Showing posts with label funk. Show all posts
Showing posts with label funk. Show all posts

Thursday, 29 October 2020

ELLIOT JAMES MULHERN — HOW'S IT GONNA STOP?


Beginning with an acoustic version of itself, musicmaker Elliot James Mulhern's new track 'How's It Gonna Stop?' asks a simple, very timely question. It's the titular refrain, layered and bouncing in the crunch of its decayed disco drums.

"Looking back on it now I suppose I was actually wondering ‘how *is* it gonna stop?’" Mulhern tells yes/no via email. "This song was a constant dream; I remember during lockdown waking up with it in my head persistently."

Eventually, that persistent creation became a one-take voice memo: "The more I played, the song took on a life of its own, like a chiseled granite statue," he recalls. It was already there: an atmosphere waiting to be captured.

There's a soft nocturnal sound to 'How's It Gonna Stop?' — a sense of fatigue in the low glimmer of the chords, of street-lit tension in the high siphoning strings, of thudding feet on dark tarmac in its clipped bass groove. Mulhern's voice itself flutters among it all; downcast but bright, slow and measured, before skipping up the scale.

The song summons a day lived, a dream dreamt. Or the tired glow you feel walking home from work: happy, but too exhausted to celebrate. Sort of how we'll feel when 2020 is finally over.

"It’s certain none of us knew how bizarre and challenging this year would become," says Mulhern. But he notes a silver lining in the hefty clouds of this annus horribilis, citing how artists are (to some degree) conditioned to work in isolation.

"This was the most extreme version of that," he continues. "And if I’m truly honest, the intense amount of emotional weight on us all drove me to write from an entirely new, rawer vulnerable place."

The video for 'How's It Gonna Stop?' takes Mulhern from the reality of a London phonebox and its surrounding grit, soundtracked by the organic skitter of acoustic guitar, and flings him into a visually disorienting world of rapid cuts and offset angles. Watch it below.


  • 🔔 'How's It Gonna Stop?' is taken from Elliot James Mulhern's upcoming album Tiny Correspondence, Dangerous Ideas and Sensitive Affairs. It's due out 20th November on Mulhern's own Blossöm Records. You can pre-order it on Bandcamp.
  • 🔔 The track was mastered by Frank Arkwright (Coldplay, Elton John, Oasis) at Abbey Road Studios, London. "[I'm] eternally grateful to have ['How's It Gonna Stop?] completed at Abbey Road, minutes from where I was born and raised, whose records had immeasurable impact on my life," Mulhern tells us.

📠
Elliot James Mulhern Internet Presence ☟
facebooksoundcloudbandcamptwitteryoutubeinstagramwikipediaspotify


Tuesday, 21 July 2020

💿 AIDA SKEE — MACH LEISURE

⌾ LISTEN TO AIDA SKEE - PKMN SNAP ⌾

Skittering and beset with structured staccato slices of unidentifiable sampling, 'Pkmn Snap' by Aida Skee feels like a cool breeze. What relevance it bears to 1999 N64 title Pokémon Snap isn't immediately obvious, and perhaps there isn't one, but in its simplicity — its lines of airy sampling, sparing and delicate bassline, background ambience — there is something at least in spirit to the game's soundtrack, notably its 'The Young Photographer' theme.

Cheerful without being sunny, sparse without feeling overly lonely, 'Pkmn Snap' similarly conjures an imaginary landscape. Not unsurprising, as the musicmaker themselves revealed to yes/no that Mach Leisure, the beat tape which the track is taken, is inspired at least partly "hiking while listening to Knxwledge, Marvin Gaye, and deep cut '70s R&B." Physical landscapes, and how music enhances or reflects them, play their part.

This musical foundation is noticeable on the rest of the beat tape, which sometimes gloops with vaporwave ooze ('can't see shit'), glitters like the vapor-friendly tracts of nostalgia in title track 'MACH LEISURE', or radiates warmth as in the comforting groove of album closer 'Where to start it'.

Attention to detail comes to the foreground in tracks like 'right' — its beat clicks into something high octane, before samples drop in slowly skewed and bubbling. It's places like this where Aida Skee's process reveals itself, Mach Leisure being a collection of experiments in high BPM tracks that still retain a "relaxing element of R&B sample-based music."

This sense of relaxation is an element throughout that was (probably) sought after and welcomed by the musicmaker themselves. "I made this whole tape while living alone in Montreal, smoking too much legal weed," they say. "The theme is meant to be like attempting to attain relaxation as fast as possible and how that's sort of an oxymoron."

Tricks in tempo aren't the only cocktail that binds Mach Leisure: "The tracks integrate pitched up and pitched down components of the same sampled tracks, use heavily warped or distorted sample components in tandem with non-distorted loops," the producer explains.

That sense of speed, as well as glistening pairings of pitched and non-pitched samples, occurs in 'like relaxing in a car that's going fast' — a title that sums up the whole idea behind the album — and following track, 'Keep me talking', whose sampled flashes and snaps crackle with chaos. In them, the situation of creating the album — not just hiking in the mountains and listening to music, but also weed and panic and paranoia — come into play. It's both a result of, and a cure for, those negative emotions that inspire minds to race and disappear into realms we wished they wouldn't.



📠
Aida Skee Internet Presence ☟
bandcampinstagram


Sunday, 20 January 2019

🐣 EAUXMAR & CAIUS — HURT U

⌾ LISTEN TO HURT U BY EAUXMAR & CAIUS ⌾

It's the far-off vocal sample in 'Hurt U' that gives it a sense of instant feeling; stretched, pitch-shifted and flung into the distance, this scratchy, soulful voice gives the track its name. Partway between hearing somebody sing in the shower and listening to bootleg MP3 of your fav new pop song, the sample is all love and reminiscence—sometimes close to your ear, sometimes a ghostly recolletion.

