WATARU SATO — FADING SPACES

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Taking cues from Nils Frahm and Ólafur Arnalds — and studying under Lubomyr Melnyk — ‘Fading Spaces’ by pianist Wataru Sato is inextricably gentle. It begins with meandering touches of the keys, the spaces between poised like unformed thoughts, before a voidsome chasm opens up into the heroic ostinato at the heart of ‘Fading Spaces’.

This spiralling melody is the form to the track’s introductory formlessness, and is marvellous in its ambivalence — it reaches to optimism, but remains a hair’s breadth from it, almost descends to despair, but lifts off before it falters. There are options here, different pathways as if nothing is finite.

With an exploratory volta in the middle that sees bright variations tumble out from Sato’s fingers, a fervent flash of possibility, the piece purposefully, heavily returns to where it began, a vista of decisions ahead.

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• 🔔 ‘Fading Spaces’ is taken from Sato’s Spaces EP, out now on fledging label 1magine (part of the Disk Union family). You may purchase and/or stream it from a variety of places.

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GRALITSA — MORNING BUSTLE IN THE HOUSE OF INTELLIGENT PEOPLE

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What a wonderful noise this is. It’s a frenetic collection of objects thrown together, a series of chaotic collisions, unidentifiable percussion and cartoonish sound effects, that gives Gralitsa’s track its spark. Titled ‘Morning Bustle In The House Of Intelligent People’ (as if that wasn’t enough), this truly is the horror of waking to last night’s detritus, the morning routines, pouring cereal into bowls.

Like a sort of Dadaist folk song, it’s a soundtrack of all the switches and buttons we press, the doors and compartments we open and close, all little noises we make on our way to working our way out of the door, and how we deal with that. A semblance of calm composure wavers behind in the form of wobbling synths, and finally the day begins: chords reverberate out of earshot, resonating onto the street.

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• 🔔 Gralitsa’s ‘Morning Bustle In The House Of Intelligent People’ is taken from their album Little Mosquitos Are Sleeping This Night. Stream and purchase it on Bandcamp.

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URTE — PERMAFROST

⌾ LISTEN TO URTE, PERMAFROST ⌾

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Fraught with bristling space, 'Permafrost' by URTEis an intergalactic voyage of sound. At its centre, the drifting vessel: rocketship arpeggios, scuttling messages of ping-pong ball synth, resonant feedback emanating in a void of rattling 808 percussion. Either side of this upbeat tumble of angularity and plasma aesthetics, space weighs hefty in 'Permafrost'.

It's reminiscent of the Planet Zebes theme from SNES classic Super Metroid, the sense of a cold abandoned place leaking through its crackles and sparse instrumental elements.

Similarly in URTE's track, tension fizzles as bells glitter, mechanical chords press into earshot, an infinity of grainy sparks and decay, nervous percussion skitters amidst the ominous stomp of a kickdrum, and a sludgy bass bulges against the surface, poised with intent — dramatic sonic parentheses that further draws attention to the colour and kineticism at its core.

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• 🔔 'Permafrost' is the title track taken from URTE's Permafrost EP (obviously), arriving via London label Coyote Records. It's available to stream and/or download from Bandcamp.

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SIM FANE — SOME SAY

⌾ LISTEN TO SIM FANE, SOME SAY ⌾

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Though 'Some Say' could be quite easily seen as "future bass" and nothing more, it's the variation, the intense colours and the attention to the spaces between sounds in Netherlands producer Sim Fane's track that give it the power to not just occupy a space, but create its very own atmosphere. While it does build up with hyperactive pitch shifted vocals and snapping handclaps, and drops into a glooping tumble of frenzied piercing synth and soft staccato chords, Sim Fane offers up much more than a well-versed formula of builds 'n' drops.

Post-drop, the beat shifts into a frenzy of footwork-flavoured kicks, a sudden jet engine of propulsion that not only provides a boost, but also helps break up the track into a kinetic series of vignettes. Later, listeners await the final drop, but instead — after the sub-bass rumble, the scattering of bleeps and crashes promising one last popping refrain — the track falls away into a dreamy coda of fuzzed out keys, the explosive energy that was there depleted as the ship is cast adrift through a space-scape, nebulae and distant galaxies splashed on the void like abstract art.

