☟YES/NO☟: juke

Showing posts with label juke. Show all posts

Wednesday, 3 June 2020

🐣 DJ EARL — NO CAP 4 2020

⌾ LISTEN TO DJ EARL, NO CAP 4 2020 ⌾

"Pretty much getting reacquainted with the scene back home," writes purveyor of footwork DJ Earl, speaking to y/n about his latest track, 'No Cap 4 2020'. With unrelenting rumble and aching classic piano stabs — the all-important vocals samples like a mind-over-matter mantra — it's a floor-moving sonic sojourn.

"I was hanging with some footworkers, specifically Jalen (TOG) & Acey (The Prophecy). They was saying how they miss me DJing the footwork battles and that it's a missing element in a lot of the music that gets played there," DJ Earl continues.

"They were saying my travels definitely changed my sound a lot and that they wanted me to, since I'm back on Chicago, start making battle tracks. So I went back to form and made a Chicago-themed soulful footwork track with some familiar chants like 'no cap' and 'you can’t fuck with me' being something that gets said between dancers as they compete."

The carefree, sing-song vocals that wing their way over the heart-pounding thump of 'No Cap 4 2020' add a playfulness to the frenzied repetition of those two phrases, the rapid fire "you can't fuck with me" melding with the clacking snares for a devastating result — replicating the "kinda energy the footworkers need to fuel high levels of creativity on the dance floor," as Earl puts it — all the while piano chords hang in the air, prismatic, like onlookers mesmerised by the scene.

🔔 'No Cap 4 2020' is taken from upcoming footwork compilation Street Bangers Factory 14, out 5th June via Moveltraxx. Grab it on Bandcamp if you feel like it.
🔔 You can also stream or purchase 'No Cap 4 2020' via your fav service.

📠
☟ DJ Earl Internet Presence ☟
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Thursday, 19 October 2017

🐣 SARO — LOOKING (CITY FATHER REMIX)

The bristling insectoid sounds of night, the found sounds of the world, the swirls of dust and debris in our everyday waking hours come to life and trickling nocturnal with a moon hanging in the sky seeming to swing like a pendulum. This track certainly is night, unsociable and filled with bustling beats like the unkempt untamed thoughts of a restless mind in the body of a human out walking to put themselves at ease. It's a remix of LA singer Saro's track 'Looking', a much slower number that booms along with heavy walls of synth, as opposed to this frantic and clattering juke-ish rework by fellow LA resident and producer City Father; "I wanted this remix to be like a distorted reflection of the original work," CF tells us in an email. "I tried to respond to its ideas with sounds and textures that would tell the same story, like samples of Saro's breath and field recordings I made wandering around downtown LA in the middle of the night."

And in the new nighttime feel the vocal from the original – "hope you find... what you're looking for" – is the main refrain in this interpretation, now rapid and repeated, bright and hopeful amidst tumbling angular polyhedrons of percussion clacking and bursting for that tarmac pavement (asphalt sidewalk) concrete glass, hard urban materials that give a harshness to the cityscape as much as the beats lend their polisve clatterings to a harshness in the soundscape. Inspired by the "dark" undertones of the original, City Father explains that he wanted to give everything a "hazy, metallic, solitary color" in order to represent the "subtle messages within the original song." So there are bristling impersonal samples, unclaimed and writhing and ambient, the cold textures of the city—and the synth chords, which do not respond to any offerings of company or social gatherings but wait and then walk alone, melancholy and resolute.

🔔 This remix was released in association with Mateo Sound, an artist collective located in LA.

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☟ City Father Internet Presence ☟
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☟ Saro Internet Presence ☟
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Saturday, 8 November 2014

Y/N GUEST MIX 018 :: STONEWALL KLAXON

This mix. It is a wholly original mix. It features only tracks from the artist himself, Mr. Stonewall Klaxon. Obviously, or perhaps not obviously if you're not au fait with Americano historia, this guy is named after Stonewall Jackson, an American Civil War commander. A few potential reasons why: 1. This guy is a Confederate sympathiser (being from Texas and all); 2. Apparently Mr. Jackson was something of a legendary person, why not name yourself after (kinda) him?; 3. Just cos it rhymes; 4. Don't know. Should've asked really shouldn't I?????????? lol oh well. Not the point right now is it.

The point is this is a mix with a difference because it's basically like hearing a Stonewall Klaxon live set. His music is like… really nice. It's beats-heavy, synth-heavy, a waterfallish cascade of electronica set to mostly uptempo rhythms, kind of in a paint-splashed realm between dubstep and footworky stuff, for instance with the white noise watercolour wash and pneumatic drill kicks of his remix of 'TBAE' by urlchild or the hyperactive synth stutterings and finely diced vocals in 'Gary Lazer-Eyes', coupled with the busy explosiveness of 'Neon Swords' and its gurgling vocal samples whose beat seems to hang in the air, and 'Cigarettes', where infra-bass kicks are the gloopy swamp out of which brittle mangrove snares snap and crack.

The mix, which includes samples of Link's sword-swinging shout in Ocarina of Time ('All Of Me') and Navi's "Hey!" ('Neon Swords', the set closer), and a sparkly remix of 'Latch' by Disclosure, pitch-shifting Sam Smith's vocals just ever so slightly, is luscious, the sound equivalent of breakdancing under a canopy of stars, or playing videogames with friends because one of them has a free house and it happens to be a marble-and-gold mansion of a place. Stonewall Klaxon, real name David Andrew Lunson, is 26 currently lives in Austin, Texas, "working as a chef in a restaurant downtown." But cooking skills aside, musicmaking comes first: "Music has always been my passion, and my true priority," he tells me. "I suppose what first inspired me to make music was simply being in the school band and orchestra~ playing euphonium, trombone, and cello."