Teaming up for this number, Caius and EAUXMAR lay warm classic chords on a bed of thick, clarified bass, seasoning it with sparkling ornamentations and gooey plasma synth. Layering the dusty grandeur of old-school funk and futurist glitter, it shifts between classic house piano desire lines and the robust fizz of mechanical bass with sweeps of chiptune sensibility. The aural equivalent to a mouthful of tangy, wholesome food, the production on 'Hurt U' is deliciously stodgy and packed full of textures.




📠
EAUXMAR Internet Presence ☟
facebooksoundcloudofficial sitetwittertumblryoutubeinstagram

📠
Caius Internet Presence ☟
facebooksoundcloudtwitterinstagram



Thursday, 27 July 2017

🐣 JULIAN BORREGO — MBUTI / DEVOTION TO THE RAINFOREST

The first part of this track is a swirling mass of sound, exotic tropical flavours with warm crackly human chanting, jungle life, birds singing—but 'Mbuti / Devotion to the Rainforest' also gloops with a subtle rumble of bass, judders along to the hefty swing of the beat, sharp driving hi-hats keeping up energetic pace, augmenting the natural energy of this track. Soon we dive into a clean section where guitar chords acoustic and clean and raw-sounding jam in syncopated bossa nova style, jewels of percussion and clonking marimba click-clopping echoing the feel of a rainforest. Endlessly luscious, the cascading sounds reflect the plethora of life constantly chattering, a mix of samples and real instrumentation painting the trees and leaves and the evershifting nature of it all.

The musicmaker behind the track Julian Borrego tells us that the most prominent sample comes a song, also called 'Devotion to the Rainforest', recorded by members of the Mbuti people from the Congo region of Africa: "While crate digging I found an old album of their music that was recorded in the jungle (you can hear the birds and animals in the background)." The devotional chanting, the audible life of the jungle, implies an explicit connection to nature that cities and suburbs pine for, and which Julian Borrego celebrates with upbeat funk flavours. But he reason for this sampling, the locative placement of sounds, the lush jungle environment? "To continue to spread awareness about the disastrous environmental issues we face today," explains Julian, "and to send mother nature love and gratitude through music."


  • 🔔 This jungly track is taken from Julian Borrego's recent self-released Ouroboros EP, which you can listen to via his SoundCloud.


📠
Julian Borrego Internet Presence ☟
facebooksoundcloudbandcampofficial sitetwitterspotify


Wednesday, 19 July 2017

🐣 SHOOS OFF — FROM THE START

That synth sound at the start instantly calls to mind chillwave, not anything in particular—it just seems to summon the letters that make up that word and the word itself and what it means, which is chillment of the highest degree. The way it wobbles and flaps like a butterfly with molten metal wings or with lavalamp puttiness and making its way across a strangely bleeding sky oil in water on an overhead projector, swirling impressionistic with its wonderful wah-wah effect. And amidst the broad strokes of chill in 'From The Start', the chunky all-encompassing flavour of it, there are carvings of inescapable groove.

The bounce of the beat goes some distance to match the groove at work in this track, the very chords that flutter and effuse their chill going through patterns in the chorus that wholly call to mind grooves past, relatively complex chords that at some points in the song also find their counterparts in glistening tremolo keys that add glassy ornamentation to the proceedings. Los Angeles band Shoos Off manage this cocktail of groovesome danceability and viscous chill with liquid effortlessness, crooning vocals jump in, layered and resonating, popping with funky stutter in offbeat patterns, skipping and hopping over the robust bounce at the heart of this melting popsicle track.


  • 🔔 You may, if you wish, for just $1 purchase 'Shoos Off' digitally from Bandcamp.


📠
Shoos Off Internet Presence ☟
facebooksoundcloudbandcampinstagram


Friday, 14 July 2017

🐣 PHILIP LASSITER — HOPSCOTCH

Interminable groove sails throughout this track, elements layered with beautiful precision, dynamic turning on and off and adding and subtracting to the tapestry of sound. The main thread weaving through here is the trumpet, its brassy peals moving from that ascending-descending refrain that kickstarts the track with a super shuffling rhythm, to smooth crooning and variegated wailing solo blasts that leave trails like the curling smoke of a missile spiralling through the sky. Philip Lassiter commands the trumpet as an augmentation of voice, the trills and warbles and harmonics spilling out in each slapdash-considered lick, the playful groovesome jumping nature of it perhaps defining the title 'Hopscotch'.

Amidst this though there is the bass which carves out a bouncing foundation, guitar zipping with it for extra energy in sharpness and distortion, and paired with the back-and-forth of the beat – its thwacking overdriven kicks and clacking metallic snares and shuffling hi-hats – this provides the rhythm that gives the track its feeling of staccato sway, the impatient itch to move; tremolo keyboards wash over the peaks and troughs of the funk with a rounded chiming sparkle, a soft resounding mist that covers all; a breakdown punctuated with handclaps and sparse piano twinklings. These powerful decorations, the beat, the groove, all serve to frame the brass blares in situ, give it a substantial context, and allows the trumpet to follow tangents and zigzags never too far from the foundations that anchor it to such a simultaneously danceable and chilled bedrock of sound.


  • 🔔 'Hopscotch' is one of the tracks to be taken from his recent album, Chill Mode, details of which can be found over here.
  • 🔔 As a related piece of trivia, it's fun to know that Lassiter "is most recently and widely known for leading an 11-piece horn section for the late Prince, with whom he toured internationally and in the U.S."


📠
Philip Lassiter Internet Presence ☟
facebooksoundcloudofficial sitetwitteryoutube


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.


  • 🔔 'Puce' is taken from On-Ly's recently released The Purple LP, which can be listened to and downloaded over on Bandcamp.
  • 🔔 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.



