even more nuanced with the sound of birdsong trickling in, a sprinkle of nature in the midst of this cradle of loving electronics, the whole thing a physiological heart-pumping reaction to a crush and the idealist hopeful infatuated thoughts that go with it.


  • πŸ”” 'Slowly', featuring New York-based producer Michael Matosic aka Matosic, is taken from Giraffage's upcoming debut album, Too Real, scheduled for release on 20th October via Counter Records.


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Giraffage Internet Presence ☟
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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.


  • πŸ”” '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.


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Stew Stim Internet Presence ☟
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Tuesday, 4 July 2017

🐣 KERO KERO BONITO — FOREVER SUMMER HOLIDAY

The pastel tones of this track are imbued with carefree havingfun-ness, not necessarily pleasure-seeking nor hedonistic because those things are overly gratuitous, but instead Kero Kero Bonito's summer anthem, like many KKB bangers before it, strips things back and makes things simple for us with a head-over-heels sense of freedom and innocence, all the while bass bloops, synth shimmers, rounded drum machine jostle tumbles along.

Sarah code-switches not only between Japanese and English but also between singing the fresh pop melody and calling out in playground rhymes. It is without pretence supercharged with pop power, breezily skipping with digitised vocodered softness, spinning the track's catchy lines with metronomic rhythm: "And I gotta find my shorts and shades, cause I know the sun is here to stay, so we can all go take a break on a forever holiday." The content of the bouncy-floating hook, of the entire song in fact, highlights a specific theme—a 'Forever Summer Holiday', an illustration of the feeling of wholesome anticipation when the vast summer seems to stretch out in front of you without end, each sunny day time to fill with whatever you want.



RARE YES/NO LAZY INTERVIEW #26 W KERO KERO BONITO (2014)


Nothing beyond simply having fun is insinuated in this condensed idealisation of the summer break; a quality of non-nostalgic longing that makes Kero Kero Bonito so fresh is that rather than aching over things that could be considered faded and gone, their music instead summons that feeling as a present, happy, here-and-now occurrence. Syncopated chords add a party atmosphere to the proceedings, glimmering liquid synth brings poolside sparkle, fun ornaments pop by (e.g. 1:44) for a VGM infusion; something about the vocal melody and tone recalls Mario 64's file select screen, then there's the Nintendo-flavoured marching band drums at 2:22. The triumvirate of KKB powers on unmatched, bubblegum princess pop made universal, experimental computer music throwback sounds made polished and digestible, the indoors outdoors, the bridging of things and unabashed celebration of moments.



  • πŸ”” 'Forever Summer Holiday' is taken from Kero Kero Bonito's Japanese edition of their 2016 album Bonito Generation, out 12th July on Sony Japan.
  • πŸ”” There is also a video for 'Forever Summer Holiday', directed by Theo Davies.


πŸ“ 
Kero Kero Bonito Internet Presence ☟
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Tuesday, 20 June 2017

🐣 J TROPIC — THINKING OF U

The contemporary swing of syncopation pervades this track, with its DK Jungle Parkway delicious marimba chords clunking and other percussive xylophonic chiming, a tide of cut jewels and raw gemstones that tumble and shine in the summer sunlight feel of this track, the jiggling impatient two-step speed of it, and all that cut-glass beauty exquisite as they are cute with all their tiny sounds, like a wind-up toy, like a music box, the glossy sultry sumptuousness of it. Throw a handful from a pack of Fox's Glacier Fruits up into the sky and watch the sun glint in each one and catch them in your mouth and taste the flavour, feel the satisfying gem quality—the sounds of 'Thinking Of U' are much like this.

Then there is the crunch and click of percussion, the clack of the snare, the whistle-toggle rapid tambourine ticka-ticka-ticka-ticka fast but subtle in the glorious chorus where the glomping clonks of marimba speed up and ring out more frequently, the ever-present tickling shifting sands of a rainstick or similar lending yet more texture to this chock-a-bloc tract of sound, J Tropic making it so that it is simultaneously minimalistic and well ornamented, a delicate blissful balance from the London-based musicmaker. This is not even mentioning the vocals, which play their part lilting and crooning in the verse and deftly, energetically spinning the hook, "I'm always thinking of you"—how it exudes summer, freshness, life, positivity, heat, passion, chill, all at the same time, the tilt of our star in the blue sky, the rustle of green leaves, the warmth on your skin, the flow tide of romance.


