Showing posts with label exotic. Show all posts
Showing posts with label exotic. Show all posts

Wednesday, 25 April 2018

🐣 MAX ANXD — WAITING

The textures here are gorgeous, soft snow flurries and twinkling icicles, the crackling fruit juice appeal of Fox’s Glacier Mints in hologram format, the pixelated glassy clink of Chaos Emeralds, the sparkling metallic impact of the gleaming Big Key falling from the sky when you defeat Bowser in Super Mario 64; the sound of treasured trinkets now airborne and floating in a speckled cloud of crystalline decay; memories held dear now swirling in the contemporary realities of life.

These are the synth sounds that take flight and conjure exotic nothingness in ‘Waiting’ by Cluj-Napoca-based Romanian musicmaker Max ANXD. Ascending melodies paint intrigue whilst its irregular patterns and seeming randomness summon up an elsewhere yet to be explored, unfolding in the mists before our eyes.

It moves in three parts: firstly the glistening synth of the beginning soon is joined by swathes of thick sound like hurricanes in slow motion or the slow unfolding of an alien landscape as your mind hovers above it; secondly there is a bold crunch of distortion which heralds this new minimalist urgency as the synth, equal parts soft and sharp, stutters in rapid-fire bursts; thirdly, we emerge into a cradle of sound where the hush of vox synth becomes the overriding voice, a finale of soothing synth chilliness, the atmosphere calming itself in choir, re-balancing after the anxious midsection. It is a sonic illustration of the impatience as much as the resolve of an active imagination, the expanse of externality as much as the depths of internality.




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Wednesday, 21 February 2018

🐣 CLOZEE — HARMONY (AXEL THESLEFF REMIX)

As gentle and ostensibly ‘world music’ as this track appears to be, there is something darker within; it lulls you into a state of exotic pastoral bliss, with textures that swirl around like the spirit of a rainforest, percussive ticks and clicks amidst an organic drumbeat sailing through all the sights and sounds of typically beautiful Earth. But soon we are sucked into a swamp of mystery, clanging metallics in the thin air and mists crawling across the once green vista, the vision of cave mouths yawning craggy monstrous, the untameable force at the heart of everything.

These two universes inhabit the original ‘Harmony’ by globally minded French musicmaker CloZee - a sort of slow sashaying to some globular heartbeat mixed with a distorted synth drop - which is echoed in Axel Thesleff ’s treatment of the track, a minimal reworking that pits the languor of leafy slo-house against bare bubbling beats and stark synths, a contrast that retains a sense of exoticism but dilutes it out into something more generally beautiful, whilst creating tons of space in the existential thump of the drop, a wholly unnatural counterpart to the soft omnipresence of natural, forest-conjuring sounds.




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Friday, 1 July 2016

WOSX – CHUVA

How vapourwave has evolved since it popped up a few years ago. One label intent and determined to continue the story of this genre, and of all forms of vapour (minus "-wave" suffix, plus "hard-" prefix, etc.) is Dream Catalogue – literally a pick-your-own of artists making sounds, images and ideals to select from and "install" into your mind. Not literally, but figuratively at least, since losing yourself in a lot of this label's output is not a difficult thing: it's all about imagination, dreaming. Not least in the highly evocative 'Chuva' by wosX.

Abrasive synth brass paints plaintive melody lines melting into one another, summoning a humid sort of sadness and longing; this continues for the whole track, swooping and groaning with damaged majesty. wosX weaves percussion into the mix, sharp metallic rattling, woodblock cowbell clopping, eventually erupt with thundering drum ('chuva' means rain in Portuguese) into a house beat thumping along amidst the drama. Vague whisperings and far-off vox tantalise in the neardistance.

It's nocturnal, but not exclusively so, akin in mood to the dark exoticism of John Talabot's 2012 debut album, Ζ’IN. For me this worked out well: it soundtracked a bus ride through jungle-thronged hills and heavy skies from Taipei to Luodong, mingling easily with the grand landscape.


  • wosX - pronounced "wossex" - is formerly known as Wolfenstein OS X and is from Montreal.
  • This comes from wosX's latest album, Brasil World Cup 2034, out now on Dream Catalogue.


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Sunday, 31 May 2015

LUXURY ELITE – ENDLESS

Vaporwave. The definitive escapist music genre for this decade, or this century even, jostling with nothing, in competition with nothing, its own entity, deep and weird and superficial; the new easy-listening, soundtrack to romantic dinners, vacant penthouse nights alone, settling in to a blissful spa, disappearing in thickets of people in some megacity, alighting on a space station resort orbiting Mars, and as many other fabricated scenarios as your imagination will permit.

Long after the hype dies down and the online publications of the world and their followers move onto the next hit of newness, vaporwave continues to thrive thanks to a dedicated online community and labels like— well, less of a plural and more of a singular label: Dream Catalogue. Started in early 2014 this is literally a catalogue of vaporwave, comprising dozens and dozens of releases from a load of different artists; check it out on Bandcamp.

