Showing posts with label night. Show all posts
Showing posts with label night. Show all posts

Monday, 29 June 2020

🐣 INDIGOS PARADISE — UNDERGROUND

⌾ LISTEN TO INDIGOS PARADISE, UNDERGROUND ⌾

The ambience of a city — the apartment blocks with glowing windows, the brake lights flashing in the rain, the parades of people on the pavement, umbrellas, dog-walkers, stairs down to metro stations, neon eateries — is at the heart of the imagery conjured by 'Underground' by Boston-based indigos paradise.

On a blurred, watery backdrop acting as a melodic palette where all the fatigue that glittering city life can have is mixed, the producer adds snappy handclaps and sharp hi-hats for the the inescapable regularity of it all: the rectangular buildings, the traffic lights, the endless grids.

"How I see my hometown, with big buildings through the skyline, brings out different visuals and imagery I put towards my music," says indigos paradise via email. "Let's say that you are walking down a path, and it's good warm day to go for a walk. You hear this elegant track when you click to the play that gathers the whole surroundings around you. The wind starts breezing through your scalp and goes down to your neck while hearing it.

"I kinda picture my music as the 22nd century."

Adding to the beat and the all-encompassing shades of the synth whirling like a deluge, staccato synths hop smartly throughout for a bustling atmosphere, as if, now that you have the city, here is the life — the people — to jostle around it, here are their silhouettes and footsteps. Nocturnal and doused with faded uptown glamour, 'Underground' is the malls and walkways of yesteryear, still just half-empty with promise.



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Monday, 4 September 2017

🐣 DAISILY — JEFF'S BEAT / SQUIRTLES DON'T DROWN

The emotive nature of this charged with nostalgia with the crackle of many moons past with the delights of some place some time that you reach for fingers outstretched and straining the odyssey of memory a fog in the mind slowly curling and crowding and fingertips glazed with yearning aim yesteryearly seeking for that one thing which is a something composite of many things this nebula of fond experience. It is beatmaker daisily's utilisation of this piano sample that so washes the track in gallons of organic ancestral yearning, a dusty tract of high-pitched keys that call out coldly chiming into a night that does not seem to be listening, or that listens a silently weeps knowing it can do nothing to ease the distress.

Wow. And that piano comes lifted, the musicmaker tells us via email, from an episode of the Pokémon anime called Pikachu's Goodbye: "it is pretty emotional if i say so myself." Light organs accompany the twinkling keys in the nicely named 'jeff's beat / squirtles don't drown' (it's true—they don't), now warped as if distorted through bleary tear-filled eyes, now fluttering like panicked heartbeats, providing soulful ambience on the backdrop of a crackling nocturnal canopy of sound, insectoid and chirruping, itself reminiscent of summer days, specifically summer nights, humid endless. The beat is persistent, the rapid double-tap thud of the kick, the full-bodied clack of the snare.


  • 🔔 This nostalgic track is taken from LESS FEEL I, the beat tape by daisily, which you can download from Bandcamp. It's dedicated, says he, "to the progenitors of my friends, they inspired this by n' large".


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Wednesday, 30 September 2015

MINCHA – BEING WITH YOU

What first struck me about this track is its delicious noises – the sumptuous tongue-twizzling ear-tickling sounds at the upper end of the spectrum trickling and bouncing, eye-poppingly alive and full of the essence of found sounds: actual real world sounds put into music.

What is it? It's called 'Being With You' and it's by Mincha a musicmaker from Bordeaux, France. Aside from the noises I mentioned above – the subversive opulence of broken glass, running or maybe even boiling water, a crunchy noise that sounds like someone taking a huge bite out of an apple, little insectoid metallic noises, sharp ticking hi-hats – it is propelled forward by a broken garage-flavoured rhythm, offbeat thudding kicks working alongside syncopated cleanly clacking snare hits, supported by the constant cascade of percussion, resulting in a highly kinetic vibe.

On top of this shuffling beat we alternate between icy, atmospheric feeling – with cymbals shimmering silver into the void, slivers of synth providing cold singular hits, gentle phasing sounds, soft muted bloops, the occasional smart jazzy flourish of double-bass, unintelligible vocal samples echoing in the freezing expansive frame of the track – and something more intense, with just-as-icy synths skirling with slow trance flavour, piercing the cloudy atmosphere with angular sides

The whole thing ending with rich piano to round off what has been a voyage into a cosmos of unknown twinkling objects, an outpost of cleansing energy in cold, dark space; a tale of deeply nocturnal dance music, highlighting the unknown echoes of the night and thoughtful introspection with a collision of styles and an impressive inventory of imaginative ornamentation.




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Monday, 21 September 2015

IN THE BLUE SHIRT – IN AND OUT

Sampling. Love it or hate it, morally and ethically against it or freespiritedly laissez-faire about it all, when it's done well it's as impressive as any outstanding virtuoso performance on any other pre-existing instrument. So there.

As such, it's fitting to introduce In the blue shirt, a musicmaker and sampling-er of supra-decent proportions who is from Kyoto, Japan. Real name Ryo Arimura, this producer is certainly a big deal, or at least that's what I can gather from listening to his recent track 'in and out' over and over again, gluing it to my ears, injecting it into my brain like a syringeful of dance-inducing nanites. ha ha.

I'm currently listening to it in a semi-busy café and this is the kind of atmosphere that 'in and out' not only fits but also exudes itself; the rapid-fire sliced 'n' diced samples – featuring everything from chopped up wibbling vocals and what sounds like dialogue from an anime, to snippets of guitar and string strains in a jostling mélange of sound, creates the feeling of hubbub, the merging voices of a crowd, cut up chatter chatter chitter chatter.

But you add to this ruckus of samples a groovesome bassline, deep and rounded, plus an uptempo unrelenting kick 'n' snappy disco hi-hat combo, jangling percussion for garage-esque syncopation and you get a rainy-night-in-the-city (brake lights glowing, neon signs twinkling, buildings inching like columns of stars in the half-darkness) vibe. Flashing retro dancefloors live in the essence of this dynamic song, moving through different sample clusters and beat patterns – most obviously at the 2:25 mark, sweet pastel-coloured alcohol, sleek dressed chirruping feel-good crowds two-stepping all the way home with this track lodged in their hearts.




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Monday, 22 December 2014

CELADON CITY – EVERY NIGHT

To be totally honest with you I was first attracted to Celadon City because of the name. Any Pokémon fan will tell you that Celadon City is the 'big' city in the Gen 1 games (Pokémon Red/Blue – plus later gens set in the same area), the big apple of Kanto, which has skyscrapers, a mall and a casino. A pretty happening place.

If you know all this already, I hope you didn't mind me saying it. If you didn't, go play a Pokémon game or like, go read about it on Bulbapedia.

With all that said I'd like to introduce Celadon City. Well, not really "introduce" because he's not here or anything. Rather, I'd like to introduce a new song of his called 'Every Night'.

In keeping with the VGM theme we started on, it kind of sounds a little bit like something that could soundtrack the gentle, sleepy atmosphere of night in Animal Crossing – at least at the beginning; soft guitar arpeggios and delicate piano twinkles ripple alongside nocturnal breezes and sampled insectoid chirruping.

But then there are claps, percussive ticking sounds, ghostly javelins of icy synth, muted strings, a more robust exploration of those piano sounds growing richer and more fulsome. And towards the end, after a tease of a beat, it arrives with crashing intensity, cymbals exploding like fireworks and frenetic clockwork hi-hats taking up the higher end of a swaying beat, an ear-satisfying crescendo of sound.



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