Showing posts with label dancehall. Show all posts
Showing posts with label dancehall. Show all posts

Monday, 6 November 2017

🐣 DIEGO RAPOSO — MAISON MARGIELA

The rippling of waves and the turquoise totality of a tropical sea, the pale blue deep sky, here it is painted for you with sun-melted instruments, half-decayed rounded synths that lilt and curve crackling and tilt swerving in and out of the water, a jetski of sound, in that there is this paradisiacal setting as blotted boldly on an absorbent canvas bleeding nicely into the blank space the void of sound that also makes this track so impacting, in that, but also in the motion of it, the kinetic energy of the track in its 4/4 beat, in the tumbling sub-bass that joins in, rolling like the underside of waves through the shallows and fish nonchalant swooping back and forth in the current whipping into coral caves and the sun glinting treasurely around it all.

Arriving from the brain of Dominican Republic-located musicmaker Diego Raposo, 'Maison Margiela' – referring inexplicably to the Paris fashion house of the same name – the track is a big summoner of aquatic activities, calling to mind the liquid carvings and acrobatics of the 3D Wave Race games. But alongside this imaginary conjuring of palm-lined beaches and the swoon of the waves as they tumble softly onto the sand, there is quite concrete tropicalia at the heart of the song, with the track's description noting that it "blends dembow and dancehall to the traditional Brazilian baile funk/carioca"—to this end there are shakers, metallic sheafing hi-hats, insectoid scuttling bubbling noises whizzing around, painting relative intricacy over the elegant simplicity of the track.


  • πŸ”” This wonderfully hot and water-droplet-strewn track arrives as the second single in the Wavy series curated by Dominican Republic label/art-collective MITEL DICO, of which Diego Raposo is co-founder.


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Diego Raposo Internet Presence ☟
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Thursday, 19 October 2017

🐣 E.M.M.A — MINDMAZE

Two indomitable styles of dance music come together here. One is from the past, all flutes and lutes fluttering and harpsichord trilling, with no percussion except the sound of fervent court dancers and baroque celebrities hoisting their skirts to show off their fancy footwork, the era of clammy hand-holding in a collective series of movements including gentle twirls and partner swapping. The other style is rooted in dancehall, just as clammy if not more so but with less collectivism and more individual flair, and wholly centred on the beat pouring out of the soundsystem and onto the sultry writhing dancefloor.

In 'Mindmaze' London producer E.M.M.A fuses the breezy proprieties of delicate medieval court music with the marching mayhem of dancehall-flavoured beats, a trundle of rolling abrasive snares and rapid-fire handclaps that lock in with snippets of that courtly music of yesteryear. However there is a twist. And the twist is that these fine melodies are actually lifted from the music of Mindmaze, the educational diluted dungeon crawler that came with childhood-summoning e-encyclopedia, Encarta '95. The choice of source material speaks of junior schools in Autumn, installing the CD-ROM on your family computer, working your way through the maze—but more than that it simply conjures youth, not with abstract references, faux-'80s remembrances, but with a concrete trinket from the old days; and the cocktailing of that with a current rhythm suggests that this is more than vacant nostalgia, something closer – with its strong booming beats and naturally playful nature – to an extension of youth, a refusal of adulthood.


  • πŸ”” This track arrives alongside another called 'Pumpkin Emoji', both of which will comprise a 12" single from E.M.M.A to be released on 10th of November via Coyote Records. You may pre-order it by clicking on this exact hyperlink and selecting from a series of options.


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E.M.M.A Internet Presence ☟
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Wednesday, 14 June 2017

🌭 MICHAEL O — YOUR WAY

There is something wonderfully intoxicating about this track, something mesmerising—maybe it's in the general uplifting atmosphere of the afrobeat wholesomeness of it, or maybe it's something more physical, in the cyclical three-note melody played throughout that draws you in like a hypnotic spiral, in the instantaneous get-up-and-move feel of the rhythm, the warmth of the track. It soothes and caresses, enlivens and boosts, feels like a 1UP, feels quaint and whimsical but solidly ready for dancefloors and poolsides across the land. Like an uncut gemstone, this is the unassuming beauty the herald of bittersweet emotion that is 'Your Way' by Los Angeles-based Michael O.

