Showing posts with label dreamy. Show all posts
Showing posts with label dreamy. Show all posts

Wednesday, 26 May 2021

POSTCARDS — HOME IS SO SAD

⌾ LISTEN TO HOME IS SO SAD BY POSTCARDS ⌾

The mesh of distortion and fuzz that lies over this track by Beirut-based band Postcards creates a fitting aesthetic for its title: 'Home is so Sad'. It's the refrain that runs through the track, voiced by lead singer Julia Sabra like a mantra with descending notes — sadness far removed by time, but present and watchful. A simple melody plays with timeworn wheeze; keeping time are an insistent barrage of decayed drums, regular and metronomic but sometimes (and fittingly) accented to create arrhythmic chaos.

The sound is rooted in real life. The song was one of three the band wrote following the devastating 2020 Beirut explosion, and features poignant lyrics that juxtapose the everyday experiences of the city, of the eponynous "home", with the very un-everyday catastrophic event itself:

"Glass in our coffee / Towels on trees [...]
Soil splattered on the walls like drops of blood."

Completing a considered, slow-motion and dreamlike balance of soft and harsh — sunk in sadness but with the swell and crash of trauama — a guitar wheels like a portent of doom into the scene. Notes screech and clash, buzzing and grinding to and fro with shoegaze grit, while somewhere in the background a light, electronic cloud of sound floats by, like a thought bubble — an ever-present vehicle for visceral memories.



πŸ“ 
Postcards Internet Presence ☟
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Wednesday, 21 April 2021

DEREK MURO — ROVE FEAT. DAISY PRESS

Derek Muro — Rove feat. Daisy Press
⌾ LISTEN TO 'ROVE' FEAT. DAISY PRESS BY DEREK MURO ⌾

This track by begins as if it were about to erupt into a rave-ready tract of Balearic breakbeats: synth chords wobble and sigh on a backdrop of elastic intent. Instead, it evolves into a cross of Gregorian chant and jazz (like a future revival, perhaps, as if it has already been a thing), the voice of experimental vocalist Daisy Press soaring in an aerial display of virtuosity among phrases of saxophone like scudding clouds.

Sub-bass punctuation and gradual glimmers of light gives Derek Muro’s ‘rove’ yet more cathedralic height and space — and then it breaks off, a rapture interrupted by the everyday, the bubble of dreaming burst. Peals of anguish surface through the found sound chatter, and most pointedly, Muro sprinkles the coda with a ticking clock: though it had seemed halted in its tracks, time has actually not stopped, and never does.



πŸ“ 
Derek Muro Internet Presence ☟
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Friday, 16 October 2020

CUUSHE — MAGIC


Cuushe is back. Recently she announced her upcoming album WAKEN via the fresh vitality of its first single, 'Hold Half'. This time around, it's 'Magic' that faces up to the grey piercing light of morning.

A slow steamroller of a beat thuds as the propulsion to 'Magic', rusted metallic percussion ticking faintly at its mechanical heart. A set of heavy-hearted piano chords plays a downcast reverb-laden refrain; "I just wanna die.." Cuushe's voice whispers from this fog of sound. Craggy synths crack in mournful reply, a glistening gloomy call-and-response.

Starting quietly, almost from another perspective, later in the track her vocals rise up, outraged: "Magic... Why are you so silent?" A question perhaps posed to the once-dreaming individual now scrutinised by reality. Lightness eclipsed. This refrain cuts through a wash of intense sounds, synths glittering and roaring together with the clatter of a bright guitar riff — a combination of playful concreteness and fantasy synthetic noise that runs through 'Magic'.

It's all been brought to life with a video by director Tao Tajima. On a backdrop of footage filmed in the wilds of Tibet, it's a tale of ghostly girls tied with string to insistent flapping birds, drawn in their phantomic pastels by sometime Cuushe collaborator Yoko Kuno. The music — mysterious yet methodical in its makeup — matches the stark marching mountains and vast empty tundra.


  • πŸ”” 'Hold Half' is taken from Cuushe's forthcoming new album Waken, set for release 20th November on her label home flau. Pre-order it over on the flau bandcamp.