📠
On-Ly Internet Presence ☟
facebooksoundcloudbandcampofficial siteinstagram


Tuesday, 27 June 2017

💿 PAISLEY — 404 FUNERAL

'Time Passing' – one of the more diminutive tracks among this selection of seventeen – is as good as any a place to start off this odyssey of beats. Fluttering whooshes like the track's just landed on your windowsill and will start cooing to you at any moment, it arrives with decayed instrumental sample, glitchified percussion with hi-hats that fizz, kicks that thud with MegaDrive distinction. 404 Funeral is a selection of vignettes that feel like this. 'U Got It Going On', one of the more wobbling tracks in this series of seventeen, feels decayed, suffocated by age and warped beyond recognition, with elements that feel similarly bitcrushed; 'Squash' feels like a flood, fifty-two seconds of mashed beats and samples that feels like a luscious rainstick of sound.

Paisley's new stream of lo-fi creations – "made well over a year ago" – does go beyond just tape cassette decay and crackling nostalgia. The retro VGM sound to some of the percussion is matched by a sharp and delicious outpourings of drum sounds, like on 'What's Your Name' where behind snippets of Japanese dialogue a hi-hat dimly ticks with rounded flavours, and by the real-life drum-kit's-next-door feel beat in 'Lost My Suica'; here the outdoors noises, the singing birds of evening and the whir of insects, are evocative of the track's eponymous story: losing a Suica card (one of Japan's numerous, regional travelcards) means walking through the pseudo-suburbs that blossom between Tokyo's main hubs, thus hearing the city differently—here is where the titles of these tracks meet their content perfectly, a contemporary urban idyll. Indeed with this in mind the album's title could refer to the organicity of these tracks, embedded in the real world: '404' refers to a missing webpage and the 'funeral' part, well, netdeath: becoming a web ghost.

So 'Sunday' is chilled, samples like colours melting into each other stream along with a sleepy feel. In 'Until Next Time' the music wobbles rapidly like eyes welling up, the samples plaintive, painting the thoughts you have after a goodbye. But it's not all rose-tinted: 'I Need an Adult' seems to signify, with its exorbitant trap-infused beat and dramatic icy tones, a twinge of despair, a sense of longing exuding from its cold booms. Amidst the warped pianos that sound like television in black-and-white with no remote controls, rotary dial telephones, floorboards and gas lighting, there is more. Stand-out and yes/no favourite '1992' sounds like a joint right out of Earthbound, 'Battle Against a Machine' to be exact, with its huge gloopy constructivist beat and cold-sleek sampling; 'Nobody' makes groovesome use of a funk sample, 'Doomed' weaves in MF Doom—'One For Rex' glosses futuristic with hollow synth melodies.

404 Funeral skips along for just twenty-one minutes of your time, each track just over or just under a minute long. But it is that exact brevity which makes Paisley's morsels of music so delectable. To conjure a feeling through music, any feeling, is impressive, but to do it in a matter of never much more than 100 seconds feels wonderful, a bagful of gems, a batch of cookies, sketches, a pile of postcards that etch images for us, evoke comfort or love or adventure or relaxation, that temporally, spatially send us elsewhere: time passing.




📠
Paisley Internet Presence ☟
facebooksoundcloudbandcamptwitteryoutubeinstagram


Monday, 26 June 2017

🐣 AMELIA AIRHORN — NY IS RED HOT

The glaze of future funk, glossy vaporwave offshoot, sparkles in the big city flavours of 'NY Is Red Hot', broiling in cola sweetness and carving out a groove that bubbles with feel-good-ness, and in fact with summery red-hot-ness as well. In Amelia Airhorn's single, with its wanna-join-in communal-feeling vocals, the guitar chords hit with a robust shimmer of funk, the brass blares triumphal like beacons of upscale uptown sheen, strings glimmer like streetlights, the bass croons in subtle columns weaving with the deep thump of the beat, the jostle of it all a whirlwind of disco and dancing, the keen future funk fade-ins and fade-outs providing not only subtle parallel to builds and drops in terms of dynamic feels, but also with its irregular amplitudinal consistency conjuring a real life setting: moving through a club, nearer further from the speakers, outside for a cigarette, leaning in for a warm lips-to-ear conversation.

This track, at once flavourful both in danceability and in the inherent nostalgia-summoning, somewhat filmic nature, is or at least was a common feature of the earlier music of Ryan DeRobertis aka Skylar Spence, the pop-infused retro sample collages that awoke from then-vaporwave component Saint Pepsi. This is one half of Amelia Airhorn—the other being The Knocks, a duo with a similar penchant for funk though with a more polished surface, more Kitsuné-ready, more mainstream friendly: they never had to contend with actual Pepsi Co.'s legal team, for instance (DeRobertis' moniker change occurred in 2015).

The evocative yesteryear collage nature of the track plus album artwork and the retro airbrushed typography, this mirrors the collaborative cocktail. On its own 'NY Is Red Hot' brims with energy and noise, shines bright in the nocturnal glitz that surrounds it like mist, conceptually frames it; but with context, this merging of underground SoundCloud musicmaker and pre-initiated pop producers represents a meeting of the new unexplored avenues of making a success in music and the well-trod halls of namedrop beatmaking, traditional and unconventional, past and now, the span of time and attitude that is the foundation of future funk.


  • 🔔 This single is taken from Amelia Airhorn's 18-track debut release, The Knocks & Skylar Spence Present...Amelia Airhorn. You can download it for free from ameliaairhorn.com, where you'll also find fun background on characters in the Amelia Airhorn universe, i.e. NYC itself.


