Showing posts with label conceptual. Show all posts
Showing posts with label conceptual. Show all posts

Tuesday, 30 June 2015

BANSHEEBEAT – SHINSEKAI [初演 • PREMIERE]

It's another premiere – what? Yes it's true. And this time around it's from a Tucson, Arizona-based musician-producer called bansheebeat. Contrary to many SoundCloud-born-and-bred musicmakers, whilst maybe ostensibly belonging to part of a scene, bansheebeat employs many different styles under a banner that at first glance may appear to be heralding J-pop-flavoured electronica. His latest track, and the first to be taken from his impending album Lumine (itself two years in the making), is 'Shinsekai'.

Shinsekai or 新世界 is a Japanese word meaning "new world" – from my perspective it refers to two things: the New World of One Piece, and also the Shinsekai district of Osaka, whose origin dates from Japan's period of rapid modernisation in the early 20th century. In reality the term is more abstract and refers to the earliest inspiration for bansheebeat's song.

"Shinsekai is just an abstract term, but I originally got it from the fact that an early iteration heavily sampled from Dvořák's 9th symphony [known as "The New World Symphony"]. It took over a year to finish, and went through so many completely different forms," bansheebeat tells YES/NO. "It starts with a bit of an overture; I wanted it to sound like you were starting up a JRPG on the SNES, like Chrono Trigger or something, but it ended up being this eight minute monster that is like three songs in one."

And without further ado, here is 'Shinsekai'.

Beginning with the always-welcome crash and wash of waves on the shore, we move into the "overture" part that bansheebeat mentioned above – electronic harps plink their gentle melodies alongside strains of synth flute, strings and marimba hits; a plaintive song that sets us up for surprise when breakneck virtuosic buzzing synth leads whirlwind into your ears in the next section. Syncopated kick-locked synth chords explode along the way with ticking hi-hats and punchy snares – a driving beat for joyful vocal samples echoing into the void. These get their own chance to shine midway through, alongside the endlessly skittering and increasingly jostling beat, pugilistic heart-throbbing toms giving it extra urgency.

Chiming melodies return for a gentler section in the latter part of 'Shinsekai', gradually giving way to a return of percussion heavy boomings that previously bounced around in our ears, the vocal sample now stretched and pitch-shifted to play out an aching melody of discovery and wonder. Because with the concept of this track as "new world", essentially, you can very much discern a real sense of excitement in the elctro-symphonic journey that we're taken on, the hyper-anticipation wriggling in the endlessly impatient shifting patterns of the beat, the grand chords like triumphal orchestra hits expressing achievement, the gentler, more fragile melodies and elements summoning newfound beauty – all of it conjuring a true sense of what any "new world" (a fresh beginning: starting a new job, falling in love, emigrating, moving house) can be for any one of us: scary, exhilarating, and regretfully sad for the "old", all at the same time.


  • It's taken from bansheebeat's upcoming album Lumine, which is out next week.


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Sunday, 21 December 2014

JONAH BASEBALL – WORLD SERIES

Man I don't know a lot about baseball or anything like that but this track by Jonah Baseball sure is really cool. It's called 'World Series' and it I guess effuses the same final boss / colosseum tournament at Dressrosa in One Piece that the World Series must have. Actually it's more of a journey of sound that I suppose is inspired by the World Series, the romance and the history of it all, the uninterrupted majesty of legacies made and broken.

See, I don't know anything about it but I got a bit of borrowed nostalgia for something I've never experienced from this track. It must be a good track. An electronic symphony to baseball in like five parts, it begins with the ominous mystery and nervous tension that stepping up to the plate must produce. Wiggly chords and synth vox make misty atmospheres over a snappy, jangling beat, with each snare hit like a baseball being hit out the park.

Then the track rears up on its hind legs and goes nuts, destructed almost brassy bass swaggering like a giant, descending into super-crunch distortion after a sweeping, almost cosmic breakdown. Then we talk a relaxed walk to the rhythm of a beautifully skittering beat with accented hi-hats, emerging from the previous crunchy madness into a refreshing world of soft, jazzy chords, joined by thin mists of synth and a playful squelchy lead melody, a reminder that it's not all drama in sport but it's fun and romantic, too. A many-tens-of-thousand-strong crowd cheers at the end.

Jonah Baseball, who is from America and basically makes music + loves baseball, has worked some real magic with his music, leaping into conceptual storytelling and producing a mini symphony with distinct movements containing their own energies and moods.




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Tuesday, 21 October 2014

MUS.HIBA – SLOW SNOW

Never before has a song sounded so much like its title. Well maybe it has but anyway… This is 'Slow Snow' by mus.hiba and yes, it basically sounds like slow snow. It is a delicate and gentle song, artfully spanning the four minutes of its existence with a snowscape of sound, a soundscape of snow; it falls from the evening sky in slo-mo spirals, highlighted in streetlights that grace the already fallen layer of snow on the ground – no one is around in the frozen streets. It sure does paint a picture.