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• 🔔 'Some Say' is taken from Sim Fane's Where She Lived EP. You can download and/or stream the whole thing over on Bandcamp.

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🐣 YMIR — STAIR [初演 • PREMIERE]

⌾ LISTEN TO YMIR - STAIR ⌾

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Space. The final frontier. Well, not in this instance — 'Stair' by Los Angeles-based producer Ymir just sounds as though it's in space. That's because in this dramatic piece of ambient music, he's rising above and looking at from afar what was (at the time) "a new urban environment" — a new resident in an alien city.

"I'd never been somewhere that never sleeps before," Ymir tells yes/no by email. Originally from North Dakota, moving to Los Angeles was an eye-opening experience; he reveals that its particular sense of "decay" was soemthing that interested him.

"I think that was sparked by the more run-down areas of the city, and how different that was from what I was used to in my (relatively) small town," he says.

Suitably, the track hums with unsteady resonance, touched with lo-fi scratches and imperfections — a sense of sonic wear-and-tear that makes it feel as though this track has been around for years, floating in the air. Most noticeable are the wheeling changes in pitch, dynamic and flighty, continuing well into the swampy drone that drenches the track's final minute.

Giant bassy notes twang out a dirge of vast Western proportions, emanating from the depths of the city for miles around, a sense of classic instrumentation yet muffled under the waves of cosmic drama; far-off pines bristle against grid systems, someone huddles beneath an overpass.

Part far more gritty alternative soundtrack to 'Space Junk Road' from Super Mario Galaxy, part out-of-body experience looking out over the countless street lights and shuffling people of LA's urban sprawl, 'Stair' is a balanced, considered view of something new. Space — and tender, detached feeling — tempered into sound.

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• 🔔 Listen to 'Stair' on Spotify, or check out more of Ymir's unreleased electronic work on his SoundCloud.

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SLOW STATE — THE SILENCE WE CREATE

⌾ LISTEN TO SLOW STATE, THE SILENCE WE CREATE ⌾

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There is a sense of epic landscape swathed in peals of feeling in Australian artist Slow State's 'The Silence We Create' — but it's not something necessarily present from the beginning of the track. Instead, this intertwined emotive, environmental atmosphere comes into gradual focus, beginning with textures jostling with one another, unsure of themselves, hesitant almost, crackling with ghostly static, the rustle of dry leaves. A vocal sample struggles to finish a phrase (the title of the track), cutting itself off.

Gravely bass thumps splash and fizzle into bold tracts of silence, creating a dramatic, heavy portion that shifts the aesthetic from intricate soundscape to something more illustrative, experimental. "[The song] was written for a someone who I shared a memory with," Slow State tells yes/no via email.

"We walked into a sunset on Greenmount Hill, up in Perth City, and as the sun fell the scintillating lights of the city started shimmering. One of those moments you just wish you could grab, you know?" he continues.

The final section of the track — fraught with synth and clanking percussion — begins to mirror the weight of this twilight, the vocal sample on loop and variously pitch-shifted like a reflection of windows beginning to glow in buildings. 'The Silence We Create' is a purposeful setting aside of language, of commentary, in order to be imbued with the drama of the turning earth, the tale of an ending day.

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• 🔔 'The Silence We Create' is taken from Slow State's eponymous SlowState EP, which you can listen to on SoundCloud. The artist himself calls the project "a respite from everything that is far too fast."

  He continues: "It's introspective and reflective, but driven with intent. If space is the breath of art, then I believe silence is the breath of sound. I try to capture moments of silence floating in and out like a breath within the pulse.

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🐣 LIPTICISM — WELLINGTON

⌾ LISTEN TO LIPTICISM, WELLINGTON ⌾ At first ‘Wellington’ is like a dream where you wake up floating in space: the cascading chimes, the reverberating plasma bass, modulated chords like the PS2 startup, the lances of synth soaring into an unseen distance. But there’s something super grounded about Lipticism’s track, owing to the earthbound first line and refrain: “That girl from Wellington, she says she never wants to see me again.”