📠
Amelia Airhorn Internet Presence ☟
soundcloudtwitterofficial siteios app

Skylar Spence Internet Presence ☟
facebooksoundcloudSAINT PEPSI BANDCAMPtwitterwikipedia

The Knocks Internet Presence ☟
facebooksoundcloudofficial sitetwitteryoutubeinstagramwikipediabeatport



Thursday, 15 June 2017

🌭 AYLIN — ON MY OWN

This luscious slice of music is a wondrous illustration of pop, with its delicious sumptuous percussive sounds, the shuffling shakers, the streaming liquid gurgles, its chimes and its crying-out vocal samples. And in this tapestry of textures, the lush thickets of percussive bristling, there is a smart, city-leaning clarity about the track, seeming to mix this tropical spirit with the colder angular soul of an urban environment, the slick-smooth syncopated chords, the clean subtle gloop of the bass; something restless and lonely in the verses where the synth flutters, confused, from left to right.

Whilst Aylin questions herself and expresses doubt in these more mellow verses, confident resolve arrives in the chorus: "so I'm thinking of myself not you, like I should do" and "I'll be thinking for myself alright, should be just fine." The Romanian singer, in the midst of the snappy funk of the track, sings with a voice that is at once as malleable as it is crystalline, seeming to purr as it sparkles. There is a certain emptiness in 'On My Own'—staging the decision to go it alone as the chorus suggests rather than stick with something that isn't working, even something that's pulling you down, is a difficult thing to do, and the struggle to come to that decision is illustrated with dynamic contrasts between the verse and chorus, between a chilly empty feeling and one of fresh determined wholeness.


  • 🔔 This track is taken from Aylin's upcoming second album This Is My Otherside, a collaboration with Otherside.
  • 🔔 Aylin, full name Aylin Cadir, is also an actress at the National Theatre Bucharest.


📠
Aylin Internet Presence ☟
facebooksoundcloudtwitterinstagram


Saturday, 2 May 2015

LANCASTER – SUNSET DANCE

Here's a lovely rich and crunchy gravel-zest slice of future funk from a producer called Lancaster. What do you need to know? His real name is Luis Rodriguez and he is from Philadelphia and from the looks of things he was born in 1996, making him like 18 or 19. As many other talented purveyors of future funk are, he is an associate of KEATS//COLLECTIVE – spiritual home to other creators of modern funk/disco/soul classics, including Skylar Spence (fka Saint Pepsi), Harrison, and Rollergirl, to name just a few on their long and illustrious roster.

Looking at the lists of artists included in their compilations sometimes it's like… Pokémon, or something equally collectible. Each of the numerous artists exists in this stylistic, aesthetic-led, nostalgia-breathing space, yet they're all different people, with their own individual styles and flairs. Let's get going on the Future Funk Trading Card series – that would be suuuper fun!

Anyway, here we are with Lancaster (a fine name) and his track 'Sunset Dance'. It begins with a sample of some sort of interview with… some punk people (forgive me for not knowing), something which pops up throughout the track; they talk about being individual, and not wanting to wear Lacoste clothes, and how punk is "overwhelmingly loud". An interesting thing: the interviewer notes that in being different to everybody else, punks end up looking the same. More on this in a second~

This song is thick with funk, a multicoloured miasmia of music that samples a lo-low pitch-shifted version of '80s group Manhatten Transfer song 'Spice of Life' , distorted and overdriven, with classy-breezy horns added along with semi-brutal ricocheting drums – it's even tagged "oversaturated".

Now, this could be a reference to the actual music itself, or something else: if you take the snippets of punk interview present here and equate them with future funk, this track could be taken as a message about the current online music scene being oversaturated. Maybe. Rodriguez also says in the SoundCloud description, "this song means a lot to me." On the other hand, the insertion of this punk interview could just be ascribing to a punk aesthetic, a rebellious spirit, alive in the sample-heavy music of future funk; this kind of attitude, just because it's not distorted guitars and gobbing on people, can thrive in any new music form. For me, chopping up old songs and making new jams outta them, well, I love it, and I definitely think there's something punk about it: nobody's asking permission here, it's about producers using raw materials (samples, sounds, effects) in any way they want in order to portray a fantasy, an idealised throwback to the past, a netting of old music bent to the will of the producer and moulded in whichever way they want: it's freedom.

Another note in the SC description simply says "press play pt 2," which – judging from the title of his 2013 Bandcamp release Press Play, could be heralding a brand new album from Lancaster. Hooray! (maybe)



☟ Social Media Presence ☟
FacebookSoundCloudBandcamp


Saturday, 31 January 2015

QUIETFUNK – HOUSE OF LOADED PEOPLE FEAT. LILI & FLATCASTLE

I am currently watching The Land Before Time 2 because it's on TV and I've never seen it before. I literally loved the first one when I first saw it when I was like, however old, 3 or 4. To see Littlefoot and Cera and Petrie and Spike and Ducky together again is making my heart bounce a little bit. And what else is making my heart bounce right now is this track right here.

It's a strange soundtrack for small dinosaurs running away from a scary big dinosaur, but it kind works in a strange way. What's this track? It's by Saitama, Japan-based producer Yu Uchida aka quietfunk and features LILI on vocals (I can't find any info on her) and a guy called flatcastle – v cool name (irl: Daisuke Hirajo) – on slap bass. It's entirely groovesome, founded on a smooth popping bassline courtesy of Mr. Hirajo and gradually more accented disco-style beat with shuffling hi-hats and the occasional stroke of a cymbal.

Called 'house of loaded people' it takes its name from the samples it uses. Well, more correctly it takes inspiration (and samples) from 'Loaded' by Primal Scream and aside from a bit of brass that hazily fades in and out every now and then, the quietfunk track also uses the dialogue that appears in the Primal Scream original, "We wanna be free… we wanna get loaded!" – itself a sample taken from weird film Werewolves On Wheels. It's an exploitation film in which an outlaw bike gang stops off at a church in the desert, parties, falls asleep, one of them gets drugged by the satanic cult that actually runs the church, wakes up as a werewolf. Normal.