πŸ“ 
Cuushe Internet Presence ☟
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Monday, 12 October 2020

FRANKIE REYES — ALMA DE LA PALMA

⌾ LISTEN TO FRANKIE REYES, ALMA DE LA PALMA ⌾

Gabriel Reyes-Whittaker — perhaps beter known for his label Gifted & Blessed and making house music as GB — has a string of musicmaking aliases. One of these is Frankie Reyes, the name behind the wonderful 'Alma De La Palma' — a fuzzed-out dappling of emotive notes 'n' chords for a sort of supercharged classical-minimalist lounge music.

With its soft and muted textures, the bold stretches of delay further heightening its languorous glimmering feel, the scattering of sweeping notes, 'Alma De La Palma' feels as though you're looking down and something through water. The rippling surface skews the scene; a hint of warped beachside heat, too hot to move, sparkles around the edges.

The notes themselves, a distant disoriented tumble of longing, pull classical music through the portal of time, leaving the wooden depth and angularity of the piano behind and exchanging it for the magic of circuitry. And in the minor chords and descending notes of Frankie Reyes piece, there is something reminiscent of Beethoven's Piano Sonata No. 14 aka 'Moonlight Sonata'; a sense of being tethered to something vital that, once close at hand, has moved on and away.

Here we have a sort of contemporary vision of the Beethoven standard. It was called "a nocturnal scene, in which a mournful ghostly voice sounds from the distance" by the composer's student (and composer in his own right) Carl Czerny. While Frankie Reyes' piece may not be "mournful", there is a lamenting feel that shapes it as similar in tone.

Less highly regarded, but no less atmospheric, the Castle Theme from 1990 SNES game Super Mario World — complete with the soft somersaulting of synthesised keys — is something else that 'Alma De La Palma' is aesthetically akin to. The Frankie Reyes track bubbles with this same, now retro, subdued and synthetic sound, and twinned with its classical, if not romantic flair, this is a song that captivates not just with its intoxicated effects, but also with its heartfelt composition.


  • πŸ”” 'Alma De La Palma' is taken from Frankie Reyes' forthcoming album Originalitos, set for release via Stones Throw Records on 23rd October. You can pre-order the album and listen to 'Alma De La Palma' over and over again on Reyes' Bandcamp.

πŸ“ 
Frankie Reyes Internet Presence ☟
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Friday, 10 April 2020

RYAN PLAYGROUND — BETTER OFF ALONE

⌾ LISTEN TO RYAN PLAYGROUND, BETTER OFF ALONE ⌾



'Better Off Alone' by Alice Deejay lends itself to being covered in some way, whether it's Mark Redito giving it a tropical rework or if it's a nightcore flip by Crapface (real artist name). It's impossibly iconic and instantly recognisable, both in its of-a-certain era (1998) aesthetics and in its simple, titular vocal refrain and melody: "Do you think you're better off alone?"

The question is asked in such a haunting, slow and repetitive way that it's almost impossible not to be caught up in a daydreaming moment, feeling the melancholy of the vocal. The fact that it's in the second person immediately puts the listener at the receiving end of the interrogation: You, no matter where you read it, is always you (yes, you). It's relative, and relatable.

The choice of how the question is being asked may have been one of picking what fit best, of course, but the interesting thing is that it's not simply "Are you better off alone?" That's a simpler question. Prefacing the question with "Do you think—" automatically elicits a shift to pondering in the one being asked. It forces consideration.

Not only that, but in using the colloquialism "better off", the comparative "better" begs a thing, a situation, which may have been worse — by however many degrees — than being "alone", i.e. together, but perhaps not ideally together. In the unspoken unknown that lingers in the moments before the iconic refrain calls out, there is the feeling of abandonment, a pair divided, and the repeating enquiry is necessarily stacked with emotion.

When we get to the "Talk to me... Oh, talk to me" it becomes clear that we're hearing something like one side of a phone conversation. And it also becomes clear that, in the pleading imperatives and the wordless, tuneful "oo-ooo-oo" that punctuates them, the prior question has gone unanswered, heartbreakingly so.

Needless to say, what was a hit at the time, and which could easily be seen as a simple dancefloor song by a europop group in what is very much a bygone era, has in fact stewed and simmered these past 22 years, fusing its feeling into the memories of all that have heard it. And that's why it's a great song to cover, whatever way you look at it.

