Showing posts with label pretty. Show all posts
Showing posts with label pretty. Show all posts

Tuesday, 21 October 2014

MUS.HIBA – SLOW SNOW

Never before has a song sounded so much like its title. Well maybe it has but anyway… This is 'Slow Snow' by mus.hiba and yes, it basically sounds like slow snow. It is a delicate and gentle song, artfully spanning the four minutes of its existence with a snowscape of sound, a soundscape of snow; it falls from the evening sky in slo-mo spirals, highlighted in streetlights that grace the already fallen layer of snow on the ground – no one is around in the frozen streets. It sure does paint a picture.

The track is all set to a slow and carefully considered beat that summons the laid-back style of southern hip hop and trap, giving substance to the hugely expansive synths that satisfyingly dip in volume with each heartbeat kick. Dancing with these synth chords are piano melodies and clusters of gravity-defying glockenspiel, chiming evermore towards the end of the track.

On vocals it features not an actual person but one of the voices or even personalities taken from voicebank freeware UTAU, called Yufu Sekka, the gentle sounds of whom whisper like breezes in the synthetic snow-swirls of mus.hiba's production. Using this hyperreal technique, mus.hiba has created an entire album of music centred around themes of snow and winter, "to express the fragility of a two-dimensional character singing." I very much like this idea. Top marks.

  • The album is called White Girl, it is scheduled for release 10th December (suitably wintry) on the Japanese Noble Label and it will be very, very beautiful if 'Slow Snow' is anything to go by. Go buy it here.
  • Also check out the fragmented prettiness and gradual intensity of the other song released from the album so far, 'Moonlight'
  • Fun fact: Yufu Sekka = Yufu, ユフ, inverse of fuyu (winter); Sekka, 雪歌 ("Snow Song") – so there you go.



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Monday, 30 December 2013

TOKOMA NONKA RAINY APARTMENT

Ho ho ho! Merry Christmas! Actually, that's all over and done with now isn't it? I guess it is. But, if you were thinking in terms of the "12 Days of Christmas" then it's actually not over till 12 days after Christmas. I think we do it the other way round now. Christmas starts mid-November and finishes on Boxing Day, at least it does here in the UK. I kinda wish it did stick around for 12 days afterwards. Maybe it does. But anyway, we have New Year's Eve to look forward to now. But how are we going to look sexy in our spangly new outfits with the sudden weight that's come from the insane food gorging over the last few days? I don't know.

Anyway, I thought I'd post something today. Just because, well, it's been too long. It's been over a week since I posted something. It's felt like forever, though. So maybe I just miss it. You know what? I probably do. But I— eugh. Who cares! It's the New Year soon! So here is something pretty and reflective just for you that I hope will make you sit there and have a nice little introspective moment about 2013. It's by a Japanese guy called Tokoma Nonka who is part of the electronic group Leaseka, describing themselves as "dreamy / darkness / deep sea / cosmic / fantasy" – a lovely mix.

Now, I'm not sure if this song is supposed to be called 'Rainy Apartment' or '101102201202' – as it says on SoundCloud – but I'm gonna go for the former because, well, it sounds better. So if it's not the real name, I'm sorry.

Featuring as its eternal backdrop, the sound of an evening (I assume) downpour of rain, the song reflects the icy and sometimes isolating atmosphere of this sort of precipitation with all of its elements; yep, from the synth lead parts, which drip with glassy percussion and that also sound a little like the beautiful melody from Ryuichi Sakamoto's 'Merry Christmas, Mr. Lawrence', to the beat itself – whose snares are like pinging missiles of rain into deep plopping puddles – it's the very embodiment of an actual rainy apartment. Glowing sounds ache from one emanating note to another behind the plinking melody and distorted vocal samples mix with shuddering noises and ambient grumbles to form a decorative representation of the rain's distorted barrier to the outside world; everything is grey and piled with the grainy footage of rain.

It's a simplistic concept that has a lot of sounds at work at the same time, taking you off and away from where you're sitting to a cosmic, fantasy world where everything is seemingly the same yet slightly changed. I would actually love to listen to this whilst watching the rain – I think it would be the perfect soundtrack. There is also a remix of this by Tom Bombadil, which features heavier drums that you should check out as well.



Listen to Tokoma Nonka on SoundCloud
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Friday, 22 November 2013

SHELF NUNNY & ERIKO TOYODA ABOUT THE BOY

What's in a name? Sometimes quite a lot. Sometimes literally nothing. Sometimes a little in-between these two things, when there's a spot of retroactive continuity going into explanations of names and stuff. But something like Shelf Nunny... I'm not sure. Say it out loud. Shelf Nunny. It's a fine name, a strong name. I'm not sure if it's supposed to be rude or if it isn't and— actually, I shouldn't get held up on this. It's a name and that's that.

So anyway, Shelf Nunny - real name Christian Gunning - is a producer from Santa Cruz, California, and he makes richly intricate glitchy beats. He's part of a collective called Sleepy Beach, who released his Dream Album EP earlier this year. It's nice to belong to a collective. I mean, a) there's a sense of belonging, which is pretty invaluable if you ask me and b) there's a shared sense of inspiration and each other's success.

This time, Shelf Nunny has teamed up with singer and trackmaker Eriko Toyoda for a seemingly long-ish-term collaboration. The second of their tracks together is called 'About The Boy' and it sounds a little something like this... (you have to press play).

From delicate beginnings - Shelf Nunny providing insectoid sampling of string pluckings and Eriko offering up the beautiful layered mist of her voice - the track enters, by way of snare patterns, into an increasingly busy and intricate world of sound. The percussion is wonderfully alive and dynamic: kicks thud like heartbeats, the snare hits crash like a crystal ball dropping into a box of wooden beads, woodblock ticks count time. Low synths accompany the glitching that characterises the song. But everything changes at around 1:45. A saw-wave bassline cuts in from nowhere, making wild runs beneath the ever heavenward vocals of Eriko, ushering in hi-hat rolls and winding toy percussion noises to join in, too.

By the end, we're left with a lonely beach of sounds. A glitchy crackling of samples gradually muffles and disappears under the weight of the organ melody, which coos and croons plaintively until they too fade out into nothing. It's an intensely pretty song, combining dynamic elements to present an out-of-body-experience of a song, with Eriko's distinctive voice guiding your spirit through the general background radiation of the unphysical world, its dripping percussive noises and quaint, quirky musical twists and turns in the form of Shelf Nunny's mastery of sound. The track teeters on the border between outright experimental glitch beatsmithing and leftfield pop loveliness and who needs it to fall either side? It is what it is: a really nice song.



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