I keep thinking about the bassline, robust and silken at the same time, but there's more to this track than just this fragmentary funk. Thin tremolo synth begins to wiggle pulsar-like overhead, swathes of white noise building to a whispering crescendo, and LILI's voice sings gently and with nocturnal party-time longing what the vocal sample proclaims throughout. Everything culminates in echoing intensity towards the end, like the frenzied end to a sweaty imagined party as wished for by the song itself.


  • 'house of loaded people' is a free download – do it!

    quietfunk Social Media Presence ☟
    SoundCloudTwitter


  • Saturday, 24 January 2015

    YES/NO GUEST MIX 024 :: OH WHERE HAVE YOU BEEN? A DREAM DISCO MIX BY STATS

    It's that time again. What time? Guest mix time. It's a bit of a different guest mix this time around because the tracklist isn't so much a tracklist as a set of "ingredients" – it's not in order, I'm not 100% certain that enough of each and every track was used to warrant it being listed as a "track", and I don't know if some of the sounds in the mix were even listed. Instead, elements are spliced and mixed together, just like ingredients. Flour and eggs and sugar and butter kinda stop being those things when you make them into a cake. And so it is with this mix, courtesy of London band Stats – in particular, from just one of its members who is called Ed.

    I stopped trying to dissect this mix after a while and just enjoyed it, trying to guess which parts came from where on the ingredients list was just getting to be impossible. To use the cake metaphor again, it's like digging into your favourite cake to try and find the original components that came together to create it. Well, it's obviously not as impossible to discern which sound comes from which song, but it definitely does show the abilities of Ed, who is the actual frontman of Stats.

    Filled with meaningful snippets from documentaries and interviews – the voices of people as diverse as Werner Herzog and the digitised female voice of the Narrator for Windows (I think?) – the mix moves through a wormhole lined with pulsing disco basslines and fragmentary electronica, the groovesome nature of the mix clear at the very outset as 'Beam Me Up' by modern-but-authentic disco outfit from Brooklyn, Midnight Magic, moves into Stats' own 'Where is the Money'.


    Music contains everything, and you can make a song about anything, so it’s like the world but bigger. Once you’re doing it, it’s difficult to remember how you first started, like when you learn to talk. It becomes second nature, which is more interesting than first nature because it’s not strictly necessary, but it feels like it is.

    ED (STATS)

    The jaunty poetry (check out 'D'you wanna eat') and art-pop sound of Stats, inspired by acts like Talking Heads, is as clean-cut as it is angular; they incorporate funk grooves and rock noise into their songs, coupled with catchy vocals and spoken word quirks that suit the urban environment in which they exist. Frontman Ed also says, "Stats songs often try to look at what’s specific about how we live right now, especially in cities." So there you go.

    Taking inspiration from the opening line to Bryan Ferry's version of 'A Hard Rain's a-Gonna Fall' (Bob Dylan), the mix is called Oh Where Have You Been? "And that," confirms Ed, "is loosely its theme."

    Playing for La Roux (whom Stats remixed a couple of months ago) on tour recently, he tells me about the experience of travelling the world, having not really been anywhere apart from the UK. "Songs people write about touring often complain about [it], on the grounds that it’s repetitive and alienating - but I really enjoy everything about it," he tells me. "Because you have so little time and control, you are under no illusions about discovering the 'real' St Petersburg or Los Angeles or wherever: your experience of a city is guaranteed to be short, incomplete and highly subjective."

    With much of Stats' lyrical output dedicated to contemporary living, traveling to many different cities was eye-opening for Ed. "One thing common to pretty much every city I’ve seen, from Berlin to Boulder, Colorado, is people saying they can’t afford to live in them any more because property is impossibly expensive," he explains, relating it back to 'Where is the Money', adding, "Many of the songs and films and stories in this mix stay in my head because they seem to relate to things like that."

    So, in conclusion: please enjoy the dreamy disco feels running through this mix. I hope you like it. Thank you to Ed, who also would like to thank William Bowerman, Tom Hatfield and Ali Staton.

    "This mix is by Stats.
    Stats are a minimal pop band.
    Stats are six people.
    Stats can’t dance and Stats don’t take drugs.
    Stats are a grown-up thing to do.
    Stats have big plans tomorrow.
    Stats are all over the place.
    "


    1. It is a journey to the end of the world

    2. Remember the future (beam me up)

    1. You have to keep moving out, but remain in orbit

    2. Happy man, happy man, that's me

    1. This green world of God’s

    2. You can almost taste the hot dogs and french fries they sell

    1. Nature here is vile and base 

    2. When I’m working, or washing my hair

    1. Oh, where have you been? 
    2. It was lots of fun, the mechanics of getting together

    1. Well go on, tell me something

    2. There’s a big building, that's me.

    • I N G R E D I E N T S •


    Stats Social Media Presence ☟
    FacebookSoundCloudLast.fmofficial siteTwitterYouTubeInstagram


    Monday, 10 November 2014

    SAUVAGE – MARÉE NOIRE

    I first wrote about these guys a while ago, finding the beat and vocal harmonies and, well, everything about their track 'Camel' quite difficult to not become addicted to. They're from Paris and they're French and they're called SAUVAGE and this track is called 'Marée Noire' which is an epithet (literally means "black tide") for an oil spill in French.

    This one is quite different to what I've heard before; it rings with juddering electro energy, bass jouncing along with the rollicking beat joining it, electric chords jolting across the galloping path of the rhythm. This is at least how it sounds in the first half. But a middle section announces the arrival of a fresh-rain-against-a-window gentle drum pattern, the entry point for the vocals, too, which almost whisper in this quiet section.