Genevieve Ryan Martel aka RYAN Playground brings a decidedly different feel to the song, in her hands it becomes an icy, emo-tinged cover, guitar in glittering arpeggios that summon Brand New at their most downcast sparkling atop a frosty whisper of ambient synth; deep below, a far-off rumble provides not only the bass, but a sense of vague disaster. The vocals, crisp and wonderfully falling into the snowy soundscape, eventually fade, as does the track as a whole, thus ending a version of the original was woven with a similar sense of loss and heartache.


  • πŸ”” Montreal artist RYAN Playground's version of 'Better Off Alone' can be streamed and downloaded on her Bandcamp, along with another Alice Deejay cover, 'I Can See (See It In Your Eyes)'. Both of them make up a two-track release For The Ones Who Need Guitars Anyway; in light of her use of guitars in the covers, it's a pun on the original album that both songs appeared on, Who Needs Guitars Anyway? (2000).


πŸ“ 
RYAN Playground Internet Presence ☟
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Monday, 1 October 2018

🐣 ZAP HOLMES — FLAKED OUT DREAMING

⌾ LISTEN TO ZAP HOLMES, FLAKED OUT DREAMING ⌾

This track floats along on two separate plain. One is this floating nebulous feeling, a flowing tide like the watercolours of a dreamscape, the melting mind of somewhere unknown, the swells of the tide of the unsconscious, sweeping along and founding this track on wholly ambient terrain. Like floating through space, it's the infinity of slumber.

On the other hand, it feels close and intimate, though detached and lonely, like the charting and observation of a biomechanical organism. The way samples chant in regularity, lo-fi and wheezing like some artificial life process, ticking percussion keeping time and clacking and sounding the cogs of static motion, trickling along like a living engine.

And that makes sense. Swedish musicmaker Zap Holmes tells us his inspiration for the track was his dreaming girlfriend.

"My girlfirend like to sleep and sometimes for many hours. And I made this track during one of those times," he said. "Got some recordings on my iphone when we messed around at home so I put some samples of her in the song also."

So 'Flaked Out Dreaming' has this sense of being alive in suspended animation, a grand dream arcing over whilst all the time no time is moving at all; those hazy, crackling samples counting the seconds till consciousness. It's an epic of sleep, where it culminates in these sometime crashing waves of charged white noise distortion, twinkling lights like neurons firing on the cusp of waking.


  • πŸ”” This is taken from Zap Holmes' Bluescreens EP - all of which he made on a "crappy little laptop when my main computer was broke. Was stuck with almost no samples and an old version of Reason."
  • πŸ”” You may stream or download 'Flaked Out Dreaming' via your fav service on this link right here.


πŸ“ 
Zap Holmes Internet Presence ☟
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Wednesday, 16 May 2018

🐣 INNING — EXPENSIVE FLIGHTS

The name of the game here is hazy. It's also cloudy, misty, nebulous—it's all of those things. That insubstantial foggy-headed feeling, sun glinting in your eyes, all created by gorgeous washes of sound that swish and sway with lo-fi abrasions like some sort of dust storm just so that they graze your mind ever so slightly, so that all that loveliness can pour in, you know. It's called 'Expensive Flights' and it toes the line somewhere in the heavenly kingdom between chillwave and dream pop, a delicious combo of live drums and bass and guitar and synth in a soothing symphony of sound created by the Charlottesville-based Inning.

Like dream pop, it feels alive yet somewhere else, voices soaring in the sky, and the drums thump and rattle with a doofing pulse and scritch-scratch metallics – yet in a pattern that summons something more electronic-based, a slow house sorta pace; but though a 'real' instrument, the bass guitar coarse and grinding in low-slung indie-band fashion, it is founded on this sub-bass frequency that has that quality of being able to erase everything going on around you. And at a heavenly crescendo the guitar arpeggiates like glitter, like light, soft synth chords ever-present, everything slots into place as the vocals refrain enigmatic: "Are the things that I like me for the reasons I like you, or are things that I like you for the reasons I like me?" Self-doubt broiling beneath a calm exterior; a vocal that with its reverb and light decay feels faraway, like a vague worry.