There is a delicacy about the synthetic bass sounds, something fragile there, the reverb gently whispering off each note as the sprinkling pings of the repeated melody, feeling like tiny instruments, continue in their happy splendour. The dancehall drums with their offbeat and their busy clacking shuffle suggest carefree movement, but the gradual warm synth that flows in and out like waves on a beach, there is a far-off brave acceptance of something adverse, yet that plinking melody remains upbeat—this is like the true tides of emotion hidden behind a cheerful personality. The tranquillising lilt of the vocals is like a lullaby, even with the autotune hardening the tone. An essence of a person, of an emotion, is in this track, like alcohol in a cocktail, sweetness and sourness and the inebriating feel, an effortless mix of many ingredients, of many feelings, that slides effortlessly into your soul.


  • πŸ”” See Michael O's SoundCloud for more music.


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Michael O Internet Presence ☟
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Tuesday, 30 May 2017

🐣 8 EIGHT — PREE

"Why pree, why pree, why pree…"What are you looking at? This is the central phrase, indeed the eponymous hook, to the luscious 'Pree' by Miami-based 8 Eight. The question, a casual enquiry, resounds catchy in the chorus, descending in a cyclical dance of rhythm and melody. In its colloquial style and simple but unpredictable pattern the vocal swerves and weaves through the lush laid-back vibrancy of the track; rapid and dancehall-flavoured but effortless and balanced, it skips along with its purposeful autotune, sometimes richly layered in harmonies, the 22-year-old 8 Eight's Caribbean roots imbued in the bounce of it all.

This singing swings above a calm nocturnal instrumental courtesy of Balistic Beats, something warm and sultry and utterly groovesome. Synth chords resonate with chilled majesty, the bass booms subtly on each count of the four-four rhythm for undeniable kinetic energy, the beat thickets with clustering click-clacking clatter of percussive elements echoing, popping and thudding. How these elements seem to carefully wrap the vocals in satin sheen, how the track summons its slow-motion dreamlike atmosphere, how it shudders resplendent with potential.




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8 Eight Internet Presence ☟
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Wednesday, 24 May 2017

🐣 GLADES — REAL [εˆζΌ” • PREMIERE]

Stomping onto the scene is the pump-action rhythms of 'Real', a frosty frenzy of dancehall flavours and futuristic leanings from Colorado-born New York-dwelling musicmaker Glades or sometimes GLZDES. Overdriven kicks provide necessary fidgeting bounce, icy synths paint spooky gleaming sparklescapes from space operas freeflowing and far off, thin misty lasering sounds that provide sufficient otherworldly ambience. As a sidenote, beginning at 1:22 the pingpong syncopation summons the plinky noises that appear in the theme for Stage 3 of Streets of Rage—recollections empower music.

And amidst the luscious shaker sounds with its textured bristling and the clacking percussion that drive the track forward and lend it a popping atmosphere, the thuddy kicks that help it sway away from the "real real real real real" parts, amidst this and between them is the voice of Yoh, his words distant and whirled in fogs of synth and skipping with jazz inflection and agility.

Glades tells us over email that 'Real' is inspired by "the relationship btw Honesty and Promiscuity." Indeed there are two contrasting facets of the track: the unrelenting faster sections vs. the soft nebulous parts. This duality could be mirroring those conflicting concepts. "In Western culture ~ we don't like to let these coexist," he explains. "We like to demonize, shame... we talk about sexual freedom and like to think we are free sexually as a culture, but I don’t believe that’s true, I don’t believe as a culture that we can handle it emotionally."

'Real' pops with minimalism and intensity, compels with hazy floating sounds and crucial tactile ones, grounded but cloudbound, it's the far-off future where things merge and work together and concepts are as free and flexible as the ones that dream them, a heartgasm of isolation in idealism.


  • πŸ”” 'Real' follows two weeks in the wake of 'Turbulence', another track taken from a forthcoming release called VISCERAL. Glades revealed that all its songs were all like a purge the past few years, the times I could let it all go and be most honest.""Now I realize the best way for us all to live is to be full honest all the time, but I did not know this at the time." The project is due for release on 2nd June.


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Glades Internet Presence ☟
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Wednesday, 14 September 2016

🐣 MARK REDITO – YOU'LL ONLY LOVE ME WHEN I'M GONE

Skiffing through the twlight between on and offline ever further from his Spazzkid moniker of summers past, Mark Redito continues as he has always done to evolve as an artist. His latest foray into the ether of music, 'You'll Only Love Me When I'm Gone' swells effortlessly with energy and displays a characteristic change in style that feels organic. Flavoured with dancehall humidity, the track swirls between fluid cute electro and a sparse yammering beatscape, notably lacking in Redito's usually present voice and instead heading heavily onto garbled, voiceless dancefloors.