The rich flavours and dynamics of his sound are, with this information in mind, easily traceable back to this classical and traditional training in music; you can hear the feel-good, triumphal nature of band music in each rousing hit of synth, and in its gentler moments, his music is certainly orchestral, albeit with electronic sounds – the melodies and progressions are so well done, so basically perfect. I've seen reviews of his stuff saying 'Flume-esque' or 'Wave Racer-esque' but you never hear anybody say that any classical music is 'Beethoven-esque' or 'Mozart-esque', really, do you? There is space enough in the music world for true talent and actual hard work to shine through, and it seems as if the gleams of Stonewall Klaxon are just about starting to reach the eyes and ears of the world.

• T R A C K L I S T •

0:00 Chords (Excerpt) (Vocals are Frank Zappa)
2:39 Gary Lazer-Eyes
7:27 Spherical
12:07 Cigarettes
15:21 Urlchild - TBAE (Stonewall Klaxon Remix)
20:09 Disclosure - Latch (Stonewall Klaxon Remix)
23:21 All Of Me
26:38 Neon Swords
All tracks by Stonewall Klaxon

Hey! Listen! Go download a free copy of the Neon Swords EP, from which most of these songs are taken.

☟ Stonewall Klaxon Social Media Presence ☟
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Friday, 7 November 2014

MARCIOZ – GOD AIN'T GONNA PAY YOU BACK

Well well well. This is pretty damn cool. Never before have I heard harpsichord in a song like this before, but here it, harpsichording away like some frock-coat-wearing, grey-wigged phantom of the baroque era floating over the distorted kicks of our hectic and noisy modern world. It arrives from the mind of 18-year-old musicmaker Marcioz, who is from Curitiba, Brazil, and it's called 'God Ain't Gonna Pay You Back'.

Flashing with antiquity, the track begins with the atmospheric and virtuosic harpsichord pluckings, soon joined by fallen columns of bass that seem to go on forever. Then from chamber music to a chamber of noise, as if you've stepped on a tripwire, huge laser beam synths shoot out at you with acid sharpness, loud and slick, accompanied by a screaming, spooky melody of synth. Later on this copies the harpsichord's melody, blooping all the way.

These chops of synth are replaced for the chopped up remains of some other track, these truncated snippets breathing over the the deadly tectonic beat whose kicks seem to move the very earth, and whose lethal snares slice the tops of mountains with their high velocity attacks; these sometimes turn into tongue-clicking woodblock clops, reverbing into the sophistication of the track. A vocal sample appears like a memory, framed by this mix of baroque music (the track ends with some mean sounding strings, too) and super-modern footwork-ish flavours – v unique sounds presented in a kind of satisfyingly jarring manner.

☟ Marcioz Social Media Presence ☟
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Monday, 3 November 2014

TDOYLE – COTTON CANDY CLOUDS

Ahh… tdoyle. I said it three times in the mirror last night (it was Halloween, yes I'm writing this from the past) but no one appeared. I tried it also with a hundred other different names of different people I know but no dice. Too bad. But anyway; news flash, tdoyle (which TextEdit keeps correcting to "toddle" which would be hilarious if it wasn't so damn annoying) might be changing his name. We were at Kami's Lookout (online venue) the other day and this was one of the things discussed. I won't divulge anything else though. Y? COS I AINT TELLIN U M8. Besides, I know nothing.

Anyway, here we are. A new track by Mr tdoyle. It's called 'Cotton Candy Clouds' (nice alliteration) and it is as the title says. Sounds like sweeties. Sounds like sugar. Popping arpeggios intermingle with more tangy arpeggios, each note seems to zing in glorious waves across a teal sky painted salmon pink with smiling, lazy clouds. It sounds actually almost as if it could've been written not from the point of view of looking up at the sky, but from being up in the sky looking down – from an airplane or something.

Yoshi makes an appearance, his cute lil voice sampled in the song's second half where claps run amok and synth chords almost like trumpets are triumphal and welcoming. There is a blissful simplicity at work here, something easygoing and uncluttered that makes it all the more easy to drift off to this one, really float 'pon it.

Wouldn't it be super cool if you could fly? That'd be amazing.

tdoyle is Tom Doyle. A few months ago I wrote about his track 'Free Floating' – is there a theme here? – which is very nice also.
This is taken from a fun compilation by Midwest Collective, simply titled Vol. 5 – the 5th volume of standalone singles created by the collective's affiliates. CHECK IT HERE (CLICKY).

☟ tdoyle Social Media Presence ☟
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Tuesday, 28 October 2014

LONG NEK – MELTING ICE

Last time I heard from Long Nek was on his production on Taiwanese rapper Simon's track '城市車手' ("City Riders"), where he created some soulfully lilting boom bap complete with saxophone and funk-flavoured guitar. Long Nek is from Kaohsiung, Taiwan, and it may surprise you to learn that the island country itself is home to a burgeoning, underground hip hop scene: I also love the flow of female rapper Aristophanes, and the productions of fellow-beatmaker, Luviia.

Not by any means his latest track but one that I've enjoyed since I heard it first is this one, 'Melting Ice'. What he does here definitely has more of a combination hip hop / footwork feel – the BPM feels pretty fast all the way through (no I'm not gonna guess, you guess). It goes through different parts, all bridged by the constant drip-drop of melting ice that is the glassy electronic piano chords, feeling decidedly cool creating their mist above the jazzy stand-up bass flourishes, and the smart raw clacking of the somewhat urgent beat – maybe reflecting the image of actual melting ice and/or the prevention of such melting.

Every now and then a synth lead erupts into view, squawking wildly in the same kind of pentatonic pattern that you'd expect some duelling electric guitars to be in. Sometimes that solo sound is calmer – such as at the start of the second half, where it summons a super-chilled feel. Add to this some rich brass blares, delayed with dub lassitude, and you have yourself a unique number, an atmospheric double-time hip hop head-nodder with all the dancefloor potential of juke.

☟ Long Nek Social Media Presence ☟
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Wednesday, 22 October 2014

BLAZ – SINK

Waaaaa! Wows. This is a really cool sound. You fall through a wormhole into the centre of the Earth and come out the other side and realise you're in a different dimension where everything glints towards bioluminescence and in the air there is the aroma of biological immortality achieved through hundreds of years of research on Turritopsis dohrnii jellyfish and transdifferentiation. Everyone lives forever and nothing is sacred yet we wonder still why and how everything is as it is. Humanity bulges in our corner of the universe and religion is a fairytale and we are all individualist libertarians.