This is a late afternoon sound, a montage of the day's move into night, with that beatless and wordless outro, cool and blissful, hitting just as the sun fades and dusk sets in, inky and purple, a watercolour in sound of the feeling that comes at the end of a good day with its effusion of doubt and its memories, when the passing of time is most visible and poignant in a dramatic colour-changing sky. And besides, Inning sang it at the start of the track:""Yeah I like you, but right now things aren't right." A breeze picks up, and your summer clothes feel suddenly inadequate.


  • πŸ”” 'Expensive Flights' is taken from Inning's recently released D.C. Party Machine EP, a 5-track exposition of thick body-wobbling low-end frequencies and hazy-headed washes of sound in patterns that evoke vague emotions amidst of chillment. You can listen to/download it on Bandcamp if that sounds like your thing.


πŸ“ 
Inning Internet Presence ☟
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Monday, 8 January 2018

🐣 MEN I TRUST — I HOPE TO BE AROUND

Much like the wispy incense smoke of the last time we heard from the Montreal trio, Men I Trust have created a delicate soundtrack to daydreaming in 'I hope to be around'. Key to its success as wonderful song are the four elements that comprise it: the bass plays plasma-textured, deep and modulating, this what is essentially a rock bassline, brooding in pentatonics; its string sister the guitar is an occasional ripple on the surface of a glassy pond, wobbly, cold and clear all at the same time.

The drums tick throughout toeing a line between meticulous drum machine and '60s minimal, thin and precise. And the vocals – wide and whispering and wistful; the Three W's of Wonderful – send this wraith of swirling around your head, the lack of variegation and the lack of range, as well as the repetition, make this a haunting mantra, its gaseous nature slipping into your ears and turning your thoughts to tomorrow and yesterday and nowhere ever all at once—"I dream of my future / Remote from time bounds / Becoming myself / Without any end."


  • πŸ”” You may download Men I Trust's lovely, thoughtful track from their bandcamp.
  • πŸ”” The video for 'I hope to be around' was conceived and directed by the band themselves. "We filmed the music video in Montreal’s beautiful neighbourhoods and landmarks," they explain, "of which many seem to be frozen in time around the end of the 60’s."


πŸ“ 
Men I Trust Internet Presence ☟
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Wednesday, 20 September 2017

🐣 MOON MASK — TWENTY MINUTES DREAM RUNNER

Like a heavy heart this track shifts its way into your perception, that sinking stomach feeling, emptiness, beginning with a slow ominous luscious clopping clock and insectoid ticking and slumbering breaths and then we fall into the urgent synthpop of it all, and the vocals of Manila's moon mask opens up a deep croon: "Met you asleep in a dream…" Big thumping drums create a driving energy – a gotta-do-something '80s filmic montage of an atmosphere – with simple kick-snare alternation with stomping gloopy bass that cuts a basic booming groove beneath the miasma of electronics that glide and soar and punctuated by sparkling starlit melodies twinkling beneath it, bright neon chords electrify the heavenward introspective gloom of it, shocking strobes in the murksmoke.

But the dreamy atmosphere that dwells in 'twenty minutes dream runner' arises because, moon mask explained on Twitter, it's "based off a short story I wrote once about a decaying man reliving dream." There is indeed an aroma of decay that whirls around in this synth-laden dreamscape, the cardinal reverb that the drums are soaked in so they crack and roar in the song's verses, and in the literally decayed melody that twists and turns fizzing abrasive in the bridge, overdriven and piercing. The chorus is catchy, deliciously so, with rapid pogoing vocals: "20 minutes better run baby ah, 20 minutes left before they take you away…" A fantasy lovesong, an electronic pop elegy, this is the idealised grip of nostalgia manifested in the hazy hangover of something distantly dreamt.


  • πŸ”” You may purchase 'twenty minutes dream runner' digitally via Bandcamp if you like. It arrives ahead of moon mask's EP scheduled for release early next year; "I've been trying to take a bit of a new direction in my sound," says our boy in the track's description, and the new EP will probably mirror that sentiment.


