🐣 PASTEL — CLOSE

The space afforded by this track, the expansiveness of it, how it manages to put you in this swirling realm of love, yet also retain this very intimate feeling, as if your ears are being privately whispered into, is testament to pastel's efforts as a musicmaker. And not only this, but this atmosphere is summoned with great simplicity, a seeming effortless swathe of sound that utilises sparse elements to maximum effect: mainly a simple beat, a bit of soft synth, and voice. The difference between the sense of space and intimacy is best illustrated in this song by the big rush of sound that is the chorus, the only moment where there is any sort of loudness, representing a swell of feeling. Still there is an underlying mist of loneliness here, a distant wind that is like a sadness that cannot be shaken.

But, that said, 'close' is a lovesong, that's for sure (it's dedicated to Valentine's Day, so it'd better be). And as such it's full of lovely moments, small parts like the sudden downturned chord change at 1:15, the constant fluttering heartbeat of the kicks as they propel the song nervously forward, the sparing use of a little soft melody that gently bloops on-and-off in this gorgeous minimalist morsel. Last time we heard from pastel it was a different story: the sandstorm ambient abrasions of 'stammer' from absent, just dust summoned an almost inexpressible sadness and isolation. His vocals were lost in the noise.

Here, however, the vocals are clear, liquid, bravely at the forefront and completely a capella sometimes: long tracts of the vocal begin the unexpected hook, "Do you think about my body? ..." Warm harmonies abound. It's beautifully honest, heart-on-sleeve songwriting sung with caramel smoothness, touching moments treated with gorgeous simplicity – "you held me a little longer than the last time we met" – inspire real images of real romance, and stealing your own heart in the process.

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• 🔔 This Valentine's Day special arrives courtesy of Very Jazzed (part of Frenchkiss Label Group)

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📠
☟ pastel Internet Presence ☟
facebook ⚘ soundcloud ⚘ bandcamp ⚘ official site ⚘ twitter ⚘ instagram

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ONRA – GONNA MAKE YOU MINE

Hmm… you know those days that just seem to float like a nothing-mist, yet zip hastily to their own sunsets? Today is one of those days, and before I've even finished one cup of coffee it seems as though hours have passed by without my noticing their disappearance. Deary deary me. Anyway, we're not here to talk about that. We're here to talk about music. And in particular, we're here to talk about Onra.

Who is Onra? A maker of music of Vietnamese descent who lives in Paris; is that specific enough for you? I wrote about him before, when he created an awesomely slowdown-dreamy remix of Disclosure's 'F For You'. Only checking out his stuff when it appears in front of me, rather than actively seeking it out, I'm surprised that I don't indeed search it out – cause it's real nice yo. This time around we have a tasty little number from a compilation by "brick-and-click" clothing-etc. store Colette called French Kisses; essentially it's a Valentine's Day compilation. 'Gonna Make You Mine' – a romantic title, of course – is Onra's offering to this compilation.

Fading into your mind with a future funk feel – carried by a beat with plunging kicks, crashing snare, skiffly rush of hi-hats – the song is an instant body-mover. At least, for me it is. Maybe I'm just impressionable. But with that bass, bulging and pulsing along with the accented bass drum, it's difficult not to be dragged onto the virtual dancefloor. Minimalist funk chords in popping palm-mutedness whistle by, with occasional saxophone aching into the mix with supreme nocturnal romance flavours — cut-up vocal samples seem to be set to flanger, sounding like a synchronised crowd of voices. That's before the vocal samples proper come in (after a break with sharp-sharp cymbals), singing soulfully with reverb added, dew-dropped with glistens of icy synth.

It's a heavenly sound that takes the "piracy" of hip hop and sets it to work in a less brutal way, preserving sounds and snippets in order to build a neo-soulfunk track, rather than cutting sounds to insert above an equally cut-up beat; this – and some other recent tracks of Onra – suggest that this musicmaker, usually associated with hip hop, is taking a swerving towards something different. Not necessarily something new – just look at the vaporwave pirate-punks and Keats Collective's future funk, for instance – but certainly something full of life and worthy of a larger audience. Also, it just so happens to be a perfect sound for a Valentine's Day compilation: smooth, dance-inducing, flavourful.

You can buy Colette's French Kisses compilation over at their online store (click-click!)

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Like Onra on Facebook
Listen to Onra on Soundcloud
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BIEBER – SAINT PEPSI

First, Saint Pepsi – the Long Island producer with his roots in the familial vibe of vaporwave – took care of Carly Rae Jepsen's 'Call Me Maybe' in a steamy, slow edit of the track; now, especially for Valentine's Day – or V-Day like some dotty old war veteran – he's remixed a Justin Bieber track; yep that's right – BIEBER. Taking vocals from the troubled Canadian child star's 'Boyfriend', Saint Pepsi (real name Ryan DeRobertis) has created a wonderful slow jam simply called 'Bieber'.

There's something wonderful about the track, something unique despite its apparent simplicity; but in the vein of the new punk that he is (and many affiliated with vaporwave in general, or more specifically with the collective New Generation), samples come from everywhere and anywhere, are used in any which way, and the intent of the song is contentious or as innocent as you want it to be. So there. Now listen up to 'Bieber' if you haven't already and share it with all of your friends because I'm sure they'll like it. Despite the utter meh-ness of the original, this takes Bieber's best feature (his voice) with none of the putrid production that goes with it and turns it into something fun AND good.

Beginning with a sparklingly cheesy intro, we're led into a world of slow-jam heaven with choral voices singing as you saunter along the way. Bieber's voice appears altered, low-register, at first, crooning over percussion and warm muffled synths that gradually thicken as the song goes on, rolling R&B snares skittering over thumping kicks. Even Bieber's rap is in there, the end of which includes his own catchphrase "swaggie" – and which Saint Pepsi throws at you again later. What the hell swaggie? Jesus H. Some aching synth solo beeps towards the end of the track – notes bending with an almost sarcastic lilt – adding candy-coloured electro fun.

So whether you think this is a joke or whether it's serious or if it angers you and you want to shove your own head through your laptop and jump out your window – that's up to you. The facts here are these: firstly, the song is a vast improvement on its original; secondly, it's clear that Saint Pepsi is going to continue to sample whatever takes his fancy – whether it's an emo band, Mariah Carey, Justin Bieber, or anything else in the public domain. Not only is it simply about doing what you want, sticking to no genre and feeling free to capture any mood or summon any feeling, but also the truth is, copyright laws aside, everything in the public eye ceases to belong to its owner the moment it is released to the masses. So just enjoy it or don't – it's your life.

PSSST… Saint Pepsi plays his debut West Coast (USA) show in San Francisco on 15th February, can you make it?

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Like SAINT PEPSI on Facebook
Listen to SAINT PEPSI on Soundcloud
Hear more SAINT PEPSI on bandcamp
Follow SAINT PEPSI on Twitter
Check SAINT PEPSI on Tumblr

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