Anyway, like, that's kinda what I felt when I listened to this track. It's by a person from Austin, Texas, who makes music under the name of Blaz. The track itself is called 'Sink' and, well yeah, it's kinda like sinking. First inspired to make electronic music whilst living in France a few years ago, Blaz calls it "very shiny and digital" and that's it on a basic level. In an email to Y/N, Blaz also shared some background information about the song: "The inspiration for it was old N64 video games... and a desire to take some of the recent PC Music sound, which I love, and twist it into something a little darker and heavier."

From the start, eternal arpeggios stream into your ears like schizoid pulsar stars, glassy galactic fog breathing with it, spiralling towards the main body of the track.

Tumbling fragmented kicks ba-dum-ba-dum-dum beneath, which become a regular beat punctuated with kung-fu-punch snare-claps, occasioned with stark synth chords blasting, which break into a melody towards the end alongside rollicking snares for building up and virtuoso popping sounds in what could be one of the regular favourites at the juke-specialising Club Satellite orbiting the earth (circa 2376), a slowdown retro sample ringing out: "This is how we—" ("—do it," I guess).

THIS IS A FREE DOWNLOAD, SO WHY NOT.
Also check out Blaz's Kirby EP, full of more WALL OF SYNTH sounds.

☟ Blaz Social Media Presence ☟
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Saturday, 20 September 2014

Y/N GUEST MIX 016 :: USHUA X NA RADHI

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

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

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

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

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

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

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

• T R A C K L I S T •

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

☟ Ushua Social Media Presence ☟
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Tuesday, 26 August 2014

PA'S LAM SYSTEM – LIKE A LADY

To make something like this – already so cosmically engaging and bustling with energy – to sound as interesting and exciting as it does for as long as it is must take some skill, some talent, but also hard work, patience, and, of course, good ears. To keep it so full of life all the way through, with its dramatic acrobatics, to maintain unending zest and intrigue, this takes love – not necessarily for the finished product, because a day is not there for the sunset alone, but for the process of creation itself: for the movement, order and flow of action.

Wow um ok, so that's what Japanese trio Pa's Lam System kind of does here in their latest track called 'Like A Lady', synonymous with the words sung by its ornamental sped-up female vocal sample. It's a song that stays fresh all the way through. Nothing is overused: a water droplet plinks only, "Hey!" samples are used with consideration, an arpeggio that weaves dreamily in and out of the forefront, a vinylesque drum and bass sample rattles only in one place… And that's not to mention the composition itself, the expansive rainbow chords and their wild somersaults and mad flips, the contented magical melody in the song's calm finale, the virtuosic power of the drums, the flighty adventuresome synth solo, the bass like controlled explosions of pure silk gloss underpinning all of the above greatness. It really takes your mind for a ride.

Also it might just be me, but it's mastered low enough to be able to turn the volume right up… it's kind of satisfying that I go to turn the volume up on this one and it's already FULL PELT ✔

This fantastic slice of inverted-Jersey-Club footwork from these Maltine playmates stands next to a very different but also quite amazing beast called 'Twin' by Hyper Juice on the 2-track Hypa'slam EP, a collaboration between the two artists available nowhere except on your computer for streaming.

☟ Pa's Lam System Social Media Presence ☟
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Wednesday, 23 July 2014

CRAIG DAVID – FILL ME IN (GOOD DISH REMIX) [FREE DOWNLOAD]

Wow. Well. Here's a damn good remix of a song that was damn good anyway; Craig David's 'Fill Me In' was like the popular garage song when it came out – a strong and immortalising debut solo single for Mr David, and another garage song in a year that was big for garage in the UK's mainstream: 2000 (which saw hits such as 'Flowers' by Sweet Female Attitude, 'Movin' Too Fast' by Artful Dodger, and 'Bound 4 Da Reload (Casualty)' by Oxide & Neutrino, to name a few).

In any case, the remix by Norwegian producer Good dish revitalises this track with some next level euphoria – not Balearic euphoria, but pogo-sticking, happy-happy euphoria. Listen.

Starting with the original, it's soon interrupted with dancehall-esque kicks and the original sounds are cut and looped into stuttering rhythm. And if there was ever a song to include those cheeky little bed-spring sounds, it's in this remix of a song about a guy trying to "romance" the girl next door. They feature heavily, as do a whole host of heavenly-triumphant snare rolls, which provide a sonic red carpet for the soft synth sounds and muted marimba chords that fit perfectly with Craig David's vocals. The end section marks a final 2-step to the finish; I picture people sneaking round their next-door neighbours' houses only to start dancing with them in their bedrooms, not creepin' for romance as was the original track's story.

Whew, I mean, it's just a heavily heavily addictive sound, one that is as delicious to the ears as pear-drops or unadon or I dunno pizza, burgers— basically, it's something mad tasty, but for your ears. Lol and I totally forgot this guy was called Good Dish: makes sense that his music is as nice as nice food, right?

Quite fittingly, the producer who's remixed this old classic is grounded in a particular style not all dissimilar to garage; not in that the genres themselves are similar, but more that Good Dish is part of Rytmeklubben ("Rhythm Club" in Norwegian) collective – a group of producers who produce a kind of footwork, to be extremely generalist about it. Garage has a specific sound; so too, kind of, does this breed of footwork. It could be a Norwegian phenomenon (songs are tagged #NorClub), one that seems (SEEMS) to have started with Cashmere Cat and which shows no sign of stopping – and I'm v glad about that.

THAT SAID: futuristic R&B-inflected juke-flavoured bass-simmering stuff like this is popping up everywhere. To say it's a particular country's speciality in this connected digital age is reductionist and a bit sensationalist, so I'm sorry about what I said. But I kind of still mean it lol. Either way, if this is NorClub then I need to get myself to a NorClub.