πŸ“ 
moon mask Internet Presence ☟
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Wednesday, 19 July 2017

🐣 NSAY MADA — UNDER COVER

The vocals here are so softly done so falling over everything mistily like a veil, the long curls of its silken tones unfurling, whispers into the night air, the nocturnal desire effusing as from a smoke machine at an otherdimensional disco, how it is slowly serpentine like this, how it coils with the leisure and languor of looming lust, the low tones of Nsay Mada and her fluttering highs rich with feeling and focus, fragranced by its textures, pastel spray paint above the neon crunch of the throwback synth that frames this track perpetually in another realm of time where midnight is dark yet chequered with colours and promise of something more.

'Under Cover' keeps to this juddering syncopation, the clang of its electro mainstay providing the foundation, the simple alternating beat with the trebly kick and the shhff shaker shifting sand spray can snare (allegedly Joy Division achieved a similar drum quality in 'She's Lost Control' by spraying an aerosol can into a microphone), the sparse hi-hat chit-chat with the open sharpness echoing blissfully, drum machine tom tumbling occasionally, augmenting the sparse feel of the track, with the modulating synth, the hazy nebulous chords, the icy pings, all decorating and helping to augment that late night feeling with starlight apartment block window twinkles and slow hum of traffic taillights extending into night. Still, that voice, "under cover, under cover," this refrain unusual and fragmented, satin sheen on this sparkling bed of sounds.


  • πŸ”” 'Under Cover' was produced by Cyenna Bay. You can catch more from Nsay Mada on SoundCloud.


πŸ“ 
Nsay Mada Internet Presence ☟
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Tuesday, 11 July 2017

🐣 NEBULAMIGO — DISTANCE

The ripples on the surface of a body of water glittering crystalline sheen more like molten metal than water, the guitar arpeggio that bounces with a misty pallor summoning these gleaming scenes gurgling with reverb each string glinting with indie jangle into a traversable rip tide of thudding uptempo kicks, and caught in the momentum tumble somersault into the wash of haze and hallowed heavenly harmonies that fly and fall with far-off warmth, heavily effected later in the track bubblesome and wobbly, all the time with the bass so lean and rounded and rolling forward with semaphore fills and flourishes, stretching to meet the jogging pace of the beat.

The tick-tick-tick of metallic sharp hi-hats alternates between the kicks and the lo-fi dull thud snare hits and the rimshot accoutrement that adds textured tangle to the beat, a simple complication that adds an air of technicality to the proceedings. How the veil of dreampop falls away from 'Distance' nearer to the two-minute mark, rapid garage post-punk palm-muted chords judder silkily and takataka hi-hat rattle and a nocturnal slice of guitar noodling lends itself again to this pace, the speed of the track, Nebulamigo making it breezy but intense and only in a somnolent summery sort of way, all the kinetic energy of pogosticking but with such swathes of sunny lethargy imbued in it, the pallid bleach of sunlight its washed out halo.


  • πŸ”” 'Distance' is taken from the Long Beach, California band's recently released Talk in Roses EP. The six-track digital offering can be downloaded for a paltry $4 if you would like to do such a thing.


πŸ“ 
Nebulamigo Internet Presence ☟
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Wednesday, 5 July 2017

🐣 SHELF NUNNY — PRECIPICE FEAT. RAIN

A sense of tropical wells up in this one, of the light from an afternoon sun exploded and sparkling on the thousand cresting waves of the sea, palm fronds shifting in the breeze, sand like sifted flour—or is it as idyllic as you first imagine? It begins paradisical, a nebula of unwavering brightness with glockenspiel chimes, a raincloud of percussion drifting by popping organic bongo taps, shakers, more piercing glistening textured waves. Seattle producers Shelf Nunny and Rain team up for this one, aptly named 'Precipice', the heady heavenly haze of adrenaline whirls around, blood beating in ears, a sampled police siren distant and dusty like wailing static behind it all, framing the situation with an urban gilt.

