Showing posts with label big. Show all posts
Showing posts with label big. Show all posts

Tuesday, 14 November 2017

🐣 LILAC — FEELINGS

Huge. The expanse of it, the ambience of it, the wild sandstorm blight of it, the pastel colour pleasantries taken and ripped to shreds and thrown in mad gallons of confetti across the every corner of Earth, the wind-up toy nature of it, but without that metal key at the back instead it spends a third of its duration inhaling air, capturing energy like charging a spirit bomb and gradually that meter is filling and—bloop! It reaches the top and this wondrous track charges into life, crowds the air like a cloud wrapped round a goddess cartwheeling to the ground the loudness of it crunching like thunder. And afterwards it fades into the ether, gorgeously slipping away into silence.

lilac's track 'feelings' is quite literally a long explosion of sound, thick layers of gossamer fibres glowing grey and pink and teal and then more robust rumblings under these electric coils of noise, a beat if you can even call it a beat like ultra-slowed trap, the kick overdriven self-detonating, delayed satisfying sidechaining with each distorted boom, sharply crashing cymbals cracking with each slow syncopated percussive hit, dynamic clusters of rattling snares, clipped handclaps keeping time for this gargantuan swaying rhythm. How soft at the same time, how muffled, the rounded cushioning of it, the feathering, the tenderness of it and how that tenderness warps and self-destructs into obsessive longing, a swirl of sound, of feeling, that takes up every surface every empty nodule of the mind.


  • πŸ”” More fabulous tracks from lilac are available in a streaming as well as downloadable medium over on their Bandcamp.
  • πŸ”” Must admit: originally led to lilac because their profile pic is Lindsay (played by Linda Cardellini) from Freaks And Geeks.
  • πŸ”” Affiliated with SoundCloud collectives you may know: otter boys, Tsundere Fan Club, and REGRET.


πŸ“ 
lilac Internet Presence ☟
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Tuesday, 22 September 2015

BUDDHAHOUSE – PUBLIC ENEMY

Ready to go on a journey of jostling energy, drink a cup of urgency pressed and bottled in the chilly Japanese city of Sapporo, elbow your way into some space on the dancefloor and buss out the hardiest and most robust of your two-stepping prowess? Because that's what you're gonna get with 'Public Enemy' by BUDDHAHOUSE.

I've already mentioned the city, but yes, BUDDHAHOUSE is a self-professed "DJ, beatmaker" from Sapporo, which is on the "wild frontier" island of Hokkaido, Japan. And this track, like I mentioned, is a wonder of energy and urgency, of no-nonsense, no-frills, wild dance-only music.

Dissect it and you'll find – within a dynamic ebb and flow of drops and build-ups – its punchy punchy kicks, its marching snare drums urging you abrasively into rowdy dancefloor formation, rolling toms adding warlike pugilistic flavour, jangling jingling scathing hi-hat noises crashing together like a box sharpened swords going down a slide, its cutting synth chord pattern sweeping over the bustling bang of the beat. Shuddering galloping aggressive house with retro ornamentation; imagine someone breakdancing to this in the snow at the side of a road as confused cars slow down to watch.

Two great parts: at 2:53, a turntablist record scratch bookends a slice of slow amen beat bustle, before the shout of "Somebody in the house say 'yeah!'", which is sampled from Public Enemy's 'Caught, Can We Get A Witness?' and thus giving BUDDHAHOUSE's track its name.

And from 4:28 onwards, where there's this tiny rising-and-falling bleepy melody that really really reminded me of the tiny bleepy melody in the breakdown bit of the theme for Stage 2 from Streets of Rage.




BUDDHAHOUSE Social Media Presence ☟
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Tuesday, 15 April 2014

AVEC AVEC – MOON PRISM [FREE DOWNLOAD]

Here's Avec Avec with some totally brrrrand new shiz. In fact it's so brand new that it doesn't even sound like Avec Avec, or at least the music by Avec Avec that I know. Last time I crossed paths with his sound it was... ah yes, it was last summer. Last Summer. Days without end. So long, beautiful skies. But the sound of Avec Avec was one of super-ultra-pop, city pop, "pops" as it is known occasionally – urban and urbane pop stylings, immaculately clean-cut and sharp as a shard, yet soft and podgy, gooey on the inside like a golden egg that oozes mercurial contents.

Sorry wait, what, you don't— well that's fine. Who's Avec Avec is what you're basically saying? Hmmmyup that's fine. His real name, if it helps, is Takuma Hosokawa, he's from Osaka, he's like 26 or something, and he's also in a band/group gleaming with pop, Sugars Campaign. He's a Maltine Records affiliate, has appeared on the Lost Decade remix album for the legendary tofubeats, and has worked with producer and VGM-maker bo en. He's been around, and no doubt he will continue to be around and get around as time passes.

"Y shud I care lol" – because he makes good music. And this is no city pop, ultrapop nope: 'Moon Prism' is a monster.

This is ultrahouse. Pophouse. Packed with a kind of surly yet cutesy attitude, the song bounces along with pulsar bass dragging you along for the ride, harsh piano chords playing in house syncopation, becoming soft synth versions of themselves in places, descending patterns giving it this toppling effect all the time with a hint of something about to explode. Altered vox samples blabber as a beautifully demented ornamentation alongside stellar clusters of driplike bwips, the occasional gun-cocking, a bedspring squeak or two and a "HEY" for good measure, taking those cheesy tropes and inserting them into a hectic house framework that oozes with all the quirky energy that first brought Avec Avec to my attention. 100% big sounds here.

It's as if stuffed toys ran the clubs, or a situation in which pastel colours suddenly rule the world – all the normal stuff is there, a bubbling beat, chords that make you go crazy, fun samples, but it's Avec Avec's style that truly brings this to glorious life.



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