And, to make this even more of a treat, it's a motherflippin' free download.
Also fyi: this track was presented (onlinely released?) by Malmö-(Sweden)-based blog/digital label Discobelle & Raw Juice Records\, a Norwegian label & club-night-runners.

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⌾

Saturday, 26 April 2014

CARPAINTER – FROZEN SKY

As juke continues to take over the world like the pungent smell of a freshly opened can of peach halves (gotta love em) or anything else fresh 'n' packaged that has literally just been opened, we are being taken along with it like a carpet ride in aromatic clouds. I mean you can call it ghetto house or footwork or whatever, but it is what it is and what it is is a fresh sound.

I once heard DJ legend Annie Nightingale talking about how pop music is always inflected with a particular overriding rhythm of the time – what you could call a kind of zeitgeistical beat I guess, like house, hip hop, drum & bass, garage/2-step, dubstep: all have had, are still or currently having, their allotted influence on the sphere of widely known pop music and now it is certainly set to happen with juke. It's still an underground sound, but these things end up surfacing some time or another and well, it could well be happening soon. I wish I could find the direct Annie Nightingale quote, but... alas and alack it ain't nowhere.

So it is with this that I introduce the heady bassosity and rhythmic delirium of Tokyo's very own Carpainter and his track 'Frozen Sky'. Ironically, this quite hard dance song comes from a place where a no dancing law is strictly enforced – establishments must have licenses to allow this very simple act.

Ridiculous and weird, yet it hasn't stopped dance music producers making music to dance to. The Yokohama-based Carpainter, taking his name I guess from Mr. Carpainter, the leader of "the Happy Happyist" cult in the game EarthBound, mixes a ghetto house rhythm with the syncopated intricacy of garage, percussion urgent and insectoid, introducing frenetic bleeping melodies that play their craziness over whirling stabs of synth chords heavy on the phaser – at other times, the chords play continuously, icy and textured, before dropping into these footwork-flavoured moments where the snare seems to be battling the very air for space.

This clearly-made-for-dancing track comes from a recent compilation, Trekkie Trax Japan Vol. 1 – curated by TREKKIE TRAX, a Tokyo netlabel run by Futatsuki, Andrew/Eiji Ando, DJ Bank, Saba (aka MSTNG), and brothers Seimei & Taimei Kawai (Carpainter himself) – released & promoted via Top Billin – the guys who "discovered and introduced" Club Cheval to the rest of the world. Label boss Semiei had these words to say in the description of the compilation: "In all honesty, club scene in Japan is getting worse, we think, cause of the strict enforcement of the 'no dance law'. So the circumstances ironically motivate us to try to improve Japanese scene with our music." And by spreading it across the world, countries where no laws impede any footwork of any kind will open up to Japanese musicmakers, feel their awesomeness, and help bridge the (to many) daunting gap between West and East in the music world.

Go stream or EVEN purchase Trekkie Trax Japan Vol. 1 over here (click dis)

Like Carpainter on Facebook
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Check TREKKIE TRAX on SoundCloud

Tuesday, 1 April 2014

BROOKLYN83 – STORM IN A TEACUP + PRINCE OF TENNIS REMIX

You know sometimes you just gotta do something? Just gotta do it. Like, oh a piece of cheesecake just appeared in front of me, gotta eat it. Or, wow there's a £10 note on the floor, gotta pick it up. And in this instance, I just got sent this music and listened to it, gotta write about it! That's how it works. But FYI you shouldn't be as instantly self-gratifying like this when it comes to immoral stuff – please stay moral and loving and nice towards each other.

Anyway, this music appeared all the way from Prague, capital of the Czech Republic. It's just one song, one song by the mysterious Brooklyn83 (just this one song is on their SoundCloud, and they have like no followers, no links either), with a remix of that song by fellow Prague duo Prince of Tennis, their name obvs inspired by manga/anime The Prince of Tennis. The song is called 'Storm In A Teacup' after the fun idiom that basically means making a big deal over nothing (synonymous with tempest in a teapot, tempest in a teacup, storm in a cream bowl, tempest in a glass of water, storm in a wash-hand basin and storm in a glass of water, according to Wikipedia).

And it's that phrase precisely which refrains throughout the song, heavily vocodered with cybernetic aesthetics – a light sprinkling of vocals to season the track, tangled and bristling with shuffling shaking beats that sway between thudding kick and cracking snare in a perfect rendition of UK garage sensibilities, yet budding with the rhythmic addiction of footwork. Bass stays low and subby but there are moments where it's thrown out like a lasso to the higher ends of the spectrum and pulled back with kinetic whiplash effect. Weird and lush, it's happily surprising and shivery with sonic nuances that you can't help but eat up.

Prince of Tennis's remix is a much noisier affair, a sort of indie-dance-pop with steely and robust bass guitar driving the song in a fragmentary fashion; brash explosive electro drums make up the semi-brutal dancefloor-friendly beat; the refrain "Storm… in a teacup, in a teacup" is treated well alongside smart pulses of synthpop chord and heart-popping copter-like chops. Two surprises in one. Two very different songs. Both unique and affecting enough to get excited about. Check out their other stuff.

It's available for a free download if you like it CLICK RIGHT HERE or go to Prince of Tennis's SoundCloud (link below innit)

Listen to Brooklyn83 on SoundCloud

Listen to Prince of Tennis on SoundCloud
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Watch Prince of Tennis on YouTube

Monday, 24 March 2014

CASHMERE CAT – RICE RAIN

Hi it's Monday and urgh it's Monday but at least the sun's shining, at least the sky is pure blue, at least we're alive – here we are again. Another week. The cycle is a terrible one if you observe weekends, but perhaps I should stop observing weekends and then I wouldn't feel like I've just re-entered the Earth's atmosphere every damn Monday morning. Then every day could just be a nnormal day. But on the other hand wtf am I talking about?