A steady heartbeat of drums thumps along, the kicks pulsing, the snare a layered tract of variegated percussion that clacks sumptuously, steely sharp hi-hats shuffle-shaking with metallic shiver, the track practically living-and-breathing as subtle dynamic changes overcome the ornamental ambience of the track with breaks in the beat. The steady measured breaths of the moments before sudden drama. Standing on a ledge overlooking the street-level abyss below. A storm of breakbeats tumbles madly kinetic into earshot. Falling—no, pulling you in: a metaphysical suicide. The dips in sound as wind rushes past. The sub-bass booms a black hole tug on your heart. A mind falls through the pavement, sirens shimmy somewhere in the distance. Slivers of peace glimmer nearby.


  • πŸ”” Listen to more by Shelf Nunny on SoundCloud.


πŸ“ 
Shelf Nunny Internet Presence ☟
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Tuesday, 4 July 2017

🐣 ON-LY — PUCE

This track is movement in groovesome proportions, wholly kinetic and body-shaking with its impatient shakers and other shuffling elements of percussion with hi-hats and drumstick clacks and abrasive snare thwacks, giving the impression of movement unabated. And whilst the drums twist and turn with roly-poly energy, nervous and stifling, that groovesomeness pops out from below, a tumble of bass notes polished with slight distortion, clusters of bassline phrases that speak out with undeniable funk—Melbourne-based Australian musicmaker On-Ly carves out these layers of rhythm in 'Puce' with satisfying contrast: the robust kicks and bass; the shivering chatter of high-register percussion.

However, this building-blocks boom and shake of the beat and its accoutrements – a very real-life, very angular buildings, empty roads with streetlights' dim gazes, hard and brickish sort of sound – is juxtaposed with the emoting jazz fancy of the instrumental that whirls around those breezy nocturnal judderings. Tremolo keys chime and weave glimmering, stamping the air with clouds of warm lounge-leaning chords, twinkling virtuoso, whilst a synth refrain beset with peals of reverb plays occasional solos, both elements presenting a resounding sense of space and distance. Like parallel city Moonside in Earthbound there is a sense of elsewhere infused in 'Puce', a glittering warren of instrumental noises tinged with dreamlike flavours turn this into a sort of somnolent noir scene, a cocktail bar on the other side.


  • πŸ”” 'Puce' is taken from On-Ly's recently released The Purple LP, which can be listened to and downloaded over on Bandcamp.
  • πŸ”” The title of the track refers to a colour, a sort of brownish purple. Dictionary.com defines it thusly:

    "brownish-purple," 1787, from French puce "flea-color; flea," from Latin pucilem (nominative pulex) "flea," from PIE *plou- "flea" (cf. Sanskrit plusih, Greek psylla, Old Church Slavonic blucha, Lithuanian blusa, Armenian lu "flea"). That it could be generally recognized as a color seems a testimony to our ancestors' intimacy with vermin.



πŸ“ 
On-Ly Internet Presence ☟
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Tuesday, 20 June 2017

🐣 DEEPSLEEPER — YEARS

The slow creep, the gradual rising up, the heavy burden feel becoming lighter, this slow climb upstairs, how luscious it awakens. 'YEARS' is a slow-burn of ascension and progression, of multi-instrumental additions, a cake mix of sounds with more and more tasty things poured in for good measure. We begin with decayed crystalline chords like glassy harps playing downtrodden modulations that seem to warp and shimmer sweeping in a haze of tiredness and surrender, as if these are the final motions to perform for a day: it is returning home after dark, work firmly out of mind but the pull of sleep dragging you down, the numbed feeling of knowing the drudgery starts again tomorrow. It is the theme for the unrelenting office worker, the effected chords tragic but sparkling minutely with satisfaction and comfort.

And here is our ascent. LA-based musicmaker deepsleeper begins to take us away from the dull dimness of the kitchen table, the lonely after-work dinner, and we are imbued with an uplifting sense of carelessness as we move upwards, somewhere beyond the real world. The warming-up-orchestra feel of the singing strings, the rich tones of brass, all of coming together into a densely forested seam of nurturing ambience, low rumbles beneath, the strings shimmering, the brass end-of-the-day tearjerking cheerful, the steady growing howl of it all, the roaring crescendo, the white noise waterfall whoosh, the big drums beating our approach, mindcleansing, bodystopping—the welcome fanfare of sleep and dreaming, our grand reset.


