🐣 CARLOSH GARZAT — SUBMERGE (HYPERBARIC OXYGEN MIX) [初演 • PREMIERE]

Washes of warm soothing synth roll gently over your mind, a sense of space gracefully opening up with the tide-like flowing and ebbing of those gentle chords, a cradle of calm that lulls you into a spell of somnolence. Created by Mexican artist Carlosh Garzat, this soul-melting track is a remix of an original much more conventional track that he released earlier this year: "The lyrics talk about submission in love, about emotions being fluid and sometimes changing too fast," he tells us, "as well as the fear of drowning in those emotions but wanting to experiment them nevertheless." However in this new version of 'Submerge', there is a feeling of vastness, a sense of acceptance in the waves of sound that aim to chill and placate, and it all came from a chance encounter with a Hyperbaric Oxygen Chamber.

"I was advised to have a couple of sessions," Carlosh explains. "It's used mainly for scuba divers and for relaxation purposes and anxiety in which pure oxygen is provided inside a chamber under reduced atmospheric pressure." Equal parts therapeutic and somewhat disturbing, the sessions inspired this new enlightened and awakened form of 'Submerge', where the vocals appear and float before your eyes, refraining like a mantra in the cloud of sound, the lightly clinical minimalism augmented by sparse pristine percussion snapping occasionally. In this new vessel, an almost uterine experience, the song is relaxing yet troubled by these words, almost like an interior monologue, yet in the serene vastness of it the power and immediacy of anxiety and doubt and negative emotions are lessened, reduced to what Carlosh calls "an impending fear."

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• 🔔 The 'Hyperbaric Oxygen Mix' is out as a single today (11th August) alongside the original mix of 'Submerge'.
• 🔔 The original 'Submerge' is taken from Carlosh Garzat's Agoraphobic EP, released earlier this year. Feel free to purchase it via iTunes if you want.

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☟ Carlosh Garzat Internet Presence ☟
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🐣 NATRIUMS — SPLEEN ARROW

As much as this track is an invitation for chill and respite, there is a sense of unknown exotic bristling at its heart. Without a legible groove, beat, refrain, or anything particularly recognisable for most of it, 'Spleen Arrow' by natriums from Louisville, Kentucky, is a continuously shifting beast, its tack continually altered, its spinning narcotic haze in a whirling instant transforming terrain—not satisfied with one world the interplanetary train of thought at work here tethers you to one set of textured sounds and tactile percussion after another. The lonesome disjointed howling digital ghost guitar solo of the beginning, with its indistinct pulsar synths, morphs into nebulous neo-jazz, piano chords resonating, thin sounds veilsome like insectoid chirruping.

And we leave, transitioning from that world of jazz, the touchful pluckings of the bass leftover for the briefest foundation, the cold shif-shif-shif of echoing percussion, and soon we are chilled by delicate chords that ring out lounge-like, images of slow-motion ski-jumping flutter across our imagination, and the temperature drops further, glassy sounds like icicles drip-dropping smooth and frozen and imperfect, a digitised chiming, the gentle descent of snow. 'Spleen Arrow' engages, lulls and agitates in a morsel of music that twins ambient downtempo with doses of jazz-in-circuitry, presenting a permafrost sense of noir.

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• 🔔 This track is one of the tracks taken from natrium's recently self-released album, Façade, which you can peep and download on and from Bandcamp.

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☟ natriums Internet Presence ☟
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🐣 LIAM.M — TON

The rich sheen of sounds at work in 'Ton' by Brisbane-based musicmaker Liam.M is a soothing reflection of chilled fluffycloud skies, calm coastal drives as the sun retreats beyond the sea, beyond the beach. Almost melancholy in its end-of-day majesty, the track seems to soar with emotive spectres of shimmering sound amidst thickets of synth, vocals rear up and call plaintively into an indigo sunset, a café del mar-esque special, drops of white sun glitter-glitter on sliding waves as people take their reclining position in readiness for the onset of dusk—the bummed-out-ness of light leaving vs. the beauty of that occurrence. Day/Night. Life/Death.

The beat propels us forward, a driving simply thudding beat with snare fills that smash their way through the slow motion momentum of the track. It's augmented and ornamented by luscious delicious percussion clanks and clatters throughout, clop-clicking like parts of a machine, which at 01:45 join the glimmer phasing brightness of the track and its softly booming bass, the beat falling away, the sound alone washing its atoning atmosphere over your ears. The rifling synth sounds, that hi-pitched golden element, is key in its wonderfulness, sounding like an enhanced sort of stringed Mediterranean instrument, helping to set the scene for this rustic organic slice of sound, this super-chilled yet well grounded illustration of beauty and its passing, and the mono no aware sense of pathos, the welling-eyes happy-sadness in that very thought.