    The track's second half is all groove, a contrast to the first half; synth chords seem full of feeling zap into life – which seem to breath heavily at the end – the bass holds court with its simple groovesome rhythm accented with octave-skipping notes, the vocal melody is not over-highlighted and smoothly sails across the crashing, raging waves as electric arpeggios sparkle like twinkling stars in the eventual crescendo of the track. All that's left is the kinetic beat.



    SAUVAGE Social Media Presence ☟
    FacebookSoundCloudTwitterYouTube


    Thursday, 6 November 2014

    CARMELLE (HALCYON TONE) – WET DREAM

    Not only do I fucking love this, it also has a brilliant concept. A really fun concept. Whilst on the surface of things it seems to be created by Carmelle, it's actually not as it seems. Ostensibly, Carmelle is a "Minneapolis Funk veteran" who, for the creation of this track 'Wet Dream', "hired a variety of local musicians in his adopted home of Lisbon to bring an uncharacteristically frantic pace to this, his biggest release as an expat."

    It is pure fantasy. Carmelle, and in fact every artist featured on this compilation by Halcyon Tone, Halcyon Tone vol. 1: Reflection – yes, even "Yugoslavian-Italian songwriter and record producer" YUNIX – is a fabrication. Explaining themselves, the duo that is Halcyon Tone say: "Many concept albums have been written from the POV of some alter-ego, but Halcyon Tone have invented an entire roster of imaginary and often eccentric artists in order to express their eclectic (and electric) musical impulses."

    It's all part of the entertainment, this total immersion in an imagined retro world, with characters as big and bold as any real life star of yesteryear. Rather than be inspired by retro things, be a modern-day person and make music that sounds like old stuff, why not create a whole universe of characters who actually existed back then, and whose music can be retrospectively re-discovered or posthumously released. The possibilities are infinite.

    I wish I could write about all of these tracks but I'm afraid I would, uh, gush. Yes, that's the right word. I'd gush. So I'll just mini-gush about 'Wet Dream' (sounds wrong, sorry).

    It is a vigorous disco-leaning, boogie-conjuror of a track, bumping forward with robust bass and a brisk jogging beat with supershaker hi-hats; punctuated with sparkling synth chords, delicate and subtle, joined by a different progression towards the end, played this time with a breezy organ. The verse holds in it a simple 3-note synth melody, supporting the vocals, which are incidentally the best part of this track; sung in falsetto and totally aware of how to make everything catchy, they ring with ecstasy and romance and I cannot get the chorus hook "Not a day in my life goes by / When I'm not thinking of you" out of my head. The lyrics are also incredible, full of rich, youthful imagery (you can read them all here). I am in love with this song and you could be, too. Just too damn charming.

    I can't say anything else except that this is extremely interesting for me. I love the sounds, I love the concept, aesthetics. I guess I could say that Halcyon Tone are a duo, Josh and Chris, and they are based in Tokyo.

    • Please, please, please, please, please do yourself a favour and have a listen to Halcyon Tone Vol. 1: Reflection
    • Fun fact: you ever heard the term 'halcyon days'? Like a wordy way to say 'good old days'. But it comes from the Greek world for kingfisher, halcyon, which would often appear in late summer, thus cementing the term 'halcyon days' as reminiscent of very nice warm days of summer.



    Carmelle Social Media Presence ☟
    FacebookSoundCloudBandcampofficial siteTwitterYouTube


    Sunday, 2 November 2014

    VENTUREX – TALK TO ME

    How does VentureX keep making such lovely music? Last I heard from him was his very funky and very danceable track, 'Do You Remember' – it's been a while since then (also, and unfortunately, as usual) but I've just been magnetised to his brand new track 'Talk To Me'. It was the bass that got me at first.

    The bass! The bass is fat and a little fuzzy. Sound is made of vibrations. Sound rather is vibrations. But it's not that often you actually physically feel those vibrations in your ear, in your brain, in your corneas – the world exists in a puzzle of slightly shuddering shapes.

    These robust bassplosions are submerged beneath a shuffling beat whose hi-hat ticks impatiently, or lashes out into the open with cutting sharpness. An original track, dissected for inspection and chopped expertly finds itself strewn across VentureX's track; guitar appears in golden truncated chords, or else it peeks in with glints of funk. A vocal sample adds its warm soul to the mix, washed with clarity; the track ends with a cascade of chiming cosmic rainstick and the treble is gently removed, leaving you with that ever-satisfying vacuum that is only achingly good bass rumblings.

    • This comes as the second in very, very, very cool label / collective Stratford CT.'s Secret Selection, a series of surprise singles.
    • They also released a VentureX album which is one of my actual favourite releases of this year ever. It's called Together and it's genuinely and flawlessly superb. Listen to it here.



    VentureX Social Media Presence ☟
    FacebookSoundCloudTwitterInstagram


    Saturday, 20 September 2014

    VENTUREX – DO YOU REMEMBER

    Quite possibly the most fantastic song we've heard from VentureX ever, but then again there's ultracool this footwork-flavoured track (called 「フットワーク」 which actually says 'footwork') from a while ago, and also VX's recent album Together released via supra-chilled label/collective Stratford CT., which is a go-to thing for me recently; it's been warm, food & drink's been had outside, I stick this album on – it suits the mood. So I take it back. It's probably not the MOST fantastic song ever from this person, but still: it IS fantastic.

    It's the initial seasoning that had me, that repeating bit of FX-laden synth and the spicy bongos, both setting the scene for a track that's like cool sour cream on top of heavily jalapeñoed nachos: it's rich, warm, zingy and fresh all the same time. Samples arrive for the most part in unintelligible mouth movements, until the song's final part where its title loops again and again in a tirade of casual longing (after some searching, I reckon the sample is from Tegan and Sara's 'I Was a Fool').