Look, I heard this yesterday. Cashmere Cat – some of u reading this might already be like "whoa late to the party there yes/no where u been under a rock or some shit???" whereas others might be like "who's that" so I'm gonna side with the latter and just say whatever to the former. He's a producer from Norway whose real name is Magnus August Høiberg and he's basically a pretty big deal. Aside from that, check this song, the kinda latest one of his, taken from his Wedding Bells EP, released mid-Feb.

This type of music has undeniable appeal, it's overridden with happiness and sunny vibes – and I love that Cashmere Cat is already so popular, it's like a sigh of relief, because other types of what is essentially dance music are so much more serious and in-your-face and despite sounding as if they are made for a time and place are consistently blasted into your ears at all hours of the day by braindead radio stations.

On the other hand, 'Rice Rain' exudes the atmosphere of innocence and the fun of happy occasions in fluid instrumental surroundings; a regular dripping sound lends its inane glory to the track as it zooms into multiple drops, filled always with a tumbling cloud of percussion from 80s-style toms, trappish snares and claps and some metallic clacking too. Vox works its melody alongside cutesy synth and pizzicato strings, an officious yet carefree flight-of-fancy sound against the cleanly juke-flavoured backdrop.

And that's 'Rice Rain' I guess, I dunno if Wedding Bells is a concept EP or something but rice rain, well, you throw rice (at the couple?) after the actual marriage in a church don't u? It's out now on supernice Glasgow-based label LuckyMe, anyway (go here to see all places u can get it clickety-click). Do yourself a favour and listen to Cashmere Cat today, a lot of it.

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Wednesday, 19 March 2014

LAZY INTERVIEW #23: HARRISON

← #22: VULKANO #24: BO EN →

In any creative vocation there is usually a trade-off between quality and quantity. I say USUALLY because it's only the usual thing; sometimes you get both at the same time, but often you make a LOT of stuff of wildly varying quality or you make REALLY GOOD stuff, just not very much of it. Harrison seems to be one of the rare few who has to make absolutely no trade-off whatsoever. He makes a lot of music at a consistent level of (very good) quality. From edits, remixes ('Zelda Menu', anyone?) and future funk joints dripping with obscure samples, to more recent stuff that is almost wholly "original", Harrison's back catalogue already bulges with greatness.

Particularly interesting is his very recent 'Connect ✿' series, in which Harrison tries to portray the thoughts and feelings of his female friends based on conversations with them. Not only is the concept itself unique and rather sweet, but the nature and styles of sound that Harrison can explore here goes beyond the boundaries of his inaugural sounds: compare the already-classic 'Sunshine The Street Cat' with the most recent Connect, 'Charlotte', and you'll see what I mean. A summer-flavoured soulful funk mirage, and a pattering juke track with Rainbow Road flights of fancy. Totally different.

Happily! The clearly quite busy Harrison was happy to delve into a Lazy Interview exclusively for YES/NO. Actually, forget that, not exclusively, cause, well, I just asked him. That was all. EXCLUSIVE is in its meaning and its origins an ugly word. Read up.

Who are you? Where are you from? What do you do?
My name's Harrison based out of Toronto and I'm a producer or instrumentalist.

Why did you decide to start creating music?
I was super bored and was going through a "rough" time in my life. It really actually started out as a joke with a few friends and I didn't want to stop. Boar M'londe showed me how to use Reason and we actually started out as a group (HMPF). We didn't break up or anything we just didn't make music at the same time because one of us would be gaming while the other one was on his computer.

How would you describe your sound? What makes you and your style stand out?
I honestly can't answer that because I don't know. I haven't found it yet which is starting to piss me off.

Is there a perfect time and place for listening to your music?
Depends on the album. When it Rains was made for the Fall and Prom King was made for the spring. Anything in between I really just made so people would dance and stuff.

What inspires you most when writing a song?
Females.

What is your most memorable musical experience?
My first show. It was at a tea shop that my friend's brother owned. She started this event called "wholehearted" which essentially brought artists together in the least non-pretentious way. I just remember my hands shaking so heavily and shit. The girl I was into showed up with a guy and I drank too much and all this shit. After it happened, I don't shake anymore.

What are your favourite three songs at the moment?

Forever by Chris Malinchak
Loving Free by Spazzkid
California Soul by Marlana Shaw

Who do you most admire in the music world?
Definitely people who aren't giving up on the old school. The people who don't need to express their music through words and the people who aren't afraid to make happy sounding music. Onra basically.

In your opinion, what is the future of music?
My opinion is really strong on that. I can't answer that without sounding like a dick so I won't.

What's the future of your music - what do you hope to do next?
I don't know. Going to release an EP and an edit tape hopefully. I hope my "following" is open minded though. I'd really like it to be my best one yet.

What, aside from music, is most important to you?
Females.

So it's clear that Harrison likes females. An inspiration, a great importance in his life, and literally the basis of some of his newest, most different tracks, it's nice to hear an honest love appearing – for whatever reason, Harrison and females just go, like peanut butter and jam (jelly whatever). It's clear to see in his 'Connect ✿' series, how he reflects the mind-numbing boredom of a girl daydreaming at school, thinking of better things to do, the lack of direction, the somehow sunny and vague sense of worry. Even without lyrics, Harrison makes his music deliciously human, connective and energetic and at all times hopeful.

Feeling as he is "pissed off" at not finding a definitive style, well, if I may speak for a wider group of listeners, it's fine. In fact, the variety is great. We dip in here, we dip in there, we are never bored with your sound. I mean, perhaps this reflects an overstimulated generation, of which I am also a part, one that is indecisive, unsure – but why can this not be a good thing? Why can this not be a thing in itself? It might be the case that Harrison's style is one of fluid mutability, underpinned by a continual search for a "defining sound" – no exhaustive goal but the variegated journey itself – and if it is so then let it be: people clearly love him for it.

← #22: VULKANO #24: BO EN →

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Tuesday, 18 March 2014

YES/NO GUEST MIX 011 :: MELTY

Last week I fell in love with this song. Maybe I fell in lust with it. Maybe I just really liked it. Whichever it was, I wrote about it. It was called 'Destiny' and it was by a new artist called MELTY. Melty. I can imagine only cheese on toast, only croque monsieurs and madames, only dripping nacho gloop, only pizza-topping aching stretch.