The track's title, however, does make an appearance in the music as a sampled lyric, chewed up, emotional and intoxicated, flinging its vague electronic lyricism like elastic through the lurid synth. This then repeats rapid-fire after gear-shifting booming bass build-up, stammering high-pitched above hefty kicks and not menacing but business-meaning beat punching syncopated one-twos into the less crowded space, sounds feeling more poignant pummelling away with room to breathe.

But let us not forget that a simple body-moving beat and the manipulation thereof has always been a staple of the way Mark Redito makes music; energy spiced with elation. Here and now, as ever, he incorporates new exciting sounds into his repertoire, with style fluctuating but substance remaining a constant, keeping as fresh as the first whiff of 'Getting To Know You' when it was love at first listen.


  • You can grab 'You'll Only Love Me When I'm Gone' for just $1 on Bandcamp. A full-length album is on the cards for next year.
  • The original artwork for the track was created by kikkujo, whose characteristic pen-and-pencil illustrations often depict people weighed down by weltschmerz, their bodies and expressions fine-tuned to display this subtle painful weariness.
  • Earlier this year, Mark Redito set up Likido, a series of curated events that provides a platform for female, POC and LGBTQ+ artists, aiming to celebrate and nurture these communities.


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Friday, 6 February 2015

MARTEL FERDAN – TOY GUN

Arriving courtesy of supercool Paris label Sound Pellegrino, this is a new track from French, or at least France-based, producer Martel Ferdan. Unfortunately it's only a snippet; my heart cries tears of longing when I stumble across a snippet of a track on the internet. But it's ok. I understand… kinda.

Anyway, the track is called 'Toy Gun' and what I first noticed about it was the collage of styles at work throughout. The thudding kicks follow a dancehall pattern, a sonic trigger that almost always results in some form of dancing; clusters of giant metallic drum summon a Brazilian carnival-esque atmosphere; the percussion forms a kind of breakbeat pattern; the wonky synth bass sounds very much like the sort of bass you'd find in UK grime… The amalgamation of these different flavours gives it a rich and complex base that feels like it does to the brain what a tasty, well spiced dish does to the tongue.

And from out this exciting broth emerges melody, stuttering and spicy synth that right away took me back to Chemical Plant Zone from Sonic the Hedgehog 2 – the same dynamic short and sharp bursts, the same wild and wailing vibrato at work. Add to this an occasional sound which is kind of like the synthesised squawk of a seagull, and the combined plaintive-spooky melodies of a music box and toy flute towards the end, and you have yourself a mishmash of dance flavours ornamented with hints of videogame music.

I wanna hear the full version!




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Thursday, 21 August 2014

LAZY INTERVIEW #26: KERO KERO BONITO

← LAZY INTERVIEW #25: TROPES

Another Lazy Interview. #HaterzStayBack

But in all seriousness, a trio of very nice musicmakers making unique music step up to the plate and hit three over-the-fence home runs. Yes, it's Kero Kero Bonito (or KKB as you are quite at liberty to say)! This 3-piece are doing good things for music. Why? How? Well they make a kind of pop music, a weaving together of gleefully pedestrian bilingual rap, minimalist drum machine dancehall, and cutesy melodies: something they've tagged "ultrapop" and something that I doubt you've ever truly heard before. You may've heard incubative versions of it, but nothing like this. No no no.

They dropped their debut mixtape / album Intro Bonito last year, and made it freely available, but NOW they are releasing it on Monday, officials, on nifty record label Double Denim. I talked about the first offering from that mixtape (which is now strangely the LATEST track to be taken from the album) called 'Sick Beat' – a great introduction to the wonderful world of KKB, and interesting in that Sarah raps about playing or, actually, being sick at videogames, with the line "It's often said, I should get some girly hobbies instead" just about summing up the unfortunate opinion of the general populace (probably). GAMES FOR EVERYONE is what we say.

There's also a very fun video for call-and-response style track 'Kero Kero Bonito' – super colourful and nicely random, why not watch it?

Anyway they're just about blowing up right now, and with the album being released on Monday, what else is there to do but be dunked concisely into the "playful/strange" swimming pool that is KKB as they collectively quickfire-answer these damn lazy questions of ours.



Who are you? Where are you from? What do you do?
We’re KKB, we’re from everywhere and we do our homework.

Why did you decide to start creating music?
Because the youth of today need a political voice!!!!!!!