The vocal, equally imploring and detached, spins a story with this stark statement: What girl? Why? What happened? Instant connection and intrigue.

And in its never-the-same-twice choruses, ‘Wellington’ is a swirl of glitter, sludgy sub kicks, hissing percussion, the voice of Lipticism herself rising in a nebulous stream; a shredded melodic line, lamenting coolly, overlaps into the next section - something this song does well, a constantly morphing dynamic.

More lyrics half heard in this jostling milky way of sound present the realness, the semisadness and frustration in simple terms: “That’s how it used to be…” and “I can’t read your mind” standing out beacon-like. And always it is cosmic, it is star-flung, sparklingly offbeat, visions of a void—the actual self, alone but catapulted above earthly troubles.

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• 🔔 Listen to more Lipticism over on her SoundCloud.
• 🔔 'Wellington' is taken from Lipticism's album emergency released via CRY LIKE DONNA which is where you can also stream and purchase it should you wish to.

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🐣 LEESH — REMEMBER

With its variegated textures, from trickling percussion to wibbly synth like otherworldly spirit voices, and a sense of space that borders on threatening – like, you can almost imagine things lurking in the heavy electrically charged spaces between sounds of the track – this track is awash with mystery and delicacy, like some luxury item hidden in the depths of a forest, or like approaching a neglected shrine overgrown with creepers and leaves. LEESH, a musicmaker from Arizona, has succeeded in creating a vital soundscape, one that pulses at all times with power as much as intrigue, a mystical natural landscape conjured using a big imagination combined with a pristine collection of synthetic sounds.

"This track was definitely a huge experiment for me," LEESH told us via email. "I wanted the track to feel familiar, but disorienting and kind of uncomfortable at the same time. Mostly the inspiration came from trying to do something that nobody has heard before."

Between soft subby kicks, like the faraway footsteps of a giant beast, and woodblock hits like trees being tapped, skittering percussion – hi-hats, like unknown flitting creatures and a spooky arpeggio make this track feel alive; the feeling of being lost in strange woods. And by the end, the cyclical nature of the track stops, the unexpected journey is almost over as warm chords play abrasively: the sight of the bright sun again as you stumble into familiar territory, leaving the bristling trees and the forest spirits to their business.

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• 🔔 And if you liked the sound of LEESH's scene-summoning 'Remember' you can download it for any price you choose if you want to.

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🐣 CRAPFACE — ALONE

https://soundcloud.com/markredito/better-off-alone-alice-deejay To hear this modern classic in such a new vessel is like the spirit of a pharaoh oozing inside a brand new Maserati, escaping the dust of death, transferral from one set of wrappings to another. Whilst Alice Deejay's original 'Better Off Alone' was in itself a major earworm of the late '90s, it was a Eurodance sensation of the time and was tempered with the trappings and tropes of the genre. It has been given a new lease of life in 'Alone' by Crapface, an homage to a track for which a certain segment of the online music community is eternally grateful; we're talking things like nightcore, PC Music and its peripheries.

The plaintive, haunting vocal melody of the original is played in on intricate medley of tuned percussion and synths in Crapface's version, replete with sound effects and irregular beats, wildly juxtaposing against the pogosticking dance of the original with a focus on space and texture, the clinking-clomping chimes sounding stark, monumental, lonely against a voidsome backdrop. These are then twisted and warped on a bed of booming bass before the "talk to me…" section rolls in, which is more of a direct successor to the original than the rest of the track. It is an exercise in celebrating a classic without being a straight cover, or a remix. Instead it has been painstakingly transposed, the essence of the original encased in crystal in a continuation of cultural preservation.

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• 🔔 This was released courtesy of label, collective and brand, Palettes.