Anyway… MELTY was kind enough to create a wonderful guest mix for me and, well, it's a celebration of bass and darkness and attitude and I think you'll like it.

A particular and nice surprise: Nestled between the overdistorted bass of Exhalted.'s 'VAPOURGRAVE 2001' and its creepy lo-fi vocal sample "There's no such thing as miracles…" ("…Or the supernatural, only cutting-edge technology" – sampling the speech of Revolver Ocelot from Metal Gear Solid 2), and the apocalyptic ghetto house track 'Bass rattle stars out the sky' (it's all in the name), is an exclusive from MELTY. Called 'Untitled' for the moment, it flutters with golden vocal samples against a bruised background of bass before pulsing with electrified waves of synth, lapping gloriously against your ears as the beat skitters addictively onward.

It ends with an explosive remix of 2PAC's 'Fuck Em All' by fellow Sydney-dweller, IMCHILD, which glides effortlessly into the shadowy creep of 'Get Yah Head Bust' by SpaceGhostPurrp. All in all, a mix that stuffs the trappish underground quakes of footwork, ghetto house (WHATEVER), into your ears like kilos of cheese into a bulging panino.

T R A C K L I S T :

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Friday, 14 March 2014

SPF420 @ SXSW

On Tuesday night I went to this really cool gig. It was like, 5 hours long and I loved pretty much every minute. But I wasn't hungover this morning, I'd spent no money and, in fact, I didn't even "go" in the physical sense. It was entirely URL. This was online venue SPF420's SXSW show, and the first that brought its founders and some of its longtime components together IRL, resulting in a joyous togetherness that reeked of chatroom frivolities and community spirit. Welcome to the New Generation of music.

I mentioned these guys before, introducing them in a piece I wrote for Dummy Magazine in which post-vaporwave heartthrob Saint Pepsi and SPF420 co-founder Liz lent their thoughts on the movement that they had pioneered; one that resembled a grassroots, local scene, but was totally global, wholly online. The SXSW show – a house party somewhere in Austin – marked a huge stride forward for them. Just being there, having a presence that included sponsorship from Sailor Jerry's and Crap Eyewear, seemed big but— that's not the point. The point, well, the point can be summed up in a pre-SXSW tweet earlier this month from SPF420 co-founder, Chaz Allen (who's also made music under the monikers Metallic Ghosts and DJ Sugar C):

We don't want to be celebrity we don't want to be viral we want 2 hang out and share music
— CHAZZZY (@chazzzy420) 7 Mars 2014

The overriding feeling here was one of excitement, physically meeting each other for the first time, digital love translating into actual gestures: hugs, conversation, getting drunk together. Having fun and sharing music; doing the URL thing IRL. And there I sat, eating peanuts and drinking tea, soaking up this atmosphere via a YouTube stream. This was pulled shortly into the festivities thanks to, we supposed, corporate copyright butthurt (it was confirmed thx to screenshot below), so SPF420 broadcast from its steadfast Tinychat HQ. The chatroom, crucial to the whole thing from day one, was missing from the start but fate brought it into frenzied life.

The lineup was glorious: Tony Hawk Pro DJ, Bear//Face, Giraffage, Wave Racer, Beat Culture, Saint Pepsi, Ryan Hemsworth, Spazzkid, Anamanaguchi, Deebs, Different Sleep. The stream was wonderfully DIY-quality – audio and video – the set a makeshift desk and window curtained with the American flag. It was peppered with the increasingly inebriated hosts and guests at the event; Chaz and Liz shared the announcer responsibilities, screaming later on their thanks to the sponsors, their love to all watching, enjoining everyone to chant '420!' – those there shouted; we typed. A tribute to weed, music and friendship.

The chat buzzed with banterous furore the whole time, sometimes nonsensical, often hilarious, but always loving what it was hearing. Any sense of celebrity ebbed away, the chat graced at points by some of the lineup, Saint Pepsi saying hi, Ryan Hemsworth (who'd tweeted prior to the event that he was cleaning dog shit off the kitchen floor in the house at which the party was being held) popping in, Liz garbling intoxicated love to everybody. Others tuned in, too: producer and Zoom/Lens founder Meishi Smile dropped by, as well as George Clanton of Mirror Kisses, blog 1833, Claudio Gallo – the man behind Bad Panda Records, Tom Doyle (musicmaker, sometime SPF420 poster-designer, and moderator of the chat), and many others I'm sure, who either didn't talk or whom I missed in the general mad scrolling of the whole thing. Everybody was equal.

just cleaned dog shit off the kitchen floors of @SPF420INC house party #TU
— Ry Dolla $ign (@ryanhemsworth) 11 Mars 2014

Awesomely evident was the staggering variety on offer here – trap transitioned into house into happy hardcore into J-pop into juke into 90s-pop into chiptune into drum n bass. All the while, track IDs were demanded, Spazzkid's beat improvisation techniques admired and discussed, Ryan Hemsworth dropping a remix of the Super Mario 64 menu screen music made everyone go crazy; we guessed the animé OSTs being sampled, fell for Anamanaguchi's relentless bleepery, and dismissed or soap-boxed the apparent similarities of Wave Racer and Rustie; Bear//Face's t-shirt got a mention, Tony Hawk Pro DJ [below] did the 900 (skate helmet on because safety first), Saint Pepsi rapped with Chaz. The evening, afternoon, night, early morning – whatever – rang with entertainment and internet fun for a global audience. The future.

Some might think disparagingly, "Is this not like Boiler Room?" Well, it is. Of course it is. However, as Liz explained to me a while ago in an interview on Kuala Lumpur-based GUMBALL magazine, "there are people before/during and after SPF420 that will be doing live internet performance art. Basically what I'm saying is, SPF420 should be one of the many 'channels' we turn to for internet entertainment." The most connected nation on earth, South Korea, watches most of its TV on one of four million internet channels; when the digital divide begins to close in other nations, this is where we'll be.