  • πŸ”” You can variously buy and stream J Tropic's lovely track via this link.


πŸ“ 
J Tropic Internet Presence ☟
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Tuesday, 30 May 2017

🐣 DUCK HOUSE — FLAW (CHRIS VERSAS 2K17 REMIX)

'Flaw' by Duck House. It's a nice song isn't it, a hazy portion of slo-house, a track like melting fog, like distilled summer feelings condensing on the inside of your mind. But then imagine this song faster and less melty and your conclusion will come closer to something like this wonderful remix from Hamburg musicmaker Chris Versas, a clear avenue of funky house, a cyclical trail that lets Duck House's original elements add to the summery veil hung over the legible pulse of this dance-destined reworking.

At once it's that bass, reminiscent of the original bassline, its syncopated rhythms, its rounded muted half-sharp flavour, running the show. From here the drums shuffle with pop-out swing replete with metallic hi-hat and tambourine jangle, offbeat handclap snare running along this etching this carving of rhythm. House, the glorious repetitions, the progressive feeling as different parts flow in and out—those sun-soaked vocals, the squeals of guitar, hovering clouds of ambient sound. And from around the 3-minute mark there is a crescendo of synth, a rising up whooshing and soaring into the sky, before the track settles back into its plain but poignant groove.


  • πŸ”” You can find some more remixes by Chris Versas, as well as mixes, at his SoundCloud.


πŸ“ 
Chris Versas Internet Presence ☟
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Duck House Internet Presence ☟
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Tuesday, 28 June 2016

SPACE CANDY – SHIMMERING BEACH WORLD

What happens when two experimental electronic labels team up for a compilation? You get a lovely cocktail of flavours, that's what. Two labels DESKPOP and Galaxy Swim Team recently joined forces for their Summer Solstice compilation, which dropped a week or so ago. With it dropped this particular morsel of music, fallen from the sky from some distant planet: 'Shimmering Beach World' by space candy. Who is space candy? What does space candy want? Otherwise known by human name Alex Polanski, there's not a lot else I can say about this musicmaker.

As for 'Shimmering Beach World', it's a blend of jabbering vox, rich synth chords that buzz and flash, and beat combinations that whilst disparate work together wonderfully. At once it feels intergalactic and spacey, wonky soft chords winding like wreaths of smoke with glittering unexpected melodies bustling around, a sense of intoxication and otherworldliness emanating from the unusual, unconventional sounds. Combine with moments of slow, seething beats, drums tumbling like boulders, fizzing percussion, a definitive intensity set against the more horizontal parts, and you have yourself a little party in your ears, like the aural equivalent of a popping candy and sour Haribo mix, with marshmallow thrown in for good measure.




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Monday, 28 September 2015

LULU + MIKENEKO HOMELESS – WATERMELON

δΈ‰ζ―›ηŒ«γƒ›γƒΌγƒ γƒ¬γ‚Ή or Mikeneko Homeless (that's "homeless tortoiseshell cat") is a musicmaking duo from Tokyo composed of Tokinori Kakimoto, a double bassist and composer who also makes music as mochilon, and Masahiro Oba aka hironica. These two have teamed up with singer Lulu to come up with the instant infatuation of 'Watermelon', a supremely bouncy and immediately likeable musical morsel that speaks of … how funny; I was just about to write that it speaks of crisp autumn days and the continuance of the early days of a developing romance, a tale begun and spun during the hot and humid hours of summer, when I read in the description of the track on SoundCloud: "Where you and me will be when autumn comes?"

And really, since this sort of sentiment is what came to mind when listening to the song – even without understanding the lyrics – you can say that the trio have achieved certainly asked the above question with their music.