The track is all set to a slow and carefully considered beat that summons the laid-back style of southern hip hop and trap, giving substance to the hugely expansive synths that satisfyingly dip in volume with each heartbeat kick. Dancing with these synth chords are piano melodies and clusters of gravity-defying glockenspiel, chiming evermore towards the end of the track.

On vocals it features not an actual person but one of the voices or even personalities taken from voicebank freeware UTAU, called Yufu Sekka, the gentle sounds of whom whisper like breezes in the synthetic snow-swirls of mus.hiba's production. Using this hyperreal technique, mus.hiba has created an entire album of music centred around themes of snow and winter, "to express the fragility of a two-dimensional character singing." I very much like this idea. Top marks.

  • The album is called White Girl, it is scheduled for release 10th December (suitably wintry) on the Japanese Noble Label and it will be very, very beautiful if 'Slow Snow' is anything to go by. Go buy it here.
  • Also check out the fragmented prettiness and gradual intensity of the other song released from the album so far, 'Moonlight'
  • Fun fact: Yufu Sekka = Yufu, ユフ, inverse of fuyu (winter); Sekka, 雪歌 ("Snow Song") – so there you go.



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Saturday, 19 July 2014

DAYTRIP – DROP IT [FREE DOWNLOAD]

Oooh…! Remember when I wrote about Daytrip's first track? It was called um 'Flight 43 (NYC)' that was it. It was a slice of bombastic footwork with a tasty guitar solo weaved into it somewhere. You should listen to it. More interestingly, it is the first section of a journey which lies at the heart of the very concept behind Daytrip: a round-the-world trip documented in music. So we've been on Flight 43 via NYC – where next?

Well the New Yorkers behind Daytrip – a duo comprising of DenZ and David Hugh Cosby – have taken us to Kingston, Jamaica, to see how they do over there. Home of reggae, rapping (via 'toasting' or 'chatting', when the DJ talks/chants over a beat; via West African 'griots' or poet-storytellers), ska, dub, dancehall, Jamaica is the perfect stop-off for a pair who at least seem to like their bass tasty and their beats meaty.

I wonder how they actually got to make any music because there are a lot of pictures of them partying. (Yes it's not just conceptual, it's a living, in-practice, physical trip to another place: check their Tumblr). Anyway! Listen! This is 'Drop It'.

Mmmm it basically goes off. Crunchy synth mixes with tides of infra-bass and booming kicks in a celebration of the low end of the spectrum, the beat swaggering and swaying in between aggressive collections of snare hits and wind-up hi-hat freneticism. And rightly so – it fits the no-nonsense party atmosphere of the song, with dancehall vocals (for the most part) inciting the crowd to lust-laden dancing. Airhorns abound in occasional patches, as do jostling glitches and stutterings in the track, decorating this track, which is essentially dancehall-trap if I'm allowed to suggest that.

Raps from Lil Silk and Yung Burrakami keep things fresh and add more voices to the track, giving it this bustling, busy appeal – just by listening to it you feel like you're out dancing in a sweaty sweaty crowd in a chaotic club. Looked at in the context of the series of daytrips themselves, the first was a triumphant, soaring introduction, but this second leg is a more settled, established sound, something achieved by aiming for a collaborative effort, perhaps. It's also a nice indication of how the duo will pick up and adopt the sounds of whatever locale they happen to find themselves in, making this a v followable series.

NYC → Kingston → ????? — I'm looking forward to it!



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Saturday, 9 November 2013

BOTANY LAVA DIVINER (TRUESTORY)

Google "the death of the album" and you have like a zillion results (259 million on google dot com), the top one being a Wikipedia entry on the actual phrase itself. A lot of publications have based entire articles around this phrase, which you can see on the Wikipedia snippet described as a "perceived decline of a traditional album in the 21st century." The keyword here, however, is "perceived" - and of course, it is perceived. It is not fact. You don't need to read any article to refute it. Although single songs are more readily available and people aren't necessarily having to buy entire albums just for one song anymore (as my dad admitted he used to do), these single songs happen to come from actual albums. People are still making albums. It's not, or shouldn't be, a big debate. It simply shows the readiness and the willingness of people to jump on the naysaying bandwagon and commit themselves to pronouncing the supposed decline or, more melodramatically, "death" of something, almost like a celebratory lament: a virtual conjuring of vultures circling. Tell me if I'm wrong.