How would you describe your sound? What makes you and your style stand out?
Bilingual schoolyard dancehall. Bilingual schoolyard dancehall.

Is there a perfect time and place for listening to your music?
iTunes, any time.

What inspires you most when writing a song?
Cats, dogs etc.

What is your most memorable musical experience?
We played at a local hall and the old people were dancing in a ring.

What are your favourite three songs at the moment?
Sarah: Chibi-Tech – Moe Moe Kyunstep (PART II - γ‚­γƒ₯ン -)

Jamie: Danny L Harle – All The Time

Gus: Pa’s Lam System – Like A Lady

Who do you most admire in the music world?
Jack Thomas and Hari Ashurst-Venn.

In your opinion, what is the future of music?
#ultrapop.

What's the future of your music - what do you hope to do next?
More chords – world tour.

What, aside from music, is most important to you?
Social media presence.





← LAZY INTERVIEW #25: TROPES


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Wednesday, 23 July 2014

CRAIG DAVID – FILL ME IN (GOOD DISH REMIX) [FREE DOWNLOAD]

Wow. Well. Here's a damn good remix of a song that was damn good anyway; Craig David's 'Fill Me In' was like the popular garage song when it came out – a strong and immortalising debut solo single for Mr David, and another garage song in a year that was big for garage in the UK's mainstream: 2000 (which saw hits such as 'Flowers' by Sweet Female Attitude, 'Movin' Too Fast' by Artful Dodger, and 'Bound 4 Da Reload (Casualty)' by Oxide & Neutrino, to name a few).

In any case, the remix by Norwegian producer Good dish revitalises this track with some next level euphoria – not Balearic euphoria, but pogo-sticking, happy-happy euphoria. Listen.

Starting with the original, it's soon interrupted with dancehall-esque kicks and the original sounds are cut and looped into stuttering rhythm. And if there was ever a song to include those cheeky little bed-spring sounds, it's in this remix of a song about a guy trying to "romance" the girl next door. They feature heavily, as do a whole host of heavenly-triumphant snare rolls, which provide a sonic red carpet for the soft synth sounds and muted marimba chords that fit perfectly with Craig David's vocals. The end section marks a final 2-step to the finish; I picture people sneaking round their next-door neighbours' houses only to start dancing with them in their bedrooms, not creepin' for romance as was the original track's story.

Whew, I mean, it's just a heavily heavily addictive sound, one that is as delicious to the ears as pear-drops or unadon or I dunno pizza, burgers— basically, it's something mad tasty, but for your ears. Lol and I totally forgot this guy was called Good Dish: makes sense that his music is as nice as nice food, right?

Quite fittingly, the producer who's remixed this old classic is grounded in a particular style not all dissimilar to garage; not in that the genres themselves are similar, but more that Good Dish is part of Rytmeklubben ("Rhythm Club" in Norwegian) collective – a group of producers who produce a kind of footwork, to be extremely generalist about it. Garage has a specific sound; so too, kind of, does this breed of footwork. It could be a Norwegian phenomenon (songs are tagged #NorClub), one that seems (SEEMS) to have started with Cashmere Cat and which shows no sign of stopping – and I'm v glad about that.

THAT SAID: futuristic R&B-inflected juke-flavoured bass-simmering stuff like this is popping up everywhere. To say it's a particular country's speciality in this connected digital age is reductionist and a bit sensationalist, so I'm sorry about what I said. But I kind of still mean it lol. Either way, if this is NorClub then I need to get myself to a NorClub.



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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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Thursday, 11 July 2013

DEWY SINATRA I NEED LOVE

Fresh talent from London. It has a nice ring to it doesn't it? "Fresh talent from London" - just listen to how it rolls off your tongue. Say it aloud a few times. Put an accent on if you feel like it. There. Now don't you feel better? Feel those real world worries melt away like a Twister on a hot day in the park. And now you're in the mindset to hear something fresh from London. Yeah, I'll go for it, I'll even say phresh. THAT good.

And it is that good. When I first heard this yesterday, I got so excited that I actually stood up (which can be a struggle cause I'm recovering from a broken knee) and tried to dance but ended up clapping to the beat instead. Fresh talent from London - that's right. It's a guy called Dewy Sinatra who released a song called 'I Need Love' last Friday. I don't know anything more than that. He's from London, but I think you've probably gathered that by now. At this point in time I am more concerned with, or rather egged on by the lovely music that he's created.