  • πŸ”” This is deepsleeper's first single. Credits on this dreamy track are as follows: trombones by Mike Richardson; violins by Steady Holiday; upright by Blake Estrada; drums by Kiel Feher.


πŸ“ 
deepsleeper Internet Presence ☟
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Tuesday, 30 May 2017

🐣 ZEALYN — TALK:LISTEN (SLEEPING LION REMIX)

Whilst Zealyn's 'Talk:Listen' is a gentle foray into the constant hum and buzz of electronics, this remix by Boston-based Sleeping Lion turns up the gentleness for a decidedly stark and beautiful reworking of the original. The vocals have been enriched with layers that turn it into an instrument in itself, warm tracts of textured tone issue forth and glow in the empty space with emotive lyrics: "I know you like to talk but never can you find the time to listen."

And then there is Sleeping Lion's employment of swaying rhythm and sparse beats, the deliberate avoidance of utilising space and silence for sound but instead leaving it as it is, sending up soft booming kicks and wide all-encompassing synths to make their impact in the electric potential of the quiet either side. There are snippets of the vocal strewn around for ornamentation, gleaming synth melody paints pastel dreamy mists, insectoid percussive blips and clicks skitter around, and the synths arrive robust and pulsing with energy for the finale: these sounds are like a loving touch, a graze of the cheek, brilliant sunlight.


  • πŸ””
  • πŸ””
  • πŸ””


πŸ“ 
Sleeping Lion 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.


πŸ“ 
Glades Internet Presence ☟
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Wednesday, 20 May 2015

BRAYDO – I THINK I SAW YOU IN MY DREAM LAST NIGHT

I stumbled upon this the other day and I was like "whaaat" so I put it on a to-write-about list like "yeahhh" then forgot about it and then I rediscovered it just now like "whaaat" again. Safe to say it's a tasty tune and one that suits the spring palette and most hopefully will delight your palate. Hm. Two different words, two different meanings, sound the same. Homophone.

So this is a track by braydo, who is a musicmaker from Washington, as far as I can tell. It's called 'i think i saw you in my dream last night' and instantly, without even having to think about it, I can feel that fleeting feeling of glimpsing a welcome human presence within a dream, fantasy love welling up from the hidden recesses of the heart, where your more rational, waking mind archives them for safe-keeping. Or maybe I'm just being melodramatic.

The constant pulmonary plume of bass in this song is a soft, exacting rumble, like it's the kind of intense ambient sound you'd hear if you were a miniaturised person floating inside a human body, like in The Magic School Bus or that film Innerspace. A very organic sound.

On top of this, plaintive synth flute sounds chime in and out of earshot, indistinct and glistening, soaked with reverb, just like the vague outlines of a beautiful dream, with a steady contemplative beat dishing out thumping kicks and lo-fi snares, a wandering hi-hat pattern split between something more simple in the song's first half and gently ornamented, busier strains in the second.

This clear twoness of the track is bridged by a subsidence in the rich rumble of the bass, linking the initial appearance of the mystery dream person in the first half of the track, to the heartmelting recognition and realisation in the second section, where plunking almost pizzicato synth mix with continual muffled vox sounds: the shard of light and love that does not physically or actually change much, but accentuates your surroundings and lightens your mind.

But at the same time, dreams are essentially mirages, and the turmoil of tumbled-down beliefs that your subconscious mind stacked up during the night, leading you to believe real, actual passages of time were passing, real emotions felt, physical people interacted with – all evaporates as you surface once again into reality.



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Wednesday, 25 February 2015

CUUSHE – TIE

Mayuko Hitotsuyanagi aka Cuushe is back in town or back in the music world with news of a new and upcoming release. Having lent her voice to a few other artists, notably appearing on Kidkanevil's album My Little Ghost, and releasing a track via Ryan Hemsworth's Secret Songs towards the end of last year, she'll be releasing a new EP called Night Lines. It arrives after her 2013 album Butterfly Case, which sounds pretty much as close to dreaming whilst awake as you could even hope to get, so delicate and floaty were the sounds. What's interesting about this one is that it's not just going to be released on her Tokyo-based label home flau, but also on supercool NY-London label, CASCINE, maximising the world's exposure to this wonderful artist.