In a similar vein, I'd like to introduce the new album, Lava Diviner (Truestory) by Texan producer Botany. It was released this week and it is a concept album, charting an imaginary cult in their efforts to make a volcano erupt via their prayers. I've already written about a couple of songs from the album, 'Quatic' and 'Simple Creatures', and was curious to hear how they fit into the concept, because both tracks are strong by themselves. Let's see, shall we?

From the bubbling bleeps and drum chaos of at the intro of 'Comm', we're led into a soothing paradise of sounds: true glitters of metallic percussion and chanting, wordless vocals. An introduction to the ideas behind this album, a searching view of a distant, unknown, tropical land. Tribal drumming rises out of the sounds, fades out, until a raw hip hop beats comes in, leading us to the next track, 'Anchor'. True to its name, heavy, bursting kicks lie at the heart of the beat, cementing it as the rest of the sounds are free to float all around - a dream world of pretty, ambient sounds. Inhuman voices yelp out, as if you're passing by the glowing mouth of a cave in the sweat of ominous night air. We're taken slowly into that forboding maw, as a low shamanistic vocal chants at the beginning of 'Owa'.

White noise fills your ears to the bounce of the beat, swimming synth echoing more singularly than before, the howl of voices in a labyrinth of tunnels. Things start to heat up. A huge room opens up, signalled by the expansive fluttering of the sounds in 'Per Eon', a greeting of a song where unintelligible voices chatter in its intense, all-encompassing sound, slowly fading to nothing. It's here, in 'Simple Creatures', where things turn a little eerie, helped by the soaring vocals of RYAT, our brief guide who in otherworldly layerings of aching tones repeats the mantra "simple creatures". We find ourselves in the midst of a ceremony in 'Cant / Goosemother' regular stamps of beating drums give way to hoards of relentless clapping and looping bloops of some giant marimba. A chorus rises up and sways. By the end, we're left with a more peaceful beat, more delicate sounds that herald utopian visions underpinned by sub bass.

But the real truth lies in the raw boom-bap of the unnerving 'Quatic' - euphoric sunny guitar sweeps get left behind for the hard reality of molten lava and ever-maddening voices, twirling over distorted walkways of bass. Things get serious. 'Small Keys' explodes with a hard, aggressive beat, decorated with snare ornamentations, a frenzy of sparkling noises jostling for supremacy. We finally meet the 'Lava Diviner' - a short oasis of exalted, choral reverence. Then the lamenting guitars of 'Celeste' and breezy drums give way to a dubstep beat, the perfect rhythmic vehicle for the less-busy, darker sounds of this track. Whooping, chuckling shades of vox fly out at you. Things turn orchestral as strings take over hounded by white noise. By the end, it's nothing but a frightening concoction of noise and brief murmurings of a low, demonic voice: a glimpse of the dark heart at work.

Perhaps things have faded for now. Carefree, complex drum patterns characterise 'Sunna / Show Me', a track whose jazzy, lounge leanings feel like gusts of pure air compared to the suffocatingly intense feel of some of what has come before. The drums fade and a flute plays alongside a lo-fi piano, the thin air of dawn. One single menacing note of bass sounds and leads us into 'Birdlife'. It's a structured, 2/4 affair, rich waves of chords ushering in a sense of calm as vocal samples skip along. It builds to an overarching crescendo of farewell. But as you look back, mournful strings remind us of the journey we've taken, remembering strange destructive human desires, the sound of molten bubbling still in our heads. Whether this cult prays for it or not, the threat and the power of the volcano is always there: nature remains.

... A journey, that's for sure. That's what this album was. And it's all thanks to a skill at moulding a whole plethora of analogue noises into evocative, believable soundscapes. Well-crafted, often intricate beats keep the pace and augment the dynamics inherent in these sounds. Botany himself, real name Spencer Stephenson, calls the whole thing a "cathartic release" - perhaps, then, it reflects his own heart, his own passions. This album itself was an eruption waiting to happen.

It's out now on Western Vinyl (as vinyl) and you can also buy it from iTunes or Amazon.



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Thursday, 17 October 2013

BOTANY QUATIC [FREE DOWNLOAD]

Moving on from the sparkling, busy ambience of Texan producer Botany's 'Simple Creatures' featuring the vocals of RYAT, uploaded earlier this month, we arrive at the mellow yet mean sounds of his latest offering, 'Quatic'. Both songs come from an album due for release on 28th October called Lava Diviner: Truestory, a "loosely" conceptual offering that tells the musical story of a cult praying for a volcano to erupt - a vision of smart hip hop that mixes intricate beats and super-atmospheric sounds.

What we have in 'Quatic' is a lot of watery sounds, or perhaps liquid would be a better description; it isn't A-quatic after all. Instead here are images conjured of an subterranean world never seen but for a select few - a world of scorching magma bubbling, of unintelligible spirits inhabiting the very molten rocks themselves. Sumptuous sounds illustrate this hidden world, quietly cradling its liquid lava flow, as sluggish as it is brimming with dangerous power. Atmospheric.

