Showing posts with label colourful. Show all posts
Showing posts with label colourful. Show all posts

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.

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Sim Fane Internet Presence ☟
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Sunday, 31 May 2020

RHYNE — BIG MAC

⌾ LISTEN TO RHYNE, BIG MAC ⌾

'Big Mac' is a frenzy of colour and synth, hollow sounds plasma blasting into a bristling thicket of beats, unrelenting in their forward propulsion. Sounding maybe a little like the soundtrack to Einstein's theoretical riding on a beam of a light, the track is a hyperactive tumble into a world of stuttering vocal samples and bone-rattling percussion.

"I wrote it in Joshua Tree desert," says Los Angeles producer RHYNE over email. "I find tracks written away in remote locations tend to sound different to those written in your home studio."

As such, the track marries broad, cosmic brushstrokes of synth — almost otherworldly in aesthetics and 3D, reach-and-out-and-grab-it texture — with hard beats, like a dream spilling out of a brain and onto a packed city dancefloor. In short, leftfield creativity and pure, unadulterated energy combine for an explosion of sound.



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RHYNE Internet Presence ☟
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Tuesday, 15 May 2018

🐣 EUGENE CAM — GRAIN

It's musicmaker extraordinaire Eugene Cam with gis uncompromising, unapologetic fusion of beats and videogame aesthetics. This time around we're at the starting gate, stumbling in a pre-World 1-1 soundscape, a tottering, unstable feel thanks mainly to the producer's ability to put minutely arrhythmic patterns together in an easy-to-catch swaying flow. The kicks thud-thump richly deep, sub-bass bouncing warmly beneath it all, snares crack and hi-hats and other zippy janglings tap-crackle circuitboardly. The beat scuttles along, skittering and pounding, weighted but giving this impression, between each percussive pop, of weightlessness and wall-jumps.

Stars of the show are those synth chords: partially lost to the void and colourful yet abrasive, they provide the perfect scratchy high-end antidote to the lower frequencies in 'Grain'—as does the marimba: gleaming clonking sounds that play mystic melodies, the untitled mystery of what may or may not lie ahead. These arrive whilst the track is calm, there are even people talking in the background; and as the difficulty curve begins to show itself, as the challenge presents itself, the beat grows intense, overdriven, synth wheels over sirenlike.

And the brash boom of the track dies down to its previous intensity, night noises help portray the passing of time, or rather these insectoid whirrings signify just one of a few different areas to a 'hub world' (which is what this track is tagged as). You realise that there is no immediate danger, no actual peril going on here: it's setting the scene for something larger, each differing level of intensity in sound, beat alteration, addition or subtraction of an element, each one could be the basis for a whole tangential level theme. And in that way, 'Grain' sparks imagination, encourages you to fill in the blanks that it itself has created.


  • πŸ”” Like this? Well then you literally must check out Eugene Cam's BOOLIN EP from earlier this year. Released on SoundCloud-label Mekaplex it's a pure crossover of trappy beats and videogames with a scrappy spirit and a world-building aesthetic at heart. You gotta check it out. We particularly liked 'The Gate'.
  • πŸ”” Oh and in case you didn't know: Eugene Cam made this LIVE on Twitch. V impressive!


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Eugene Cam Internet Presence ☟
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Monday, 15 January 2018

🐣 LEJKEYS — CHEERS FEAT. ARI AFSAR

Julian-Quan Le aka LeJKeys creates this voyage of calm in 'Cheers'—a sort of kinetic stillness, a lovely slow sway of sound, like watching fish dart and float around in their submarine homes in shallows where seaweed streams in the current and anemones curl and stretch in slow motion, all of it shone upon by glassy dappled sun through the wobbling waves. It's a simple perfect scene summoned by the track's own gorgeous simplicity.

The slowness and friendly calm that LA-based pianist and producer LeJKeys conjured with soft synth boops and unassuming sparse beat, a lazy cheerful whistle that folds into it all, moments of intensity with the brimming happiness of fizzing synth chords, not to mention the clear upbeat vocals of Ari Afsar – sometimes gently layered and pitch-shifted, beautifully drawn-out, but always lilting sweetly – is a testament to positivity and wonder.




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LeJKeys Internet Presence ☟
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Ari Afsar Internet Presence ☟
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Monday, 8 December 2014

SPAZZKID – DAYTIME DISCO FEAT NEON BUNNY

Spazzkid basically never fails to disappoint and in this instance the same is true in his brand new track 'Daytime Disco'. Here he becomes a super talented producer for the vocal talents of Korean singer-songwriter Neon Bunny, whose voice sings a gorgeously plaintive song over the super palatable flavours of Spazzkid's squelchy dynamic synth patterns.

These bounce on a jelly bouncy castle of sound in the form of bloopsome sub bass globules, which are the footwork kicks underpinning the wildly frenetic beat, skittering with exhilarating hi-hat-cymbal-combination gunning out with amicable-uzi rattlings. As ever his ear for dynamic is spot on; the beat loses its shit where it needs to, the synth grows fainter in some parts for Yoojin Lim's (Neon Bunny's irl name) voice to drop its beautiful mist upon your ears more purely, a break in the music makes room for the sample of what sounds like the cheerful chatter of a restaurant. It's lovely.

Little accoutrements finish it off as sonic ornaments in the form of bleeping little popcorn wiggles from left to right, and also featuring some dreamy guitar twinkling from Hiro Makino aka There Is A Fox (and it's not the first time he's collaborated either, having made a track back in spring with Spazzkid called 'At Fault'). I'm so happy to hear that Spazzkid, Mr Mark Redito, is continuing to attract attention from all the right places – this time from ultracool London / NY label Cascine – and that he's doing this with his group of international friends, too.




Spazzkid Social Media Presence ☟
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Neon Bunny Social Media Presence ☟ FacebookSoundCloudBandcampTwitter

Hiro Makino/There Is A Fox Social Media Presence ☟ FacebookSoundcloudTumblroto sound (another alias of Hiro) on Myspace



Monday, 3 November 2014

TDOYLE – COTTON CANDY CLOUDS

Ahh… tdoyle. I said it three times in the mirror last night (it was Halloween, yes I'm writing this from the past) but no one appeared. I tried it also with a hundred other different names of different people I know but no dice. Too bad. But anyway; news flash, tdoyle (which TextEdit keeps correcting to "toddle" which would be hilarious if it wasn't so damn annoying) might be changing his name. We were at Kami's Lookout (online venue) the other day and this was one of the things discussed. I won't divulge anything else though. Y? COS I AINT TELLIN U M8. Besides, I know nothing.

Anyway, here we are. A new track by Mr tdoyle. It's called 'Cotton Candy Clouds' (nice alliteration) and it is as the title says. Sounds like sweeties. Sounds like sugar. Popping arpeggios intermingle with more tangy arpeggios, each note seems to zing in glorious waves across a teal sky painted salmon pink with smiling, lazy clouds. It sounds actually almost as if it could've been written not from the point of view of looking up at the sky, but from being up in the sky looking down – from an airplane or something.

Yoshi makes an appearance, his cute lil voice sampled in the song's second half where claps run amok and synth chords almost like trumpets are triumphal and welcoming. There is a blissful simplicity at work here, something easygoing and uncluttered that makes it all the more easy to drift off to this one, really float 'pon it.

Wouldn't it be super cool if you could fly? That'd be amazing.



tdoyle Social Media Presence ☟
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