It's a new sound. Doing away with an obvious beat, Dewy constructs a truly body-snatching amalgamation of an insectoid garage ticker and a very vital dancehall pulse, which results in an addictive show of percussive prowess. Claps clear the way ahead for sneaking hi-hats chased by the heartbeat kicks - it's something that sounds different depending on which part you pay attention to: the sign of a beat worth paying attention to.

The song's punctuated by voice-altered vocal samples, as well as Dewy's own vocals, drenched in a far-off echo giving a sense of isolated frustration - the kind of feeling that the lyrics are talking about in general. My favourite line is: "My phone's on silent I got bare missed calls / My friends are tryina reach but I'm not in the mood / I need a hug, I need some love" - can't we all relate to that?

And all of this feeling is strung up with uneasy synth chords that are pitch-bent every now and again, giving it a bird-in-flight level of frenetic change, a sense of uneasiness yet with the cool detachment of the future-house sound that naturally comes with it. It's great. A real nice mix of styles, brought together by vocals (something that can really really ruin a song if not done right) that speak honestly and passionately without going off the rails. Held together very nicely.

This song comes as the first single from Dewy Sinatra's upcoming album Emma (out in September) - I do hope that we'll hear the same progressive sound that led me to write all this. I heartily encourage you to check it out when it happens.

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Wednesday, 22 May 2013

SLUGABED BOMBOK [VIDEO]

I've not heard something quite like this song before. And I like that. Difference and variation is a very nice part of life - without it, where would we be? Listening to Capital FM all day and struggling to stray from the conventional, and quite annoying, pop that populates (see what I did there?) some of the tackier radio stations in the UK - and probably in the whole world. Yeah, without difference we'd be a pretty boring bunch. Even that kind of samey pop has its own merits - it is different to the things that are different from it.

Don't get me wrong, though: some difference is just too extreme. Can't handle it. Too silly/too much/horrible/etc. - it's not ALL good stuff. However, the unique vibe in Slugabed's new song 'Bombok' is something that, while a little bizarre (perhaps I'm just swayed using that word because of the strange video), should be celebrated wholeheartedly.

Seriously though, be warned: the video is mighty weird - trippy and even a little gross.

You get me? It's strange. So strange. Who is that... monstrosity? Haha. So weird.

In any case, it's the song that I'm more interested in. With a triumphal feel, it whacks you in the face - or more in the gut, or perhaps even more aptly right in the ears - with bombastic bass kicks that reverberate all around while hi-hats flutter above like shredded metal. But the most noticeable thing at first is this great vocal of "Bombok" which is twisted from high to low, jumbled up and chucked into the air like popping candy.

The style is of big bass, of a kind of dirty dancehall style yet with a radical edge that throws in loopy synth sounds and even mixes in a little saxophone for a surprise ska (mmmm and maybe a little jazz) vibe - that saxophone comes courtesy of Dan Berry. In any case, this strange mix of jazz, ska, bass, dancehall is a very British mix. Nearly two years ago I wrote about Slugabed's 'Depth Perception', and it seems that his sound has changed rather a lot, but in a very good way: dynamism and attitude now blasts through his already established experimental urban roots.

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Wednesday, 25 July 2012

BURNS LIES

It doesn't matter whether it's Burns as in 3rd degree burns or if it's Burns as in Mr. Burns from The Simpsons (officially the best character), this particular Burns is better than the 3rd degree kind and roundabout on-par with the Simpsons kind: this is Burns.

So, exhaustive introduction over with, let's get onto the music.

The song is 'Lies' and it was uploaded to YouTube like two days ago. There's this great euphoric club vibe to the whole song, like something you'd hear halfway through a night out and one of the only things you'd remember the next morning. Complete with a nice bit of snare roll every now and again, Burns totally ramps up the energy in this track until it's near fever-pitch towards the end.


Yeah, it's really nice, isn't it? A sound-of-summer kind of song. The female vocal is pretty powerful, evocative, and goes very well with the trance-like synth chords that blast at you as if all creation hinged on their being sent to your ears as fast as possible.

Along with the slightly dancehall-ish skewed beat the track makes for you like some anonymous dancefloor dweller who leads you through the crowds, clears a space in the middle of it all, and starts twirling you around like a spinning top, lights flashing all around in an epileptic's nightmare of carouseling neon lasers. That's exactly what it's like.

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Here is more Burns on SoundCloud
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Friday, 11 May 2012

LAST DAYS OF 1984 WAKE UP TO THE WAVES

Last Days of 1984 sound lovely. Their new album Wake Up To The Waves (released 7th May on Osaka Records) is a good indication of just how lovely they are.