In fact, it is a story told in different parts; firstly beginning with a cascade jazzy synth chords and tumbling rapid-fire acoustic guitar arpeggios; secondly launching into a jaunty upbeat chorus with fluttering synths soaring up to meet it, playful vocal melodies skipping over the dop-dop-dop-dop of chipper chords; thirdly we skim into a part where chords cushion a scorchingly modulated bleepy solo melody, the beat slow and evocative with virtuoso hi-hat rolls; fourthly, the realisation part – where perhaps what went before in summer will not carry on as days become chilly and leaves curl and crisp, falling orange and red – Lulu's melody is slower, emotional, the chords softer, gentler, rippling vacant and numb, you especially notice it in the song's final part, with Lulu singing wordless "ahhh-aa-aa…", a slight lament at unforseeable futures, unpredictable circumstances.

Even without paying this much attention, this is a sumptuous slice of electronic-flavoured, atmospheric, sunny-meets-chilly atmosphere-summoning music, the vocals by Lulu compelling, subtly harmonised at times, flustered with romance and uncertainty against the virtuoso nu-shibuya-kei city pop vibe effused from Mineneko Homeless; it seeps into your head, inspiring happiness as much as a pang of doubt in the heart.



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Wednesday, 29 July 2015

UJICO* – SUMMERTIME MEMORIES

It's house music. But it's house music with a difference. It's electro-house music. And not just any old electro-house music, but... well, not every bite of electro-house I take tastes as delicious as the atmosphere given off in the Casino Night Zone from Sonic II; no, it's not every day that the electronic claque of French-touch feeling house gets mixed with chiptune-flavoured VGM-inspired music, as has happened here, but it's always a better day when something like this is discovered.

Something like what? Something like 'Summertime Memories' by musicmaker Ujico* (with asterisk, that's no typo). IRL name, Keitaro Ujiie, he's an 18-year-old producer from Tokyo who also makes music under the name Snail's House, under which moniker he has previously released an EP called Kirara for Japan-based label Trekkie Trax (associated with other dance-based artists like Carpainter, who's also counted as a founder of the label). 'Summertime Memories' is a two-week old track that first, if you have any penchant for anime aesthetics, lures you in with its artwork, and then sucker punches you right in the groove bone with an explosive dab of HOUSE. And it's a free download: double win.

It'd be unfair to call this entirely house, though. Even though the kicks thud and the hi-hats skitter intricately along with the best of 'em, even though its snares boom with simmering pugilism, it seems (after first listen at least) to have more in common with future funk than straight house. Why? Because of the pulsing feel of is continual beat, the ebb-and-flow of sidechained sounds that punctuate future funk jams the world over. Admittedly, however, this style does feel as though it derives from French-touch house anyway, so what am I saying?

Added to this booming feel-good rhythm are stuttering synth chords, bold melody lines bleeping with chiptune aesthetics, saw-wave synth bass, the constant plink of a rhythmic boop, chopped and garbled vocal samples, all of it never jostling for space but running concurrent to each other with fugue-like complexity. It's urgent and dirty, summing up the humidity and bustling joy of summertime in just under four minutes of irrepressible groove, and therefore deserving of the description given by its maker on SoundCloud: ε€γ«ε‘γ‘γŸγ‚¨γƒ¬γ‚―γƒˆγƒ­γͺチγƒ₯ーンです! ("This is the electro tune of the summer!")



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Thursday, 2 July 2015

SAMUEL – THESE DAYS

Ever since I first heard Samuel's debut EP, Falling Star I was hooked. Here was a very fresh, very haunting new voice seeping into the music world. The EP was produced by Okzharp (of London-based outfit LV) and paired Samuel's aching vocals with a futuristic post-R&B sort of sound to a stunning degree of hypnotic clarity – though his voice, both then and now, feels as if it transcends any association with "dat future bass". Just like Samuel as a person, his voice is unique.

So thankfully this rare voice, this anti-commonplace set of vocal chords and their unconventional owner, is back for your ears to enjoy, beaming themselves into a new morsel of music called 'These Days'. Produced by London producer Kwes, it's a different sound to the type that graced the Falling Star EP – the cold, glacial, future-forward sounds are gone. However, the minimalism, which basically translates to the producer's careful consideration with Samuel's voice, is still there.