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🐣 ELMARI — YOU KNOW ME

Taken on some sort of spacewalk now, the long weightless sway into starry void, the cosmic vacuum just existing there and a figure slowly spinning into some oblivion, it's not loneliness they feel as they drift but more a sense of solitary contentment, the secret mystery of oneness unfolding itself in the expanse. That is what it feels like anyway, 'You Know Me' by East London producer ElMari, it feels very space-destined, future-aligned, and that is first and foremost down to the nature of those synth chords: stripes of the heavens swipe in thin fizzing neon swathes of sound. But of course it's not just the actual quality of the sound itself, it's how that sound progresses that gives it this windingly slow velocity.

It's also the decreased attack and relatively low sustain of the synth which gives it that slow-motion feeling, along with the sparse beat, well placed clusters of hi-hat ticks and clacking snares as well as the syncopated solidity of the robust kicks, this lack of accentuation minimal nature summon that galactic feel, the simple melodic twinkling of synth mirrors the sparkle of distant celestial bodies, and the rumble of modulated bass in the middle gives intensity and power. But within there is something human, the vocal sample, stammering and effusing a sultry R&B flavour, and suddenly it wasn't a solitary spacewalk but an low-gravity airlock sex scene that this track conjures. Or maybe it's both.

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• 🔔 More of ElMari's releases can be found over on his Bandcamp for download and listening purposes.

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🐣 HOTWAX — ROCKAWAY FEAT. STEFFALOO

The ten ton, no ten-thousand ton, crush of the kicks here, like the engine room of a huge vessel as it hums cyclopean across the stars, is the glorious intensity that lies at the foundation of 'Rockaway' by Floridian musicmaker Hotwax. It is this slow-down techno rumble that perforates the stillness of the air, the blank pugilism of it summoning hard trebles as well as full-body bass for a robust beat. It's the simplest backdrop to a swishing of mists that rain down like veils—vocals that cut across your hearing and drip down like oil in water, fathomless reverb like galactic ghosts in this tract of minimalism.

These are provided by Steffaloo, a prominent voice in chillwave, whose simple harmonies resonate and vibrate to give extra texture to the already grainy phantasm of her tone as it reaches out across the dark of the track. Alongside this, simple synth clouds bop and gleam softly, a tangle of silken fibres that threads through the void. Ornaments orbit the beat: panning abrasive shakers, decayed metallic cowbell, shuffling hi-hats, handclaps followed by veils of fog. The atmosphere is a sunken one, where the heaviness of the water weighs huge and choking, and where the prettiness of life glistens and sparkles in the winnowing waves above.

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• 🔔 The quite wonderful Steffaloo-featuring 'Rockaway' is taken from Hotwax's debut album Communicator out now on 2060 Records. You can download it free-of-charge, or $7 for a cassette, from Bandcamp.

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🐣 TYLER — TOUCHING

'Touching' by South African producer Tyler purportedly inhabits the world of Wave, an environment like domed gardens on a terraforming planet, palm fronds jostling against plexiglass in artificial breezes: artificial, harsh, but deep and thriving with life. The musicmaker arrived to the scene just over a year ago, courtesy of a friend who suggested he listen to the Plastician's now-defunct Rinse.fm show—citing that "the slower tempo allowed for a more emotive journey," he ditched his previous dustup outputting moniker Melodik and blasted off into space for this, his first ever release.

And space is what it is. With the reverse synth sounds, tinged with Middle Eastern elasticity in its slow aching melody, it sounds very much like a cosmic version of the theme for Shifting Sand Land from Super Mario 64; whilst the twisting scattered glitter mingles with the warbling modulated waves of cold synth for that air of elsewhere mystery, the bass below rumbles with ascending melody, slow and steady, pushing the music upwards for a determined feel, more like the Mario 64 Bowser Road theme in feeling: big, impending doom, otherworldiness, but ultimately gritted-teeth pushing forward. And then we have more textured flute sounds into the bargain, enriching the track with body as the beat ticks and rattles, a rolling of clacking fills and trills.

This is scene-setting stuff—the wild expanse of it, the far-flung exotic nature of it as the spacey synths mix with closer-to-home melodies of Eastern persuasion, familiar but altered in form, silicon sands reaching out to a black horizon that glows where the void meets the sharp dunes of the desert, human vocal samples ghostly and faded like the memories and paranoia of explorers bound never to set foot on Earth again.