First song 'Francois Truffaut-Event Sociologique' lays down a funky, rhythm-laden bassline, supporting some powerful afro-tropical percussion. Those delicious percussive flavours, shakers and bongos and whatever else, are something of a constant for the band. Being quite noticed in the acoustic-guitar-supported 'Safari'. Third track on the album, it adds a certain mellowness - with its interplanetary campfire vibe and warm harmonies - to the parade of sunny, energy-soaked songs.

As the opener is kept in a steady house beat all the way through, we are entertained by the floating, delay-heavy guitars and electronic noises that sound like spectral-cosmic intects chirruping in some otherworldly night scene. Happy to hear the thin vocals, at once sounding as if the guy is standing 100 metres from the microphone, very much like Animal Collective (whom I love).

Like the second song, 'River's Edge' (which you may've heard before, having been released last summer), they utilise a wonderful dynamic that sees them switching between simplistic minimalism and electro-complex soundscape affairs. About halfway through 'River's Edge' there's this amazing distorted noise that pierces through the coziness of the track, dissonant and vicious, giving way to a bubbling underwater sound. Remember Sonic the Hedgehog? You know the sound he made underwater when you swam into a bubble? That strange 'bow-wop' of sucking in more air? That's what some of the noises in this song are like.

It's wonderfully obtuse with pop-sensitive vocals. And also just as pop-driven is the dancehall-esque booze cruise that is 'Wave Life'. It's tiki lights, Orangina, cocktails, colourful music. The vocals swim in and out of it like fish alternatively scarpering and lazing around under the crystal gaze of a glass-bottomed boat, one decked out for a tropical haven party, however.

Listen to the album, Wake Up To The Waves, here on SoundCloud

I very much enjoy the Baleric synths that start track four, 'Kismat' (much like the following track, 'Season', which does a similar thing, but slightly slower and in a more subdued way) - then comes a strong 4/4 beat. Again there's the same sound from 'River's Edge', a watery, sharp and destructive synth. But this time it persists, held down like a train alarm till it explodes into different streams, joining together again to become its coherent, laser-like oneness. No vocals, just pure instrumental.

'Season' is like some kind of lovesong to the coast, to the sea and the beaches. This kind of music belongs just there: in the sunny wash of coastal empires that are buffeted by the warm winds of leisure and pleasure. Then we move away from the coast to album closer, 'Woods'.

The kick has this light crunch after its initial pounding sound, a great detail, reminiscent of heavy footsteps in sand. As I write this I am convincing myself to book a holiday. Somewhere hot. This album is stunningly beautiful and not so epic as to become too emotionally driven. 'Woods' has this distorted synth going to work throughout, and these fuzzy slaps of a snare that catch you and reel you today's catch. You can almost smell the barbecue fizzling in the grand cathedralic oranges and pinks that soar in the sky like mighty murals. That's what 'Woods' is all about: watching the sun go down. A fitting finish.

Need I say more?

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• Last Days of 1984 on Facebook
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• And BandCamp, too, why not.
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Tuesday, 20 March 2012

EL GUINCHO NOVIAS FEAT JAVIERA MENA

This is a lovely little song from El Guincho featuring Chilean indie pop star, Javiera Mena. The song 'Novias' itself was released on El Guincho's 2010 album, Pop Negro.

Also known by his real name, Pablo DΓ­az-Reixa, El Guincho is a Spanish musician who utilises skills in playing instruments and in samples to create something that's a cross between tropical sounds, electro-pop and Afrobeat. 'Novias', this time around featuring the lovely Javiera Mena (who's in the picture to the right; you can see her in full below - I just thought you might need to know what she looks like), is no exception to this style.

You would not really find this style of music in the UK. Typically, anything remotely Latin-sounding has been reserved solely for our Spanish and South American cousins, and has largely been ignored by us here. Could it possibly be the language that puts people off? Maybe. Could it be the sound, in general? Maybe.

But think of the song below playing on a lovely summer's day in merry old England. Think of sitting out on the grass and putting this song, on some old school boombox if you have one (you hipster), or just on your iPhone (you loser) - how much would it add to that calypso summer mood that prevails whenever the white star of the sun beams down unhindered light from a massive blue sky bouncing off the individual blades of grass making htem shine like little green fingers of flexiglass and there's this little breeze brushing past you every few minutes keeping the heat from ever broiling you too much and there are trees and birds and bees alive all around you.

...You know that kind of day? This song would make a more-than-relevant part in anyone's summer playlist.