The production is bright, summerful and sunny, soft and soothing synth chords cushioning the vocals, with pockmarking plunks of bass left to peddle their simple subtleties below the meandering croons of Samuel rather than rumbling in-your-face. Clusters of homemade-sounding DIY-esque percussion clink and clankle in the chorus alongside shakers and the lonely thud of a kick as Samuel sings the cryptic hook, "These days are brighter than the sun, so tell me what you want / tell me what you want" – a sentiment reflected in the dripping innocence of this heat-warped music.

What else is good about this? The soaring vibe, the delicious synth sounds, the whole atmospheric, far-off feeling, the spirit of new romance, the deepness of the vocals coated in rich textures snaking through this cloud of production like a lone bird hovering silhouetted against vast blue, or even a the fleeting glint of a passenger plane caught by shards of sunlight amidst nonchalant clouds as it flies lonely and steady out of sight.




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Wednesday, 30 July 2014

R23X – DRY SUMMER

Making your songs sound as polished and modern as possible is certainly a thing, but so is completely opening oneself up to the opposite – letting things unpredictable things happen to your productions. This is certainly the case with Canadian artist, R23X (stylised as あるR23エクス) – ostensibly named after the World War I era British airships of the same name – who distorts his songs using a VCR, amongst other things.

Instruments are recorded via audio interface onto VHS, the tape is taken out, bent, scratched, put back in, pause/unpaused for delay and warble; the piece is recomposed, with other instruments added, and the process repeated (this was all explained to me by the man himself).

So let's listen to 'Dry Summer' together.

The title is apt enough, with percussion sounding like a sheer swish of coarse sand fighting in a storm of static laden with warm chords; a super-high-pitched melody shines through this languid haze with backup from 80s-style power drums, all of it lurching towards a fade-out finale served up with crushed chiptune sounds. A wholly lo-fi outing, in the style of vaporwave, yet it utilises no samples and contains no ounce of funk – it illustrates the paradoxical positive lassitude in a heatwave-type scenario.

"My daily work as a composer and sound engineer requires me to focus on higher quality audio and often palatable music and sound," R23X explains further. "This project […] is lo-fi or procedural in nature because I find it so darn textured and interesting to listen to/create. Once you allow less predictable elements (like tape damage, fuzz, delay) to become a part of your compositions, they have the potential to become something unique and not something that I just "thought up" but rather something that I set parameters for and allow to happen." In this sense, the music of R23X is something that you could truly called experimental – in the very nature of the word.

He continues: "I am interested in prepared piano for this very same reason. I find art/music that deviates from formal processes so much more interesting. But with the VHS stuff specifically — nostalgia is definitely a part of it. There is something I find satisfying about the nostalgic tenor of the project, but also the anachronistic of using outmoded tech to record music and other things — like contemporary music. It's fun!"

  • Check out R23X's art project (to which this musicmaking is "tangentially linked," he says) VHS Stills
  • R23X is working on an EP! "I'm hoping to release it on a short run of VHS tapes with some abstract video art to accompany."



Listen to R23X on SoundCloud


Friday, 7 March 2014

BOYS GET HURT – S P L A S H

Unexpectedly! And with incredible aplomb, Tokyo producer Boys Get Hurt, aka Yuki Abe, graces the internet with a new song that moves far, far away from his usual domain of emotional, romantic house music, entering that ever so addictive and on-trend sound that is juke (or footwork, or ghetto house). It's not something I thought would happen, but then again: Why stick to one genre? Or, with less focus on bloody-bloody genre— Why stick to one type of sound? Explore! Go! Create! Enjoy the mountain of sounds that lived before you! Be inspired! Never get stuck!

Anyway, last time we heard from Yukiさん he'd created a song called 'Elegance', an indie-discotΓ¨chque classic that dripped with temporary nocturnal romance. It could be, in some degree of likelihood, the last BGH track that will follow this endless summer theme of disco-house that he has pursued with gusto since I first stumbled across his music at the start of last summer. Maybe it won't be, maybe this is just a blip, an anomaly, but either way his latest offering 's p l a s h' is lovely.