Whilst we wait for these new songs from the Japanese singer there is one new song readily and already available. It's called 'Tie' and rather than being produced by Cuushe herself it features production from producer and flau label boss, aus (Yasuhiko Fukuzono). He provides a swaying beat perforated by lightning needles as glistening waterfall chords swathe and swirl with the rich whisper of Cuushe's voice.

Caramel bass crawls groovesome through the icy diamond-drop synth plink-plink melody, things become more cosmic, the pings of electronica seem to be arriving directly from the far reaches of a patch of night sky, somewhere out in the outskirts of your own mind; the beat skiffles more and more, tick-tocks in double time, Cuushe sounds beautiful, her vocals slow and considered, providing a wonderful contrast to the frantic pulchritude of aus' production: she sings a breeze through glittering gem-encrusted walls of a dreamt-up canyon on a wondrous imagined world.

This is one of four tracks that will be on Night Lines and I dunno about you but I'm looking forward to hearing the rest of it. Pre-order details are here.




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Thursday, 25 December 2014

CARPAINTER – SUMMER LETTER

My bias towards things named after things from videogames continues with this one right here from a Yokohama-based DJ and musicmaker called Carpainter (real name Taimei Kawai, he also heads up label Trekkie Trax). If you know Earthbound (a game for SNES that was last year re-released on the Wii U eShop) you'll know that this is a reference to Mr. Carpainter, the leader of "the Happy Happyist" cult that appears at one point in the game. It's not my first encounter with Carpainter, but every time I re-encounter him and his music I can't help but feel warm and fuzzy thanks to the reference.

If indeed it is a reference. If it isn't and I'm just being stupid then I dunno, I might cry. Hey, it's Christmas Eve. I'll give myself the benefit of the doubt.

I don't know if it was released earlier in the year or it was just an unreleased gem that was kicking about in the ether – either way I'm just glad it's here. Kind of moving on from the footwork that seems to have characterised his music in previous months and years, Carpainter's sound moves onto one more inspired or at least influenced by UKG.

The skiffly beat in this track 'Summer Letter' is nothing but garage, with its kinetic hi-hats and pulsing kick, as are the the chipmunked pitch-shifted vocals, singing out with unintelligible yet catchy energy – and the occasional chops of these vocals seem tiny, but this is garage through and through.

Add to this a constant background bustle of summer insects chirruping, misty synth chords that add a kind of dreaminess to it all, heavenly synthetic harp noises, and you have a unique, subtly-dance-oriented foray by Carpainter into a genre that previously soundtracked the oft melodramatic lives of British teenagers 10 years or more ago, one that is joyful and wholly refreshing.




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Tuesday, 22 July 2014

FINDSERENE – い぀までも、私と恋に落ける

It's another short one, a looped beat that doesn't quite reach the 2-minute mark. However, it is also two other things simultaneously: the latest track from Bangladeshi beatmaker Findserene (as in "Find" and "Serene"), and also the perfect track to suit its creator.

As you can see, the title is in Japanese: roughly it means 'Forever, Fall In Love With Me' – for now, let's call it that. On the other hand, it reflects Findserene as an artist; one trip to her Tumblr will tell you about feeling like an outcast because of her interests (anime, Japanese culture), and how she one day decided to just make beats, despite what anybody might have said. And in this creative outlet we see and hear Findserene's interests surface, turning herself into a kind of cultural conduit, a nation-bridging spirit from Bangladesh's Faridpur District.

The track itself is delicate and dreamy, a hypnotic lo-fi sound with a thin mist of a beat adorned with shimmying shakers and popping electronic toms in place of kick-snare patterns. Glittering melody cascades through the low, sparse membrane of the drums, like old memories flooding into a heart full of longing. The fade-in & fade-out makes it seem like we have just been blessed with a brief opening into a very serene place indeed, like walking down a street and hearing the murmurs and sounds of living from windows up above; the heaven of now.

You don't necessarily need very long to tell how good someone is at making music, or how well they can inject their own emotion into their creative output – almost as if the two were one and the same – and 'Forever, Fall In Love With Me' is a perfect example of that. Let's hope there are more & even greater things to come from this musicmaker in the future!



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