But whatever. Really I'm just here to talk about a new track from one of the scene's better-known components, Luxury Elite. The track is called 'Endless' and it is the musicmaker's own addition to a recently released compilation, Allegiance Vol III.

For starters, this is undeniably catchy – the melody is reminiscent of vocal tracks arranged for shop-floor-destined instrumentals. It also is filled with all the airy mysticism and exotic anonymity effusing from pan pipe music that pervades plazas and high-streets across the western world (from what I can gather) – but in electronic form, of course. The damaged, found-sound-esque shuffle of the track has a delicious texture, built out of insectoid summer-nights percussion and cyclical syncopated chords, all of it washing over the simple and robust beat, thumping and swaying, the slow-moving motor that moves the track along.

Also, just in time, the music reaches a volta where the chords summon a different kind of atmosphere, more of a mysterious feel – imagine that the first part soundtracks a soaring perspective over some ancient ruins, whereas the change features soft-focus shots of slow-motion descents into the crumbling buildings and vaultish corridors of the ruins themselves (just about realising that these are edificial remains of mid-21st century Earth) – this happens just before the fade-out, making it seem as if there could be another change awaiting for us in the silence beyond the confines of this magical track.




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Thursday, 9 January 2014

TRIM NOTICE NOW (EONE'S RAIDERS OF THE LOST DARK REFIX)

I came back and then I went away again then came back again and disappeared for like a week but here I am. Yes, I have proverbially returned. It has been a chilled time but all chills must come to an end – one cannot chill forever. And although I posted a new track on New Year's Day ('Everything Happens To You' by miii) it was kind of a stand-alone thing. So now here's something to properly start 2014. It's something dark and stormy and it's from the Brighton producer himself, Eone.

Whilst it's not an original, it shows an interesting side to this man's sound. When I first stumbled across his sounds, I was under the impression that he made a dark brand of techno and only that, but after I listened to his guest mix for YES/NO it was clear that his tastes and influences ran wider and deeper than I'd imagined – grime and hip hop played a large part in his musical repertoire. And it's displayed most of all in this newest track, something old rediscovered and uploaded – as such, it's new. A refix of 'Notice Now' by rapper Trim, previously part of super grime collective Roll Deep, Eone injects the track – previously an electronically charged number with dubstep flavours – with a new bass-laden ethnic ornamentation.

Trim's swarthy, plosive vocals are extracted from the original's zeitgeistical dubstep surroundings and placed in a deep creeping basement of shadowy reverb, where an atonal, grimey bassline leads into bristling swathes of percussion – shakers, drums, tinny hits, a waterfall of sound that gives this essentially urban medium of art a faraway exotic twist, something from another dimension almost. And it reminds me a little bit of the music for Hazy Maze Cave from Super Mario 64 – man I'm just listening to it now and it's almost a perfect match. The name is really nice too: 'Raiders of the Lost Dark'.

Anyway, it shows another side to Eone and one that I hope he'll revisit soon, cause I know this is an old song. Perhaps these flavours will be revitalised, and perhaps there'll be more remixes/fixes like this, too. Bye-bye!



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Monday, 10 June 2013

GOLD PANDA WE WORK NIGHTS

Since I was for some reason unable to share the embed code from SoundCloud for this lovely song, I had to get one from a static video. Who is a fan of static videos? Is SoundCloud not... like... better than that? Sound quality goes down a little I think but... whatever. What am I waffling for? In any case here is a new song, a more-than-a-week-old-so-everybody-who-wants-to-hear-it-has-probably-heard-it song, so this is like the, I dunno, like a reminder that the song still exists. My apologies for not being more "on it" or "knowledgable".

Here is an image also, not from the current song specifically but I think it has something to do with the upcoming album. Upcoming what, you say? Album. Yes, Gold Panda has a new album coming out. It is called Half Of Where You Live and it is out 10th June on Ghostly International. Exciting.

It is seemingly the second song to seep off the new album, the first being the subliminally-geared 'Brazil', and - if these two are anything to go by - the album should be a very nice listen indeed. This song is called 'We Work Nights' - a reference perhaps to people who make music... at night?

Using various sampled sounds and instruments to the background sound of a babbling brook or something equally watery (could just be a turntable sound), G Panda shows us his pure and smooth vision of a very liquid soundscape. The various noises merge into one another, cascade together over a beat that is built like a Lego house - one new sound at a time. As soon as we get used to the gloriously hip-hop stop-start strings that underpin everything, we have a harp undulating like actual magic and something else stringy and bendy, something Oriental-sounding.

It builds up into a mystical misty mountain kinda sound, water vapour rising from trees and birds combing the skies in sweeping arcs, that kinda sound. A very lush song, with a break like a diving off a waterfall into a pool before resurfacing into the exotic medley of sounds that G Panda has created. It is fresh and it is a very evocative song that paints pictures and gently tugs at your imagination to work. Very nice. Is that ok? Looking forward to album.

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