The noises that go into creating such an image are legion. Blooping synth hides in the background like a constant measure, zither-like sounds strum, scratched-glass sounds stab the air, chopped vocal samples whisper gently, synth vox joins the pattern of the bloops, blobs of bass squelch their way along, and ambient air disturbances sound like distant roars or shrieks of the roots - the heart - of the volcano itself.

That's not to mention the beat. A boom bapping sensation, as faltering as it is strong. Dustings of hi-hats skiffle rapidly along with a dull shuffle that sounds as real and raw as a dented, well-used hi-hat should. The snare rip-slaps to the solid bounce of the kick. As traditional a hip hop beat as you could imagine, with a less than traditional approach to the surroundings and cargo of that beat. Spencer Stevenson, the real name of Botany, is onto a winner with this kinda sound.

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Monday, 8 July 2013

THESE NEW PURITANS AND IT'S RISEN

Cor blimey am I slow on the uptake sometimes. How embarrassing this can be. You see, These New Puritans have already released their third album Field of Reeds and where was I? Nowhere, apparently, cause I didn't write about it. I did however write about their song 'Fragment Two' when it was released for human ears a few months ago. It was nice, showing a subtle mix of their beats-inspired earlier stuff and the spooky instrumentals of their second album.

Now they've got a new album out they've been naturally doing the rounds, on tour an' that, and a few days ago they were on Zane Lowe's show on BBC Radio 1. If you don't know who Zane Lowe is then that's fine - he's this guy from New Zealand that plays music on BBC Radio 1 on weekdays from 7-9pm GMT. Use your googling skills to find out more.

So anyway they were at Maida Vale in London which is where all the bands and artists do live stuff for Radio 1. They played a few songs from the album. In addition, they also played a didn't-make-it-on-the-album track called 'And It's Risen' AND it's nice. Listen down.

Beginning with a now seemingly quite typically TNPs combination of unassuming vocals and piano chords, the song grabs attention right away. The piano sounds are almost uncomfortable in the beginning, beset by the languor of their own lingering reverberations, but in that there's a prettiness in the simplicity of the progressions and the way that the vocal melody follows the piano's.

The unexpected addition drums into this song is a very welcome addition indeed. They are wonderfully hesitant, clicks tripping over snare, a sparse beat yet imbued with power that provides the perfect companion to the vocals and piano. The beat in fact almost follows the new melody painted by the piano and vocals, all of which sinks into the background as bassoons or whatever rise up and provide a large orchestrally murky finale to the song, they give it this mournful tone that well describes the mud and grey of the Thames Estuary. Dunno why this didn't get to the album cause it's well good innit.

Have a listen to all of the Maida Vale sessions, but you should probably also check out their album Field of Reeds too.

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Wednesday, 8 May 2013

THESE NEW PURITANS FRAGMENT TWO

Hey, oh my gosh, it's These New Puritans, which is really exciting because I honestly thought that we weren't gonna hear anything from them ever again. A defeatist thought, yes, but now I'm even happier that they're back. They're back! Imagine that. Anyway, I loved their first album Beat Pyramid (2008) and also their second album Hidden; the sound between these two albums changed drastically from a distinctly stylised esoterically worded beat-driven indie band, to something more symphonic, still highly stylised and - although I hate to use this word - 'arty'.

It seems with this new release, 'Fragment Two', that we may be seeing a blend of out-there-unexpected-artiness and something a little more conventional - kind of a happy medium between the first and second album. Their new album is called Field of Reeds (out 10th June) and the title is kind of interesting for me. This is because I heard a few years ago from an interview with 'band leader' Jack Barnett that he wanted to write an opera about the islands of the Thames Estuary: their upcoming album may be that opera. But who knows. Maybe that was a pipe dream.

Anyway, on to the song.

The meaty meaty piano in the song is very 'them' (as are, as ever, the softly-spoken vocals), it sounds like a logical not-too-far departure from their last album. The way that the bass and drums then are led by this piano bashing is pretty nice - I like how everything fits in; even the backwards-organ-type-sounds that arise keep with that same rhythm. Mainly, I love how everything is just slightly off-centre - it's not standard by any means, but it's wonderfully squiffy - different instruments come in when you're not expecting it, the snare snaps exactly when you think it won't. Lovely. It builds to a climax, with some kind of horn instrument playing a truncated solo, bass notes rumbling. There is also a cheeky reverb on the snare drum every now and again.

It is quirky and I like it quite a lot. It wasn't what I was expecting, but then again nor was Hidden what I was expecting. Is avant-garde too strong? Yeah maybe. Let's just say that this song is refreshing. Like a new cuisine. Not like a peach cooler.

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