Still infected with the warm, nostalgia-summoning synth chords that softened the relentless beat of his house-flavoured offerings, this new track instead jiggles with the foot-tapping brain-candy of juke. Featuring as a recurring sound, the eponymous 'splash' is more a drop of water that bwips no less than six times in as many dynamic cuts in the bounce of the rhythm. The song winds itself up, an automaton of the upbeat, the sweet, as hi-hats rattle-rage and snares roll virtuosic for maximum impact. Thin yet triumphal synth leads ring out with glistening sun-glint intensity, the soft chords get chopped syncopatedly, all in a sharp convocation of the beachside fun and dancefloor-matic atmosphere that endeared the music of Boys Get Hurt to its listeners in the first place.

So whether this colourful beachstep marks a permanent change or not remains to be seen, but whatever the weather you're guaranteed – as always – a free download of the song from this fun-loving Tokyo DJ. Also, if you want a little more insight into the world of Yuki Abe, please check out this Lazy Interview (a Q&A) he did with yours truly for YES/NO.



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Friday, 10 January 2014

BOYS GET HURT ELEGANCE [FREE DOWNLOAD]

Here is something quite nicely magical for the collective Friday Feeling, provided of course that everybody is happy about today being Friday. In some places it might already be not Friday – I believe that's called Saturday – and if so, sorry to get your hopes up. Perhaps you could or might re-listen to this song on a future Friday somewhen. But what is this exactly? It comes from the Tokyo-dwelling emotional dance wonder himself, Yuki Abe – aka Boys Get Hurt. I've been supporting his cause for a while now (even getting a tweet taken down because apparently this song [click!] was a copyright infringement) and it seems with each new track things get a bit more refined, richer – you could even say more elegant. Ha ha.

Yes and it's no different with this track, 'Elegance'. Taking us with each of his songs into the very heart of the endless summer (well if it's endless technically there is no "very heart", no middle to speak of, but I'm sure you can understand what I mean), he conjures dancefloor romance, naïveté housed within a clean club setting, insta-crushes based on fleeting glimpses of beauty and all the carefree youthful happiness that goes with all that. Pop on over to his latest indie-discothèque soundtrack and have yourself a little dance.

Inviting us in via a chiming curtain, sturdy house piano chords and an evocative if not slightly solemn brass melody, we plunge headfirst into a disco beat with occasional but satisfying variety on the hi-hat, where the chords are supported by synth variations and a plunking bulge of bass synth bounces along with a funky jaunt. The vocal sample – or are they original, I'm not sure – lends its now-or-never sense of nocturnal temporary romance with lines like "spend all night with me", beautifully retro-ised with welcome interruptions from two note string melodies and the ever-tropical glockenspiel on loop, the synth widening towards the end, helped along its way by brief bursts of white noise fizz.

This feels different to many other Boys Get Hurt tracks simply because of the purity of the brass melody that comes in, there's something sensible about it, a maturity, a knowing resignation to certain facts or factors – and it's this gradual change in the music of Yuki Abe that makes me want to keep listening to everything he puts out. No matter what, though, you're always safe in the knowledge that he's gonna give you some real danceable and instantly likeable disco vibes every single time.

Pssst... you can also download this for free from BGH's SC page...



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Friday, 20 December 2013

YES/NO GUEST MIX 005 :: DCUP

Whilst other music magazines, websites, blogs and whatever say farewell to you as they disappear into the mists of Christmas like fun-loving spirits of Christmasses present, past and future, I am tirelessly – well, actually completely and pretty much always tired – continuing the music-posting struggle. Christmas or no Christmas. However: please do not get the wrong idea and get it into your head that I am some sort of Scrooge who doesn't give a fig for tradition. Cause I a) really like/love Christmas, and b) Tradition is important. So there. I just happen to be able to write about music even as we inch towards the 25th of December without withering into a pool of why-should-I or where's-the-snow.