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• 🔔 More from the "20 year old producer and Music Tech student" can be found over at his SoundCloud.

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☟ Liam.M Internet Presence ☟
facebook • soundcloud • google+ • triple j unearthed • youtube

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🐣 BELS LONTANO — SMOKKR

In here is chill, in the haze of 'Smokkr', the impressive debut upload by Bels Lontano. Chiming cascades of harp swirling and dancing like sun glints on rippling water, shining and icy above the occasional bass making subtle forays into the foreground, warm and slow, whilst longed out stretches of synth wheel around above the plateau of tumbling offbeat downtempo bumping kicks and clacking snares, slicing through the smoothness and ultrachillment of it all.

Vocal samples ornament the track, calling out wordless and pitch-shifted into the nebula of sound, and simple arpeggios of synth boop and bleep. And with hidden, well executed complexity: as someone points out in the SoundCloud comments, the time signature changes with a break in the track, catching you off-guard but keeping the groove of the track intact, a wonderful execution of dynamic without obvious change. It's beautiful, crafted like someone's baked an incredibly delicious cake, as robust and substantial as it is delicately decorated, as good to look at as it is to taste.

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• 🔔 So this is Bels Lontano's first upload, debut and utter fresh. And if this is anything to go by, there is more goodness to arrive. Keep your eyes peeled.

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☟ Bels Lontano Internet Presence ☟
SoundCloud • Twitter • Instagram

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LUVIIA – X V V W

Here is something short and sweet from Taiwan-dwelling beatmaker-/-producer Luviia. It's called 'x v v w' and it's tagged on SoundCloud as "Downtempo" and, well, yeah, that's what it is: utterly chilled. It's quite short, just over a minute long. Not necessarily a bad thing, but you want it to be longer; 10 times longer would be lovely. You can, however, just stick it on loop and enjoy it fluttering in and out of your mind.

It's a waterfall of sound... muffled synth chords rush between thumping heartbeat kicks set against a backdrop of nocturnal insectoid chirrupings and intermittent bass groove. Soft mellow chimes and bright string arpeggios decorate the track all the way, till it cuts out and drops in again – clearer, sharper, more deliciously crunching and with crisp percussion adding luscious texture. Paints a mood of growing chillment, the anticipation of escaping; nocturnal solace after a long, busy day, sinking into content fatigue.

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• Wanna hear more? Check Luviia's latest album, Mo' Butter, released at the beginning of this year on Inner Ocean Records

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☟ Luviia's Social Media Presence ☟
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PALE – SILENCE (EYEDRESS REMIX)

The shifting & shuffling night-drive R&B of London-based Pale's recent track 'Silence' is beautiful; synth chords drenched in chorus seem to laser through ur mind with pulsar hypnotism riding the plasma length of each resounding blast; minimalist guitar reverbs with cold sharp twangs of introverted sound; vocals, smooth and wracked with heartfelt longing — for what? Silence? Who knows.

This has now been acquired by Filipino musicmaker Eyedress for a suitably hazy remix. This guy, whose alias is a phonetic rendition for all those who would mispronounce his actual name: Idris (Vicuña), is well known for his powerful, ghost-flavoured originals and remixes alike. And in the same vein as his past efforts, 'Silence' becomes a different beast.

Soaked with off-kilter sweeps of wobbling, grinding synth, the track is set adrift a turbulent undercurrent of clap collections, urgent hi-hats and syncopated snares, beset with an occasional near-supersonic scream whirling about like some nightmare flying insect that's like a horrifically sized cranefly but with a death-coloured human head and long flowing greasy hair. The vocals are now stretched from their original pitch, wrenched through the nocturnal sludge of Eyedress's witchy sound for an unsettling decoration atop this subtly stormy sound.

• The original 'Silence' is taken from Pale's recent The Comeback EP, a four-song showcase of downtempo beauty seasoned with R&B lilts. You'll like it, probably.

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☟ Pale Social Media Presence ☟
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☟ EyedressSocial Media Presence ☟
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SUPER MAGIC HATS – COASTLINE

This is some music from a Melbourne-based music entity called Super Magic Hats. Sometimes, according to the SoundCloud bio, it's two people, but it's "mainly" one person. Which is fine. That's fine for me.

What I also just noticed is that I was about to acronymise (?) Super Magic Hats and I got SMH. That might be intentional – if so, nice one; if not, I still love it. They tweeted me today after I mentioned something about a Tokyo band called LLLL (they make really pretty music) – after that I checked SMH's latest track and here we are: here is 'Coastline'.

It's intriguing that this downtempo cloudwave is so bleakly beautiful, so illustrative of standing on the edge of tomorrow with as many hopes as fears, scanning the sea for everything and nothing. Hey, I guess it's the nature of the inspiration for this track, which I can only assume is a coastline. It sounds like a coastline.