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• 🔔 You may stream 'Touching' by Tyler via this hyperlink here. It's been released courtesy of UK label Liquid Ritual, founded by producer Kareful, amongst others.

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🐣 SILENT STRIKE — MELANCHOLIA FEAT. EM

The space in this track give those simple electronics that ping and twinkle a luscious cushion, the best cushion: room to breathe. The muffled but sharp lo-fi fuzz of these synth blips resonates into a thick void, making this track by Romanian musicmaker and film score composer Silent Strike one that is nocturnal and sultry, aided of course by the aching vocals of featured singer EM which shimmer with a mist of vocodered plasma. Slowly the song unfolds, sadness haunting its every graceful kinetic step.

Alongside the vacant space and reverb in 'Melancholia' there is warmth. Bass kicks boom tumbling along, a trickle of blooping boops spread softly, a fizz of synth warmly winds its way into the mix, a delicious fingerclick keeps time. And in the chorus it grows ever thicker, swaying with EM's now lilting layered voice and a slew of unexpected ornamentations, high-pitch chords that flash like mini shards of lightning, locking in with explosive snares, and hi-hats that tick and then rattle and then uzi drill panning left to right. The song is an exercise in creating pop music with real experimental elements, the almost outlandish use of noises, rhythm, space, makes this an evocative piece deserving of its title.

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• 🔔 'Melancholia' is taken from Silent Strike's upcoming album It's Not Safe To Turn Off Your Computer, out 1st September on German label Motor Records. You can purchase the track variously here, and you can also check out the album here.

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🐣 ERSTAV — INK & GLUE [初演 • PREMIERE]

Alien flavours dominate the backdrop to this track, a swirling of lost-in-space radio signals that chirp and click and pulse like inhuman vocal chords expressing an inhuman language, fluttering with abrasive tiny ping-pong balls clattering energy, a rapid helicopter chop of grinding synthetics – like the atmospherics of space disaster-themed videogame music – and at the beginning a low voice introduces the track with unintelligible guttural digitised sounds. 'Ink & Glue' by Italian duo Erstav shows off the respective interests of the musicmakers behind the name: Marco's "careful balance between minimalism and musicality" mixed with Alessandro's "industrial and punk background," influenced by "the d.i.y. ethos of punk and power-electronics." The sound-design-esque immersive ambience of that constant extragalactic sound in the track certainly owes itself to the brooding nature of these two producers' tastes.

But if it is that fractional communication, or the buzzing of pipes and machinery and interstellar background chatter, which provides the atmosphere, it is in the beats of this track where we find immediacy. The here-and-now of 'Ink & Glue' is in its hard percussive punctuation throughout, in the broken beat nature of the hits that tumble in swinging, holding onto the dark air that comes before and piledriving that which stumbles afterward, a rabble of overdriven kicks and burnished metallic hi-hats sheafing and shuffling throughout with satisfying syncopation, switching after 0:53 with more rapidity rolling and raining down, the industrial influences clear, the hard spartan essence of these pugilistic drums reflecting the large mechanical megaliths that float through the galaxy in a distant future of unidentified radiowaves and deepspace mystery.

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• 🔔 You can download 'Ink & Glue' above. It is taken from Erstav's White Windmill EP, which can also be downloaded for free via the duo's SoundCloud.
• 🔔 Their debut album Cold Europe is available to purchase on Bandcamp courtesy of San Francisco label Muti Music.

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🐣 AUGUST ROSENBAUM — NEBULA

The sense of space, the resounding sense of vast expanse, the music here frames a snapshot of infinity, the conjuration of something gargantuan. Before its delicate guitars and dustyroom ancient pianos – vital human instruments, organic and tactile, the strings of the guitar pealing rounded and faint glimmer in the gloom of space, the gentle pluckings made intense in the hold-your-breath quiet of the track – before all that, August Rosenbaum crafts orchestral awakening sets the scene: majesty, and awe in the scale and glow of that majesty. The piano that follows gloops drily with melancholy, a lament under the eaves of wonder and fear, clanging with reverb that seems to call out, cello aches wooden and earthly, bass thumps subtle like heartbeat in your ears.