It's not the existence of SPF420 in itself that pushes things forward, but the existence of SPF420 in the context of today that helps us to realise the opportunities present in furthering the world of music and live performances. Tuesday's albeit deep web, punk-spirited stream didn't mark a superficial step forward for one particular entity, but the fledging of how music will eventually come to be experienced, an inspiration for others to follow suit.

For some I dunno background fun or whatever check out Japanese site HiHiWhoopee's list of SPF420 affiliate's favourite music of 2013. Just cause.

Credit to

Aaron Jennings for the Tony Hawk Pro DJ screenshot
Harrison Bennett for the YouTube copyright screenshot
Whtebkgrnd made the the cool flyer (portion of which at top)

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Monday, 10 March 2014

MELTY – DESTINY

Bass bass and more bass. Bass so big it transfuses all your body's vital fluids with rollicking sound waves, rumbles you off your seat, trips you over, gets you dancing on the floor like The Simpsons during an episode of Battling Seizure Robots, twirling like a Beyblade 'neath the Boogieman's sun-obscuring discoball. Gloriously greasy bass drip-dripping in chunky droplets— hey! That's enough; stop!

Bassically, I speak this way because I've been debauched by the bass in Melty's fresh-fresh track 'Destiny'. From ??? (SYDNEY), Australia, its this guy's only upload on SoundCloud, a tantalising morsel that gets your ears salivating and literally starving for more. So yeah there's bass as well but but but there's more as well. There's atmosphere and energy and a footwork-flavoured beat that scream to be listened to, jostle to possess you, to guide you into the magic circle of the dancefloor and, well you know speaking in tongues? That's what it wants to do, but to your legs 'n' arms.

It's four minutes of fun. Adopting the ever more widely heard and widely practiced yet cultish and shamelessly addictive rhythm of juke/ghetto house/footwork (what's the frikkin difference, what the hell let's call it jukework house) rhythm, it drops into gloopsome tar pits of sub-bass pitted with a sparse hail of snare, flocks of vocal sample swimming through the air in skittish mayhem. Yet despite this seeming craziness it's minimalist, dropping into real melody only in its central break in bass, where high ringing distorted synth glistens in raindrop sequence – contrast this with the end, where the song explodes in crashing syncopated beats for a brutal finale. Not to mention the haunting low-vox sample of "Destinyyy..." (from the John Talabot/Pional song also called 'Destiny'?) breathing out like a mix at both ends of this immense track.

Give us more Melty, give us more! I love the name too. Melty. It is innocuous, hiding behind the cutesy moniker a swirling swathe of phantoms, bass-hungry demons and a void of nothing that only attracts the largest of sounds. Let's hope there's something soon before we all go insane.

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Friday, 7 March 2014

BOYS GET HURT – S P L A S H

Unexpectedly! And with incredible aplomb, Tokyo producer Boys Get Hurt, aka Yuki Abe, graces the internet with a new song that moves far, far away from his usual domain of emotional, romantic house music, entering that ever so addictive and on-trend sound that is juke (or footwork, or ghetto house). It's not something I thought would happen, but then again: Why stick to one genre? Or, with less focus on bloody-bloody genre— Why stick to one type of sound? Explore! Go! Create! Enjoy the mountain of sounds that lived before you! Be inspired! Never get stuck!

Anyway, last time we heard from Yukiさん he'd created a song called 'Elegance', an indie-discotèchque classic that dripped with temporary nocturnal romance. It could be, in some degree of likelihood, the last BGH track that will follow this endless summer theme of disco-house that he has pursued with gusto since I first stumbled across his music at the start of last summer. Maybe it won't be, maybe this is just a blip, an anomaly, but either way his latest offering 's p l a s h' is lovely.

Still infected with the warm, nostalgia-summoning synth chords that softened the relentless beat of his house-flavoured offerings, this new track instead jiggles with the foot-tapping brain-candy of juke. Featuring as a recurring sound, the eponymous 'splash' is more a drop of water that bwips no less than six times in as many dynamic cuts in the bounce of the rhythm. The song winds itself up, an automaton of the upbeat, the sweet, as hi-hats rattle-rage and snares roll virtuosic for maximum impact. Thin yet triumphal synth leads ring out with glistening sun-glint intensity, the soft chords get chopped syncopatedly, all in a sharp convocation of the beachside fun and dancefloor-matic atmosphere that endeared the music of Boys Get Hurt to its listeners in the first place.

So whether this colourful beachstep marks a permanent change or not remains to be seen, but whatever the weather you're guaranteed – as always – a free download of the song from this fun-loving Tokyo DJ. Also, if you want a little more insight into the world of Yuki Abe, please check out this Lazy Interview (a Q&A) he did with yours truly for YES/NO.

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Saturday, 1 March 2014

KA-YU – UNXSUAL

Ah wow, so yeah, hmm…! This is nice. This is really nice. And if you're getting tired of my continual surprise at finding incredible stuff that I never knew existed, then maybe you should get some childlike wonder of your own and stop being such an "adult" – woo look at you, all cynical and that, must feel pretty growned-up! You must get regular haircuts too! (The collective "you", no-one in particular).

That aside, this track 'UNXSUAL' really is nice. It's from a producer called KA-YU, who is a Moluccan (islands in Indonesia) / Dutch guy from a little place in the Netherlands called Oosterwolde. Real name Woody Latuheru, he's done something that I've always wondered about: remixed his own track. Yep, he's only gone and done it. And not only that, the original track – called 'Temptations' – is essentially a remix itself, heavily sampling the rich harmonies from Beyoncé's 'Rather Die Young'. It's a remix within a remix, a film within a film, a dream within a dream, and whilst not as confusing as that last one, it sure is as mesmerising.

Exploding in your ears, it's an instant hit, a total dopamine-engager, cradling your heart in its arms as it gets down and gets moving, your spirit inextricably linked in the very moment of now. Vocal cuts like orchestra hits blast out above the clacking roll-sway of a juke-flavoured beat, rumbling drone sub-bass gripping you in its apocalyptic frequency all the way. A gun fires three quarters through. "Oh my god" says a voice; "Aww, shit!" says another. This song knows its own immensity and it brims, pulses with confidence.