Why did I not know about this, like, two years ago?

It's immensely happy, as joyful as it is modest and unassuming. The Afrobeat, dancehall drums lock in with a bass that's a wonderful show of reggae influence - both thumping behind the main crux of the track, in this instance, Javiera Mena's rich, warm vocals. The honky-tonk synth sounds that make up the melody are lovely, too, providing a chilled beach vibe throughout the track. I've listened to the original and have decided that this version, the one above, is much better - if not just for Mena's voice.

The tropical sound then overflows with even more percussion, sounding like a container filled with musical instruments is being shaken in some gigantic maraca by the god of music. It's a really great song, and something that should be made more audible in such sun-deprived countries as ours. You should definitely grab some sunshine with El Guincho and Javiera Mena.

Since his 2008 album, Alegranza, El Guincho has been a pretty prominent artist - clearly not too much in English-speaking countries (not in the UK anyway). For this song he joined forces with captivating Javiera Mena (above), the electro-pop princess of Chile, who's been making music since since 2001 or something like that, and broke through into indie/pop fame with first studio album, Esquemas Juveniles (2006). This was a lovely mix - let's hope they team-up again!

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El Guincho's Myspace page
• Here is his official site
• And his YouTube page/profile

• On the other hand, we have Javiera Mena's Myspace
• Her official site
• And here you can follow her on Twitter
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Tuesday, 1 November 2011

SLUGABED DEPTH PERCEPTION

Who is Slugabed? I wasn't too sure until about a week ago. But since then I have had the bass sounds from his wonderful song 'Depth Perception' echo in my bones, shaking like brittle china in the wake of the earthquake beats.

This comes from his new EP, Sun Too Bright Turn It Off, which was released 24th October. It's being released on label Ninja Tune, Slugabed - real name Gregory Feldwick (Slugabed is something his mum used to call him) - having moved around from label to label, like Planet Mu and Ramp Recordings, to settle down earlier this year with the label.

And what a song 'Depth Perception' is. It's chilled to the core, exuding a strong heart-kicking beat flows through you, the various underwater modulated synth streaming through like blurs of light. Dancehall rhythm with a warm surrounding all-surmounting window shaking vibe as it drizzles glitch bleeps.



The progression of the beat from start to finish is supremely well done. Two thirds of the way through this song, the melodic high frequency solo, 80s in soul 80s in spirit, is pretty much divine. The whole thing comes on like an intense dream. This guy can really pull some moves. Heavenly producer. He's also from Kingston.

You can download this track. Do it!

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Slugabed on Discogs
Slugabed is on SoundCloud
• He is on Myspace (IF NOT FOR SEO, THEN WHY?)
Facebook/ Slugabed

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Wednesday, 20 July 2011

DJ SHADOW FEAT AFRIKAN BOY I'M EXCITED

Afrikan Boy, who got his first big break featuring on the MIA song 'Hussel', has received another leg-up into the mainstream with his next guest spot on new DJ Shadow song, 'I'm Excited'. Released digitally 31st July, the single comes ahead of the producer's newest album The Less You Know, the Better, set for release on 2nd September.

But far from being handed opportunities by artists bigger and more well known than him, the other side of the story perhaps isn't addressed. Could it be the case that DJ Shadow is just using Afrikan Boy (real name Olushola Ajose) to his advantage? Either way, the star of the track is clear - with his vocal stylings, the Woolwich-based Nigerian lends to the track his distinctive grime dish (themes of immigration resurfacing in lyrics like "I am an alien living in the ghetto"), served with Afrobeat flavours and urban swagger.

'I'm Excited'


Though I'm being unfair to DJ Shadow. He's definitely made an impact with this song. The variety of sounds within just the bare bones of the beat is a jumble of metals, beefed-up bongos, and woodblocks that cascade around Afrikan Boy's flow like sparks around a fire. The song is so strong in fact that it can rely wholly on its insane drum beat alone to get us from 0 to 2:50 without realising it's happened. More Afrobeat than grime, more dancehall than dance, 'I'm Excited' is a mix of styles that feels more dirty DIY than it probably is.

More than anything else, however, DJ Shadow - though pulling punches throughout the song - has managed to not divert attention away from Afrikan Boy whatsoever, it being a perfect collaboration and not just a 'feat' appearance from the 22-year-old rapper. With this in mind, could we ever expect a DJ Shadow-produced Afrikan Boy album? Probably not, but at least we have a little taster, a little answer to the 'what-if'. Who's next then?