Anyway, that out of the way, I'd like you to embrace the latest guest mix that has been lovingly created for YES/NO. This one is the fifth in the current series (if there is another series— hmm, well I'll let you know) and it comes from Australian producer, DCUP, aka Duncan MacLennan. Mr MacLennan was kind enough to answer some questions for an interview earlier this week, and now he's contributed this lovely guest mix – what a guy! I'm also very envious of the probably-quite-warm Christmas he'll be having in Australia. Never experienced that; it would be interesting I gotta say.

His mix is an entirely smooth mix of warm house and funky disco that displays one of DCUP's most impassioned loves of music, "that 'hook' that everyone talks about. I'm obsessed with that piece of a song that you sing in the shower, or in your head." That's embellished by a "love of huge bass and beat," as pretty much every song in his mix displays, including his own track 'Magic', fun track – 'Imperfection' – from Welsh duo Bodhi, and the big tune of Amine Edge & DANCE's track 'Lost'. ENJOY/Merry Christmas.


TRACKLIST
01. Dave Hollister - Keep Lovin' You (Kartell Edit)
02. Den Ishu & Noah - Put Ur Hands
03. Amerie - 1 Thing (Cherokee Remix)
04. Only Children - Down Fever (DCUP edit)
05. DCUP - Magic
06. Samir Maslo - I'm In Love With You
06b. Warren G & Nate Dogg - Regulate (acapella)
07. O&A - Basement Beats
08. Bodhi - Imperfection
09. Andhim - Boy Boy Boy
10. TCTS - Do It Alright
11. FormatB - Magic Button
12. Amine Edge and Dance - Lost
13. Kartell - Minimum Move
14. Janet Jackson - Rock With You (Milo Mills Edition)



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Friday, 6 December 2013

TONI WILLZ HYPEBEAST [FREE DOWNLOAD]

This is sounding so very sublime this morning. It's pretty cold outside, well, it's cold, like 1°C outside, but the sun is bright, coming in through the windows, hitting its edges and making long angles of light on the walls. For some reason, a nice fresh slice of rap goes with this kind of morning just as perfectly as next-to-frozen apple juice and a bowl of your favourite cereal. Ya it's a beautiful sleepy morning and this song 'HypeBeast' matches up just perfectly.

But who has made this lovely tune? It comes from 20-year-old Los Angeles-based rapper Toni Willz and producer AbJo, purveyor of smooth sounds and fine beats. Put these two elements together and you get something pretty magical – it's an exercise in a chilled out, horizontal vibe augmented with a few hits of nostalgic skate-rap's easy-peasy no-sweat attitude. I urge you to treat your ears to this right now.

With laid-back liquid precision, the sounds of the track flow out in a head-nodding medley of boom-bap flavoured drums combined with shiftling glitch-induced percussion and unrecognisable snippet samples that ripple in slow-motion kickflip aesthetic, backed up by subtle, glassy bass. It's wholly fresh yet summons the spirit of the ever-present endless summer – the kind of thing that oozes effortlessly out of sunny places like California. Field recorded conversations about being a "hypebeast" raise up like a kind of cultural backdrop for the song, and it certainly works in placing the song, i.e. giving it even more of a sense of coming from a place in space and time.

Toni Willz exhales his bars with nonchalant confidence, sticking with a po-faced low-register tone that flutters just around the same note for the whole song – exudes a certain swagger. His words defame "hypebeasts", presumably rappers completely wrapped up in hype and celebrity, citing himself as a contrast as someone who just lives their life and raps. For instance "All these new waves form like the ocean / No more one hit wonders, we need true devotion" – "In just reality you learn a life-lesson: true rappers live, hypebeasts go to heaven." The point is made with his "new Nirvana flow" making religious metaphors throughout, ultimately coming across with untouchable poetic lilt as someone who will continue to rap with consistent ear-pleasing quality.