    A detail that stands out: A clap gets some spotlight and reverbs out into the middle of nowhere, painting a picture of even more depth in this funky house themed feast, already thick with layered sounds and seemingly perfect sample placement.

    Chords twinge in satisfying syncopation sounding like they've come from pianos made of space jelly, and there's also some wibbling percussion like some kind of intergalactic candy dropping in puddles of, um, mountain dew? I'm not sure anymore. All I know is that this song moves out of the trappings of future funk to deliver a deeper sound, a more thoughtful and considered funky house perhaps, but ultimately a sound destined for the dancefloor – and if not, then at least it might turn the space which it fills INTO a dancefloor. YEAH. "

    As far as we know this is a random SC upload. There might be more to come, like an "album" or an "EP", but it's probable that this is just an upload, something that a lot of people are still trying to come to terms with; don't worry, it's only the unknowable future at the door, you don't have to answer it right now.



    ☟ VentureX Social Media Presence ☟
    FacebookSoundCloudMyspaceBandcampofficial siteTwitterTumblrInstagramWikipedia


    Saturday, 13 September 2014

    Y/N GUEST MIX 015 :: JOLLY MARE

    I saw a person on Twitter like last week say something like, "There are too many mixes therefore they are obsolete" – when questioned they cited "inflation" but I think they meant "saturation" maybe. Anyway, it's a ridiculous statement: replace "mixes" with any other thing of which there might too many or too much – food, videogames, paintings – and you can see how. I just thought that would be a nice thing to say cause, like, here's another mix. But I'd really hate to be the one to push you over the edge, so if you think you've heard one mix too many, then go take a cold shower, talk it through with a loved one.

    This guest mix is from Fabrizio Faberismi, aka Jolly Mare: an Italian DJ, producer, and a participant in the Red Bull Music Academy 2013. I've also read that he has a PhD in Vibration Dynamics, something that led me to stare at gifs of wobbling catilevered L-beams on the wiki page for 'Vibration'; this might be why in an email he sent to me he described himself as "Something in between a gone-bad scientist and a musician." He also loves old music, and if this mix is anything to go by it's obscure old music in particular that is his penchant.


    I got good taste in music

    Self-confessedly inspired by a "groove, any kind of" when it comes to his own music, it also seems to lead his choices for this wondrous guest mix, itself a lil' under half-an-hour of groovesome entities. Mostly taken from the 1980s, and most you've probably never heard OF let alone actually heard, it runs from the sultry 'Marinero' by Spanish singer Lucía who also provided the Spanish entry, 'Él', for the 1982 Eurovision Song Contest, held in the UK at Harrogate (really weird choice), to the synth-disco of 'Histoire D'un Soir' by Bibi Flash, aka Brigitte Gasté, a French singer active in the '80s. The song really really sounds like Blondie's 'Rapture' – mainly in the rap-singing, the bassline (almost note-for-note), etc.

    "There is some freakness in every one of them," says Jolly Mare of the tracks in the mix – and it's true: from the first vital, note-hopping bassline of 'Use My Body' by the unknown Mavis John, through the stretched out, night-anticipating 'Sunset' (L33 and Sven Atterton) and the effortlessly cool remix by Luke Million of The Swiss's summery 'In The City', to the Italo disco of Big Ben Tribe's 'Tarzan Loves The Summer Nights' and the indefatigable soulfunk of 'Better By The Minute' by unlocatable group Glass Pyramid, it's an amalgamation of genres and styles that basically utilise "freakness" as their foundations, namely funk, disco (regular & Italo), soul, boogie, R&B.

    What does it demonstrate? "That I got good taste in music," replies Jolly Mare. I mean, well, yeah, these are good songs. And for those of you who are looking for some obscure tracks to boogie the fuck on down to, chill to, do your taxes to, stir fry some noodles to, fix that thing in your car to, clean your living quarters to, whatever to, then don't worry cause this crate-digging mix has done it for you.


    • T R A C K L I S T •
    1. Mavis John - Use My Body (1980)
    2. L33 & Sven Atterton - Sunset (2013)
    3. Lucía - Marinero (1986)
    4. The Swiss - In The City (Luke Million Remix) (2014)
    5. Desi - I Want To Be With You (1984)
    6. Gladys Knight & The Pips - Save the Overtime (For Me) (1983)
    7. Big Ben Tribe - Tarzan Loves The Summer Nights (1984)
    8. Bibi Flash - Histoire D'un Soir (1983)
    9. The McCrarys - Love On A Summer Night (1982)
    10. Glass Pyramid - Better By The Minute (1984)


    ☟ Jolly Mare Social Media Presence ☟
    FacebookSoundCloudTwitterYouTubeMixcloud


    Friday, 18 July 2014

    SAINT PEPSI – FIONA COYNE [VIDEO]

    It's Saint Pepsi, bitch. Remember that? From his Gin City EP that got released earlier this year? Now doesn't that seem like an actual age ago? Right? It may as well be an actual age ago – even since then, Ryan DeRobertis (by now, everybody should know: this is SP irl) has given his sound a right good seeing-to, uh, mainly in that he's added his own vocals to it.

    As a component of the digital sample-heavy movement that was (and still is) vaporwave, usually Mr DeRobertis could be heard lifting vocals from a whole host of past-and-present material, from Justin Bieber to Aretha Franklin, but yes: this time around they're entirely his own. And he's got a brilliantly off-centre muse for his singing, the eponymous 'Fiona Coyne' – this is a character from the I've-never-seen-it Canadian (teen) drama series/universe Degrassi; Drake also cut his acting teeth here so, y'know, it must have some sort of following – be it genuine or retroactive.

