Showing posts with label fluid. Show all posts
Showing posts with label fluid. Show all posts

Wednesday, 15 April 2015

TSHORTS – AQUARIUS FLEX

I found this in my neverending list of things to write about today and I remembered how… unplaceable it is. It's totally experimental and you know from the first computerised vocal drop that you're in for a treat: "Fuck actual music, listen to TSHORTS," it says. Ok, you think, I'll do that for now.

A plaintive synth melody repeats for most of this track with the same feeling as a little fish innocently swimming around a coral reef, imbued with submarine mystery: no thoughts in mind except going about its business. 'Aquarius Flex' isn't all about that cutesy, vacant innocence though. Not at all. Because you've got to take Canadian producer TSHORTS' collage of beats into account: an 808-flavoured series of shimmering rhythm changing hi-hats, pitch-shifted snare rolls and clusters of kicks – I mean, if we keep going with the whole fish-in-the-sea thing, then these beats represent the disordered uniformity of coral structures, a natural and irregular brutalism in miniature.

And there you are, a pair of eyes looking from above, the sea warping your vision, refractions and ripples making it difficult to see – flitting, barely perceived objects dart around: the rapid-fire, frenetic synth chords of 'Aquarius Flex', and the sometimes woozy, half-intoxicated version of the melody that appears sometimes.

The track is also a game of two halves. More like two-thirds and one-third, but there's no epithet for that; soon we burst into a world of robust, truncated bass gently and elastically stretched in pitch sometimes, and following an unpredictable kick pattern, a minimalist seascape far away from the coral colony where the wide ocean beckons and bloops with unknown, unfathomable sights and sounds.




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Friday, 25 April 2014

EVY JANE – CLOSER [VIDEO]

This is the brand new video from Vancouver-dwelling Canadian duo, Evy Jane, comprising of Evelyn Jane, whose voice you will hear ghostly smooth throughout the track, and Jeremiah Klein, who provides the thicket of sounds through which you follow the vocals like faint lights in a pulsing gloomy forest. It's an awesome pairing, one which has seen a self-titled release on lovely Canadian label King Deluxe, and now one that has led them to London's Ninja Tune with an upcoming EP, Closer, from which this track is clearly taken.

I was hooked from the start: that rat-tat-tat on the snare & the instantaneous dive into this plunge pool of never-static sounds – it's always fluid, always in motion as if itching for action, as if in anticipation. The synths groan and intonate in languorous pitch bends as slow arpeggios fade in and out like patches of dappled sunlight through gnarled tree boughs; all the while the beat sways in slow-jam consideration, the languid metronome for this distorted subversion of R&B, where Evelyn herself is not a diva but a phantom of diva-essence, drawing you into the glowing mist of her voice.

A soaring yet sludgy post-R&B number, the video comes courtesy of Kyle Bowman, aka Strawberry Jacuzzis, whose vision for the track was one "seen through a kaleidoscopic lens of fuzzy hallucinogens". It fits the narcotic warpings and distortions at work in the music, lo-fi, garbled with static and uncontrollable glitching layers of itself. Beautiful, in tandem with the sounds.



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Wednesday, 6 November 2013

FORTUNE HOWL - INTERZONE EXPORT (BWOY DE BHAJAN REMIX)

Maybe the title of this track is influenced or inspired at least by William S. Burroughs collection of short stories Interzone (or maybe just the place mentioned in his more-famous Naked Lunch) - maybe it's not. Either way, although it's nice to know details like this, we shouldn't get tied up in the details.

I found out that an artist from Orlando, Florida, called Fortune Howl (whom I'd not heard of before) is releasing a remix version to his album Earthbound. Again my curiosity was piqued: What? Did he mean Earthbound as in the really cool SNES game Earthbound? Getting distracted again. In any case, this remix album is scheduled for release on label Relief in Abstract and, I've read, includes remixes from artists such as London Shibuya-kei enthusiast bo en and merchant of ultimate chill XXYYXX, amongst others.

One of these remixes is by Bwoy De Bhajan, the subject of this post right here. He's an 19-year-old beatsmith from Copenhagen called Søren Thygesen who already has his own distinct style of abstract experimentalism that's sure to turn a few heads as time goes on (he himself describes it as "mind bending glitched out ethnic bouncy abstract whompy bass music" which is pretty much on the nose). He's remixed 'Interzone Export': a watery, ballad-like, somewhat epic number in its original form, turned now into something from another dimension.

Putting parts of the original to good use - the sweeping, faraway vocals, the watery noises, the snippets of acoustic guitar and those occasional tuned percussion (marimba?) flourishes - Bwoy De Bhajan puts his own spin on it. From the first crunching punch-thump of kick, river sounds ever-flowing in the background, a warm ambience pervades the song, decorated with an assortment of scratches, clanks, and gravelly crashes. The bass is finely distorted, a smooth gloss with a grainy-sand roughness to it. There is no in-your-face glitchiness here; everything is measured, the various percussion and other noises seeping into your mind rather than attacking it outright.

It's an ambient yet powerful treat that exudes a lonely-but-it's-fine-really feel, a curious vibe of necessity in being alone. Maybe it's just me. In any case you can cop this remix and more when this is released on 19th November, available for streaming & download on Fortune Howl's Bandcamp/SoundCloud pages (below).



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Monday, 29 July 2013

Y E A R S 彼女は私の夢の少女です [SHE IS THE GIRL OF MY DREAMS]

What I've written in the title as Y E A R S perhaps should be properly realised as it appears: // Y E Λ R S // - but from here on in I'm gonna be saying Y E A R S or maybe even YEARS. So if that's ok with you, I'll continue now.

*Sigh* yep I just sighed IRL. So YEARS appeared kinda out of nowhere, I think someone posted one of their songs as a "new favourite" on Twitter. So I just blindly followed the link - as I do - and came out at the other end have a good nose around YEARS's's's SoundCloud. And how happy I was with it.

Where does YEARS fit in? With a new and boundary-pushing sectarian kind of genre of music I suppose you would call "vaporwave" - I've seen the term bandied around a lot with this kind of music and I suppose it fits. I guess the "-wave" bit comes from "new wave" and the "vapor-" bit comes from the fact that it's very chilled, a more-than-fluid sound that indeed seems to float into the ether and back down again into our awaiting ears as vapor. But I'm BRITISH so I'd say VAPOUR. Vapourwave.

The track in question is the newest in this Japanese (I can only assume but I'm 60% sure I'm wrong) producer's repertoire, called '彼女は私の夢の少女です' or 'She Is The Girl Of My Dreams' - let us listen.

It's a really easy-on-the-ears listen, something that just seems to melt every angsty feeling you may have into a nectar of nothingness. Sitting somewhere between lounge music, slow jams, pop and muzak, it is just teeming with dreamy sounds - harps tinkling, cute little synths, clopping woodblocks, fizzing hi-hats. The beat is wonderful, laid-back and lightly moody, a hint of clap like a leaflet falling on a puddle. Bass bulges smoothly like giant bubbles coming up from a silvery sea.

It's like another world. And who doesn't like being evaporated for a couple of minutes (or not quite that long), even if we are only to be condensed on the cold glass of reality. Sweet stuff.

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