And it achieves this goal with crunching synth whirling around your ears, with hissing cymbals and multilayered clap-clicks and the hi-hat's frenetic mechanical tick, the fuzz of waves and wind merging into one. Wordless words soar from fore to background, disturbing the glisten of golden clouds, the tinkle of some glockenspiel type thing, making way for plums of aggressive pulsing synth to take over towards the end of the track. It's expansive and all-encompassing enough to penetrate your mind; just like staring out at the sparse horizon from the dynamic meeting of sea and earth, this track clears the mind of any needless bullshit that might happen to be stinking it up.

Um. That's it. And it in particular is taken from a forthcoming EP called Kumori (meaning "cloudy weather" or "cloudiness" in Japanese) that is not scheduled for release as much as it WILL be released at some point between now and the end of this year.

• While you're here, why not go check out Super Magic Hats' debut EP?

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☟ Super Magic Hats Social Media Presence ☟
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Y/N GUEST MIX 016 :: USHUA X NA RADHI

It's that time again. Someone donates a hefty portion of their time in order to create a nice little mix for anybody who wants to hear it. There is no exclusivity here, no whatever, we just asked whether Ushua would wanna make a mix for YES/NO or not and he said yes. Here we are. Recently this LA-based producer remixed a track by Jaust called 'Feel The Smoke Rise' with some seriously pugilistic footwork zing. Other than that, there's not much else to say.

With the mix he was gonna put together, he said he wanted to represent or at least showcase his collective, Na Radhi (like Ulzzang Pistol did with his mix a couple of months back). I learnt that "Na radhi" means "with pleasure" in Swahili; "We like to take that thought into our production and just make music we enjoy listening to ourselves," explains Ushua. "Our goal as a collective is to release as much good content as possible and grow." Alongside fellow member, Lo Key Dst, they want to connect with other likeminded musicmakers, release their creations and collaborate with them.

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We have studios set up where we live so it's our goal to create as much as possible. Bedroom producers as most would say.

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A recent discovery will also be the debut release for the collective-slash-label: "Forthcoming on Na Radhi our debut will feature DJ Unlimited Breadsticks' Grissinni Ghost EP," Ushua tells me. "We met him over the internet and he wanted to put out a release, and Lo Key and I remixed a track also." It's this combo of connectivity and communication that seems to be at the heart of this collective – it is rooted wholly in the internet: a tool for deep, wide searches on SoundCloud for new & unique music, and a way to share these and other things. "Lo Key and I bounce ideas off each other with different aspects of our production. We help each other grow as artists which is a really good thing," says Ushua. "Having similar influences in beats and other types of music, always good to trade files with someone who has a good iTunes..."

His mix is a testament to all things big and beautiful in a world built with bricks of trap and footwork, from the quasi-religious experience of Fatima Al Qadiri's track 'Szechuan', where traditional Chinese sounds meet a kind of mystical grime from under the ground in some desert somewhere, to the synth-soaked breakbeats-in-space of Lockah and Eloq's coproduction, 'Jupiter', and everything in between – Young Triforce Cat Baron's heartbreaking 'Usagi Sadness' and the clever electronic chill of the actually brilliant 'Dayum' by cln.

Ushua talks about it. "The mix is a wide variety of styles from halftime to footwork/cinematic and everything in between, much like Na Radhi there is a nice variety spanning all types of influences and genres," he says. "There are [also] a couple unreleased bootlegs/reworks and a recent release from Na Radhi's Old Ransom for ILoveMakonnen."

But I think you've probably read enough for now. Big thanks to Ushua. Please enjoy the mix.

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• T R A C K L I S T •

1. Ringatone - I'm Sprung (Joey Edit)
2. Vybz Kartel - My Crew
3. Ushua – SeanDaWhite (Demo)
4. dd elle – Kind 2 U (Demo)
5. Mr. Carmack - Extra
6. Young Triforce Cat Baron – Usagi Sadness
7. Ba-kuura – Dream Sim
8. ILoveMakonnen – I Mix My (Ushua Adn Edit)
9. Fatima Al Qadiri – Szechuan
10. Arnold – IDC
11. cln – Dayum
12. DJ Paypal X Ticklish – Worst Behavior
13. DJ Unlimited Breadsticks – ??? (Ushua X Lo Key Dst Remix) Forthcoming on Na Radhi
14. Lockah & Eloq – Jupiter
15. Ryan Hemsworth – Weird Life (Druid Cloak Remix)
16. Jagged Edge – He Can't Love You (Ticklish Reboot)
17. T-Pain – Drankin' Patna (Ushua Remix)
18. ILoveMakonnen – Club Going Up on a Tuesday (Old Ransom Bootleg)

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☟ Ushua Social Media Presence ☟
Facebook • SoundCloud • Twitter • Na Radhi

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JULIEN MIER SUPER TROPIC TRAMP [VIDEO]

The Netherlands. Holland. Dutch place. Whatever you call it, it's the same area: a country in Western Europe. Why the brief snippet of geography? Because it's this country that the producer at the heart of this post, Julien Mier, calls home. Or if he doesn't actively do that, then at least we can safely say it's where he's from and is currently dwelling.