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Wednesday, 4 December 2013

DCUP MAGIC

One of the many cool things about the world is that it's always gonna be summer somewhere. Whilst we freeze and shiver here in the arctic Northern Hemisphere, our Southern counterparts enjoy hot days and warm nights, and vice versa of course. As such, it means that the music of summer never stops being produced, never dies, so there's always something to get your blood up to temperature and whisk you away to tropical shores, rosasite seas, waves breaking slowly on the reef, still lagoons, breadfruit for breakfast... long live our tropics.

Why do I speak this way? It's because of this song by Melbourne producer DCUP, 'Magic'. Just one day old right now, the song comes from a legacy of hot-blooded tracks including the very nice 'Don't Be Shy', which included a remix by Japanese purveyor of emotional and retro house, Boys Get Hurt. I was touched by the message that DCUP, aka real person Duncan MacLennan, left as a description for the song, saying its purpose was "...to not only keep you dancing through these beautiful summer nights down in Oz, but to keep our friends in the North warm on their chilling winter eve's." That's what I like to hear. A bit of togetherness. Global community spirit.

True to its name, 'Magic' is a little goΓ»ter of magic. Within seconds of the track starting an unbeatable bassline pops in with a funky bounce, soon joined with samba type piano chords, augmented with excitable bweeps and the occasional flash of synth chords. That samba rhythm in the music gives the track a hot and sweaty atmosphere, something sensually calling out with a wink in a where-will-this-lead manner in the midst of the driving slo-house, disco-evoking beat. The sample of some husky voice saying "Magic..." is a great touch, beautifully placed dynamic punctuation in this exciting sentence of music.

The mix of funk, latin and disco in 'Magic' lands in the cradle of your ears like something retroactive, a time capsule dusted off and polished with modern tools to give it a zeitgeistical familiarity whilst it shines with its own lustre: the sheen of nostalgic novelty alien past. It feels fresh, especially with those varying elements, and clearly comes from a mind that loves to create music for people to dance to.

Fun fact: DCUP collaborated with Australian band Yolanda Be Cool for 2010 hit 'We No Speak Americano'; now that Latin lilt to 'Magic' makes more sense and I love DCUP all the more for it.



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Monday, 14 October 2013

CIARA BODY PARTY (BOYS GET HURT REMIX) [FREE DOWNLOAD]

Right, firstly, in like every post I've written about Boys Get Hurt I've called it a duo. Two people. That is, Yuki and Takumi. Due to I don't know what reasons, Takumi "quit" at the start of this summer. So basically, everything I've written about these guys has been wrong. Well, this guy. It's just Yuki Abe now. If you'd like to have a quick refresher course on his music, then please be my guest.

So this is just a singular project. Anyway that's enough of that. Mr Abe emailed me the other day notifying me of his new song, a remix of Ciara's 'Body Party'. The original is a downtempo pool of sultry slow-jamz R&B that positively steams with tip-of-the-tongue sexuality - obvious, but not obvious enough to be outrageous. It's just the kind of song that Boys Get Hurt would remix and he's done a good job of it, too. Yep, it drips with disco sensibilities with an uptempo beat, taking the slow heart out of the original and replacing it with a ticker that is pre-wound-up and ready to move.

Giving Ciara's vocals from the original a lot of room to breathe, running the course of the song instead of cutting it too much, this fast-paced rendition takes you from the velvet-clad bedrooms of slow-jams to a disco hut on a beach somewhere. Marimba chords support other tuned percussion melodies, little glockenspiel loops, that lend a joyous vibe to the tune - that feeling of endless summer which Boys Get Hurt gets absolutely spot on every time. There's a little string melody in here as well that sounds familiar, like it could be the same decorative cluster of sounds that graced Madonna's 'Holiday'. The spirit of the song is just that though: holiday. Fun in the sun. Beach dancing until sunrise.

It's always fun listening to Boys Get Hurt. This kind of dance music, a collection of sounds that recalls the soul of early 90s pop with emotive recollections of summer and a beat that's always buzzing with energy and busy with percussion, is lovely. You can always rely on Yuki Abe to deliver this friendly familiarity that in every new track bursts with freshness. And this is FREE TO DOWNLOAD as with most of his songs. Woo!

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