And a plaintive song, an analogue melody pings out with microdelay, plinking and blinking in tempo rubato, an alien sense at odds with the anthropoid regularity of sound blanketing the canvas, its dendro-life physical and easily manifested beneath this new noise, this unidentifiable sound, non-physical, abstract, void-born. It plays out a future romanza amidst the strewn neoclassicism vibrating through space. The music dissolves and rematerialises a whole new beast, shining beacons javelin through an ominous arpeggio, a brass growl, an ascension of strings, an introduction of the proverbial bigger picture. 'Nebula' paints loneliness, a sense of being small, an intergalactic search for more-than-this—and it paints discovery, the response to our calls, the giant unknowable to our minute but powerful and personal curiosity.

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• 🔔 'Nebula' is the first track to demonstrate August Rosenbaum's upcoming album Vista, due for release via Copenhagen record label Tambourhinoceros on 24th November. You can download the track from Bandcamp.
• 🔔 The unnerving video for the track was directed by Andreas Emenius and made in collaboration with Prxjects, "a culture laboratory initiated by Mercedes-Benz."

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🐣 5THPLANET — SPACEROXX

What at first is reminiscent of the menu screen for the online mode of Mario Kart Wii, with the same jostling digital sounds and a similar vibe with smart snappy beat, is in fact a piece of music that charts a journey from here to Jupiter, the fifth planet, something much more raw and adventurous than what you first hear.

Actually naming themselves 5thPlanet, too, the production twists with racing-stripe arpeggios raining down and wiggling weirdly as thin gasping hi-hats, bouncing toms and constant kicks keep up a keen sense of urgency with stuttering tick-tick fills, and this wonderful creeping electronic chord that gradually fizzes into existence with all the drama and suspense of a noir stakeout or surreptitious chase scene; the danger as the ship javelins through the asteroid belt separating us from the outer planets is highlighted here with a breezy uptempo quality suggesting calm. That's where the videogame element comes in: the peril is mild because the character is an old hand at navigating through asteroids.

The imagery conjured by 'SpaceRoxx' – a reference to those pesky obstacles – is fresh and exciting, a less jazzy approach to space travel than that of Cowboy Bebop's soundtrack, but just as evocative in its own somewhat lo-fi futuristic minimalist house with just a pinch of techno. And the warm sounds, the fuzzy flushes of thick synth that well up behind twinkling plaintive melodies, and those too, these suggest a return, an attainment of safety, an escape even just for a moment from running the gauntlet, a homely feel. The hazards and weirdness of galactic goings-on, the kinetic energy of deep space manoeuvres, the tension of sci-fi, it's all alive, gorgeously organically so, in this descriptive piece of sonic imagination.

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• 🔔 More of 5thPlanet's experimental illustrative world can be found on their 2016 EP, BIGCITY$OUND—catch it over on Bandcamp.

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SPACE CANDY – SHIMMERING BEACH WORLD

What happens when two experimental electronic labels team up for a compilation? You get a lovely cocktail of flavours, that's what. Two labels DESKPOP and Galaxy Swim Team recently joined forces for their Summer Solstice compilation, which dropped a week or so ago. With it dropped this particular morsel of music, fallen from the sky from some distant planet: 'Shimmering Beach World' by space candy. Who is space candy? What does space candy want? Otherwise known by human name Alex Polanski, there's not a lot else I can say about this musicmaker.

As for 'Shimmering Beach World', it's a blend of jabbering vox, rich synth chords that buzz and flash, and beat combinations that whilst disparate work together wonderfully. At once it feels intergalactic and spacey, wonky soft chords winding like wreaths of smoke with glittering unexpected melodies bustling around, a sense of intoxication and otherworldliness emanating from the unusual, unconventional sounds. Combine with moments of slow, seething beats, drums tumbling like boulders, fizzing percussion, a definitive intensity set against the more horizontal parts, and you have yourself a little party in your ears, like the aural equivalent of a popping candy and sour Haribo mix, with marshmallow thrown in for good measure.

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• Enjoy and maybe purchase the Summer Solstice compilation in its entirety over here.

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