I have written about Mr Mier before, back in August, namely his song 'Porcelain Dust', which came from his LP Jane's Junkyard released earlier this year. It was a glitchy affair that was awash with lush, clattering percussion - a rich yet close-to-delicate sound. An interesting take on things, that's for sure. And what's better than interesting? Well, not much. Interest in stuff is what holds your attention; interest breeds "like" and "love".

This time around I have the brand new video for his equally brand new song, the nicely named 'Super Tropic Tramp'. The video was created by animators Koji Aramaki and Hiroki Kato and feels very much like an abstract and immediate reaction to the music itself. Prepare yourself for a colourful collage of rhythmic shapes.

Exploding out of one initial clap, the song's intro shines with long icy chords with a faint, panning delay to them that puts this sound very much in a space-age realm. Noises like, or that actually are, birds chirping join the show as the lead up to the song proper builds up. Again, it's a glitchy affair, frantically bubbling synth bubbles wild stuttering synth chords - it has this triumphant feel that is very difficult not to love. Under this a half-time beat provides a downtempo head-noddingly fine rhythm, a nice consistency for the synth-assault above.

After this stops, we're left with the nervously avian heartbeat of the kick and clinks of percussion continuing the song to its end as thin chords again take us into a floating, space-like place. It's a nice way to kick-start your senses - this intense slide from calm to crazy - yet at all times it feels masterfully restrained. The sign of a producer who knows how to get people's hearts racing, that's for sure. The song is from an upcoming collection by Julien Mier called When Will They Wake Up featuring remixes of his music from people like Sun Glitters and Alphabets Heaven, released on lovely Canadian label King Deluxe (Metome, Aleph, etc.), 11th November.

PS. I made a small test mix a few days ago that included this song at the end if you wanna hear it.

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SNORLAX TO PROTECT & TO SERVE

Woweee, first post of November. Well, aside from my October MIX (yeah, it's still a thing)... But this - THIS - is my first real post. Even though it's the 3rd already. That's ok though. Don't worry about me - I've been half-busy or maybe 1/3-busy. In any case, I now have a notepad on which to write everything down on so I don't forget to feature it.

However, a notepad cannot galvanise a routine so much as to make it immune to just-released, really nice music. Distractions come in all shapes and sizes, and stumbling across stuff that I hadn't planned to write about, nor knew even existed, is one of the best distractions there is. Schedules are dropped and I focus my attention on this new thing.

This time, it's got quite an interesting backstory. Not that I know all the ins-and-outs but in essence: a compilation CD of "Various Artists" (I love that phrase) associated with various entities (weekly beatmakers & beatdroppers, TeamSupreme, label/radio show/collective Soulection, by-artists-for-artists label HW&W, collective M|O|D) created for the purpose of raising funds to help a fellow artist-in-trouble, one half of duo Penthouse Penthouse, who has apparently had some trouble with the police. Justice nique sa mere la dernier flic que j'ai vu avait plus de vice que le dealeur de ma rue is what I say to that.

In any case, one of the songs from that compilation, touchingly named Got Your Back Foundation Vol. 1, is by the equally well-named LA-based Snorlax (real name Cody Farwell) and is called 'To Protect & To Serve' and here it is.

With a slow intro, percussive synth noises and fidgeting clicks pervade the silence gradually - it's almost peaceful in a way, but there's certainly a sense of bigger and louder things to come. And they sure do arrive, those loud things. They arrive in the form of a thick wall of bass that encases your entire mind - it's an ear massage, a brain-clean, instant paralysis. Paralysis in the sense that, moreso things around you seem to stop completely whilst all you kinda wanna do is get up and WIGGLE.

The beat is a skiffly half-time ghetto house juke kinda operation; supported by frantic waves of syncopated synth chords, there's a whole feeling of urgency to the rhythms of this track, the kinda thing that makes your feet itch for a nice bit of dancing. Anyway, I've said that already basically. At the same time, there's a strange sense of chill - perhaps owing to the hanging-in-the-air nature of the beat's clap/snare, but maybe owing to the thick, fluid sounds of the synth, the sorta thing you just wanna drink or swim in. In any case, it's real nice.

You should for real check out Got Your Back Foundation Vol. 1 (released by TeamSupreme).

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