Well uh that was that. Happy? I am. And I'm also definitely looking forward to hearing more from KA-YU, which will be in the near future. Recently joining the Art In Melodies family/collective alongside four other musicmakers in the Netherlands, a new EP is currently in the works – check out this snippet of a very intergalactic-sounding remix of Brandy's 'I Wanna Be Down' taken from that upcoming release.

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Thursday, 27 February 2014

SEMAINE MUSIQUE #2

Encore une autre semaine se glisse dans le passé; encore un autre article en français. Si tu ne sais pas de quoi je parle, écoute – je suis anglais, j'écris sur de la nouvelle musique une fois par semaine en français, je lutte. Ça me fatigue.

Mais la bonté de mon coeur me persuade d'écrire plus en plus en plus en français, en anglais, en n'importe-quoi-ais, afin de partager la musique avec de plus en plus en plus des gens dans le monde. Quel noblesse! Tu penses pas? Bof, alors, lis ce que j'ai écrit, écoute la musique que j'ai trouvée, passe un bon mais bref moment. À plus.

YES/NO Guest Mix 007 :: BLUFRANK's Driving Alone Mix
Le septième guest mix pour YES/NO, celui-ci vient d'un producteur BLURFRANK du Caire. Il s'appel «Driving Alone» (français: «conduire seul») Mix, qui montre ses influences musicales, allant de super ultime chillwave de Toro Y Moi, à la danse lisse du millénaire (c'est-à-dire, Moloko). Les deux sons habitent dans ce morceau de BLUFRANK, où il mélange des cordes chaleureuses et une ambiance hallucinante avec un rythme dure et une tendance pour danser. Sa chanson «TR-808 & A Babe» est un bon exemple.

Lindsay Lowend – Basement Dweller Overture
Mon dieu! Merde! Cette chanson est géante, sérieux – son créateur est un génie (toutes ses chansons sont incroyables) appelé Lindsay Lowend. Pas «Lohan» – LOWEND. Tu le connais? Si oui, bon, si non, c'est bon aussi, parce que maintenant tu va le rencontrer et sa musique. Dans «Basement Dweller Overture» (français: sous-sol-habitant ouverture) Lindsay Lowend, nom et prénom Antonio Mendez, évoque l'ambiance des jeux-vidéo sans leurs images pour créer une atmosphère imaginative et aventureuse. Presque en trois mouvements symphoniques, le morceau progresse de l'electro qui suinte avec le dubstep lourd et sa basse dodue, puis une rafale de piano frais, finissant avec electro-funk glitch-chargé. Les sons de Lindsay Lowend sont trop délicieux, introduisant le style urbain (hip hop, juke, dubstep, etc.) à la geekerie de la musique jeux-vidéo. Je l'adore.

SUNSET – Ava
Pour une fois, je suis en train de parler de musique française. Enfin. SUNSET est un duo qui vient de Paris: l'artiste Raphaël Siboni, et Franck Rivoire (mieux connu comme producteur/DJ, Danger). Dans leur nouveau morceau le cerveau est déchiqueté par les synthés épais, pendant qu'une voix ferme parle lentement sur quelqu'un qui est née sur la piste de danse, si c'est métaphorique ou non – c'est à toi de voir. Alors avec des paroles cryptiques et des synthés qui cassent les oreilles, le son deformé coupe avec précision bien produit, je suis sûr que SUNSET va gagner certains fans cette année.

Onra – Gonna Make You Mine
Maintenant un autre parisien: c'est Onra. Si t'es français tu dois connaître Onra: c'est logique, non? Si non, découvre Onra – c'est un beatmaker né en Allemagne, qui a habité entre la France et la Côte d'Ivoire depuis l'âge de 3 ans, mais il a habité depuis 2000 à Paris. Euh, maintenant il a crée pour la compilation Saint Valentin de Colette (appelé «French Kisses»), la chanson funky «Gonna Make You Mine». Pas exactement le hip hop traditionnel – et plus comme la «future funk» adoptée par vaporwave – c'est plein de guitares punks éclatantes et la basse pulsative et renflée, avec des samples vocaux expressifs et des melodies synthés rosées luisantes. C'est parfait pour la Saint Valentin: doux, lisse, savoureux.

Aux Jennings – Need Me
Le rap canadien. Et alors? Euh, ben, c'est le rap canadien. Et ce rap notamment – de producteur/MC Aux Jennings – c'est cool, très cool, et il semble d'origine. Avec le hi-hat ombrageux cliquetant et la sub-bass de la grosse caisse lente, le rythme se balance, du lourd, pendant que des cordes synthés simplistes flottent dans l'air répercutant. C'est la perspective nouvelle, avec de la musique totalement pleine d'entrain. Tu peux télécharger gratuitement ce morceau, et aussi le nouvel album «MuckAFolly».

House Of Tapes – Last Words
Viens d'un nouvel EP, qui s'appel «Last Words» aussi, j'aime bien ce morceau par le japonais House Of Tapes. Ce n'est pas pour le club, c'est pour nul part en fait, en partie parce que ce n'est pas crée à cet effet, mais aussi car c'est bizarre. Ouais, c'est bizarre. Il a un son foncé mais affirmatif, évitant du genre et à la place examinant les sons pour la création d'une atmosphère pseudo-cauchemardesque d'un autre monde. Tout les sons répercutent, comme des bruits dans une caverne secrète; les guitares font cliquetis, avec leurs cordes conjurant le coucher de soleil. Alors, enfin, c'est expérimental, débordant de facticité fantomatique.

Ben c'est ça, ok? L'écrivant en français est de plus facile, mais encore ce n'est pas parfait ni correcte, probablement. Lis-toi ici la prochaine semaine pour quelques choses nouvelles écrit par moi. Et merci encore pour l'assistance de Nicolas Barrois. Vive YES/NO. Ciao.