    Anyway, as you may have guessed, yes that's her picture above, and as Saint Pepsi himself sings with gorgeous Long-Island-lilt, "She's got emerald eyes" – or at least she sorta does. His voice adds an extra dimension to his music, a depth of personality, something for fans to not just appreciate but to find attractive, fall in love with. He's already put himself out there, creatively, but now THERE he is, voice immortalised. A real pop star.

    Yes there's a video for the song. It features a guy encountering a lot of couples kissing or "MAKING OUT" or whatever, who himself is followed by an insistent disco (penis) ball. Watch.

    As for the music itself, Saint Pepsi hasn't lost the funk – the good funk – no sir. Clean, simple drums keep head-nodding time, as groovesome bass darts fluidly below glittery staccato guitar stabs, whilst more ornamentations comes in the form of sparkling-pool glockenspiel magic, and bursts of triumphant brass; St Pep's voice moves over all of this, confident and laced with addictive hooks, especially in the undeniably catchy chorus: "Oh darling, won't you believe me? I'll love you till the record stops."

    Though it's a stark change to his earlier sounds, it's a step in the right direction: this is pop perfection. This could live on the radio all summer for all I care – I mean, that's the place it deserves to be. Stuff this well-produced that is made by, and features the vocals of, the producer, a one-person vault of charisma and creativity, should be paid much attention to, especially considering his variations in sound, made by my reckoning at least 3 times a year, which combined promise unpredictable & wonderful things for the future of Saint Pepsi.

    • This comes from the Fiona Coyne/Fall Harder 7" out 12th August via Carpark Records – pre-order it here. I might buy a record player just for this release – you know, like how a load of people bought a Wii U just for Mario Kart 8.
    • It's not the first time we've heard St Pep's voice: check out this rap (second rap in the track) he lends to SPF420 co-founder Chaz Allen aka Metallic Ghosts' track 'Destroy'. It's actually really good. More rapping pls!



    Like SAINT PEPSI on Facebook
    Listen to SAINT PEPSI on Soundcloud
    Hear more SAINT PEPSI on bandcamp
    Follow SAINT PEPSI on Twitter
    Check SAINT PEPSI on Tumblr

    Sunday, 22 June 2014

    ROLLERGIRL – I LOVE YOU, ROLLERGIRL! EP

    So I'm behind on what I'm supposed to be writing about. So what? u wanna fite irl about it? No? Didn't think so. In that case, we'll just forget all about any of this: my tardiness, my bellicosity, my etc. And we'll get straight on to it.

    Rollergirl (or Rollergirl!, either way, but for the sake of ease I'm gonna drop that exclamation mark, sorry) is from the USA and makes wonderful music. My first taste of this fun-filled breed of music was the Rollergirl remix of Summer Twins' year-old track 'Forget Me', treating the original with a healthy drop of fuzzy funk stylings. Well, now there's a whole EP to enjoy.

    The cutely titled I Love You, Rollergirl! EP inhabits that addictive zone of music called future funk; if you know what it is, then whatever, good for you, but if you don't, well… it's not so much futuristic as remodelled cuts of classic funk, soul and disco, blent into gorgeous cocktails of sound with all the accoutrements of modern day production to benefit the style. This is where Rollergirl seems to thrive.

    But as this EP shows, it's not just straight up slow-down samples and muffled edits; each track is instead a variation on that overarching theme. Take the particularly punchy 'Do You Wanna Dance?', for instance – it is a huge track, featuring all the gigantic energy of carnival tracks, with syncopated percussion dropping in and out with the aggressive call of samba whistles like the cry of some dance-obsessed creature. Then you have something quite different in the slow sway of 'Eve' (featuring the talent of Chicagoan musicmaker, Harris Cole), where in the second half 80s synths filter through a foundational membrane of stuttering slap-bass – a mystical, nocturnal kind of sound.

    For the most part, however, Rollergirl's EP booms with disco intensity. 'I Love You' is an especially good example of this; beginning with a sample taken from dialogue in the classic film Dirty Dancing ("I'm scared of everything..."), its sharp hi-hats swish above a frenzy-inducing two note bassline, intense loops leading to more and different intense loops towards the end, funk guitar hatching its undeniable groove all the way. In much the same vein, second track 'Vanilla Coke' rattles along with the raucous sound of racing hi-hats, a clattering example of disco, injected with dynamism by creating bassless voids with old-car-radio-esque tinniness, then flooding these with French-Touch-style bass, working the muscles in your ears to a surprisingly satisfying degree.

    Pop hooks show themselves throughout, like in EP-closer 'Last Night', whose shivering chops of guitar jump in aching, catchy melody, providing a mesmerising mist that hangs over lightly overdriven bulges of bass; in the last quarter or so of this track it jumps into a slower rhythm, somehow becoming even more addictive. And of course, in opener 'Boogie Down' – which begins with a snippet of dialogue from 1979 film Roller Boogie – this catchiness extends from the disco-ball sheen of the chords and its supporting bassline, to the vocals supplied by Rollergirl himself, singing "Live it up, live it up!" … and personally I think this has in it snippets of Toro y Moi-style chillwave. But the style of chillwave in general included nods to many genres of music, including funk; perhaps future funk is merely a natural offshoot of this particular sound. Maybe not. You discuss it yourselves.

    God, um, well that's it really. Can be chilled to, can be danced to; can be engaged with, can be background sound. I Love You, Rollergirl! is nostalgic deep pan pizza of sound; totally doughy and heavy with delicious beats, but still featuring the tomato-and-pepperoni zing of exciting chops and near-virtuosic versatility. And it's yet another sterling release from undeniably cool label/collective, KEATS//COLLECTIVE.



    Like Rollergirl! on Facebook
    Listen to Rollergirl! on SoundCloud
    Follow Rollergirl! on Twitter
    Check Rollergirl! on Tumblr
    Hear more Rollergirl! on Bandcamp