DJ Shadow on Myspace
Afrikan Boy on Myspace!
• Here's the Afrikan Boy official site
• And you should probably follow him on Twitter


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Thursday, 9 June 2011

WHEN SAINTS GO MACHINE - KONKYLIE • ALBUM REVIEW

When Saints Go Machine is a new band for me, but they've been hiding their electro pop selves in Denmark since 2007. This album is their second, using German label !K7 to broaden their reach past Scandinavia.

Firstly, having listened to 'Church And Law' - the first single from Konkylie, released 6th June - about ten times more than I had done previously, and comparing it with the rest of the album as a whole, I can say that it's an absolute belter. The quaint introduction bursting into the bass hook that pulls you fantastically through the song, and the exceptional chorus - steeped with softness and warmth - add up to deliver an astounding number. The line "Hardened by church and law / The spell that binds us all", sung with a great deal of shivering passion, is something that resounds well after the song is finished. Yes, this is one to stick on repeat.

Just as I thought Konkylie was going to adhere to the same tempo of songs throughout, especially after the not-so-smooth 'The Same Scissors', the house beat of 'Jets' kicks in, with a tireless bass groove that drives it forward and provides much needed halfway-mark energy. Moving on then to the similarly paced 'Kelly', beginning a charm offensive with clunking xylophone synth and a wonderful opening line - "First time Kelly kissed a boy..." - its layered voices evoke a sunny almost tropical spirit, nostalgic as it is filled with happiness. The fade out at the end, and the vocal melody throughout, is very 80s pop, and this track exhumes its smiling body to dance with it at a colourful bar.

However, I'm unsure about some of the pseudo-strings and orchestral sounds that pop up here and there. This is most noticeable on the album's final two tracks; 'Who Made You Stand Still' (slightly spooky and out of place for the band, with parts that remind me of the soundtrack to The Machinist); and 'Add Ends'. However, we might excuse the latter, given its position as the final song, for trying to end on a classical chillout high descending into a hot night sound of chirping synths like insects and fragments of strings. Sadly not a strong song, fading away instead of burning out.

Despite that, it's a solid album overall. When Saints Go Machine's vocals have a distinctive tremolo-falsetto quality (and sounds more than a bit like Antony Hegarty), a definite highlight of their sound, and which arguably is at its best in 'Church And Law'. This instantly listenable feature saves the day in Enya-esque 'Add Ends', and displays a nice virtuosity in 'Parix' - a genre-bending song with ultra-trance synth and 80s marimba plinks combined with a firm, assertive, slow-motion dancehall beat. Konkylie's modern beats infiltrate a nostalgic spirit, producing an album that is half amazing, half not bad.

Saved by several strong songs, namely the first four ('Konkylie', 'Church And Law', 'Parix', 'Chesnuts') and my second favourite, 'Kelly', Konkylie is a decent second album that needs a few listens to get into. Not every song is great, but it's a smooth ride and a pretty, scenic journey that you'll be glad to have taken the time to have embarked on.

Listen to When Saints Go Machine on Myspace
...or on SoundCloud

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Friday, 20 May 2011

BEYONCÉ - RUN THE WORLD (GIRLS)

Totally...




Checking music blogs yesterday. Wow. This was top post of every single one. Rightly so. She's huge. If you didn't know (how could you not?), this is BeyoncΓ©'s new single, 'Run The World (Girls)'.

But is this song huge? It's a completely different question. No doubt the video is fucking cool - pseudo-Bollywood choreography, some crazy costume changes, BeyoncΓ© with some hyenas in front of what looks like a roadsign to Tbilisi (the capital of Georgia, of course), and a load of effects - but is the song cool? It's pretty much a split opinion, as you can see here.


Quite a few thumbs down. As for me, I love the dirty dubstep sound of about the first 50 seconds; after that I feel it descends into something that is a little jarring. Don't get me wrong, she's wicked, but I just feel the Major Lazer sample was Major Lazy. If used in conjunction with that introductory beat, this could've been an awesome song. When I first listened I thought I was in for an absolute treat, and I was for a bit. I kind of just sat through the rest. Not terrible, but really not amazing either.

Certainly an interesting go at using a sick song as a sample, but that interest peaks after a while and gradually flatlines. Definitely thumbs up for that bassy dancehall-esque kick that comes in and out. Either way, I'll be looking forward to the show she puts on at Glastonbury - I'd definitely like to have a look.

Was worried about posting this. All those girls look pretty angry.

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