Showing posts with label texture. Show all posts
Showing posts with label texture. Show all posts

Saturday, 31 July 2021

MAGNETIC VINES — MAGNETIC VINES


⌾ LISTEN TO MAGNETIC VINES BY MAGNETIC VINES ⌾

Billing itself as “a soundtrack for tending rooftop gardens by moonlight”, Magnetic Vines’ eponymous release is a selection of essentially relaxing soundscapes. Many of the tracks have evocative titles; for example, there’s ‘Vines and Old Concrete’, ‘Night Bloom’ and ‘Quiet Old Shipwreck’, all of which feature age-warped acoustic guitar, plucked as if from a bygone time and space entirely.

Particularly interesting are the pieces forming the second half of the album; four tracks titled ‘Cyanotype’ and four named ‘Constellation’, ordered by key like an etude or a prelude. While the later Constellations are expansive and magnetic, the Cyanotypes — named after the blue-hued photographic printing process — are melancholic, inward looking, and range from space-filled and poignant (‘Cyanotype in G# minor’) to starkly ambient (‘Cyanotype in Eb minor’), with a warm nocturne in the form of the finale in C major.

Overall, the tones and textures of its Mediterranean-flavoured guitars, crooning brass, cradling harmonicas and subtle synthwork are perfectly paired with album’s core value: imagination. Magnetic Vines in its entirety is a wash of soft clarity, like holding an old book in your hands for the first time, or as its concept suggests, tending to the new sprouting leaves on familiar shrubs — all bathed in moonlight, of course.



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Monday, 1 June 2020

MADANII & LLUCID — DANDELION

⌾ LISTEN TO MADANII & LUCID, DANDELION ⌾

It's not only the combination of lush textures and minimalism that makes 'Dandelion' so captivating. The beat is a collage of snares, metallic percussion and whispering cymbals, crisp handclaps — I mean, you could even count the found sound natural noises of outdoors, birdsong, footsteps on gravel, among the songs percussive elements. This by itself affords MADANII & LLUCID's track a certain flow, each click, tick, slap and crash the like a stream dancing between its rocky banks.

There's the delicious syncopated clonk of the marimba (or whatever it may be), lending a fresh flavour, a cucumber and soda water fizz, to proceedings. All that's left is the foundation, the smooth synth of the bass, rounded and acrobatic enough without being too busy or overpowering. LLUCID's production is cooling, allowing the warmth of singer MADANII to radiate outwards.

Her vocal lilts with a touch of onstage crooning, but stays within such a digestible range that makes it feel conversational, close-at-hand, as the lyrics to 'Dandelion' spill diary-like into the stream. While the song begins with the mention of "a little town, not far out" — the sparkle of storytelling firmly set — the chorus whirling listeners into a satisfying cycle of relatable feelings:

"Leave it all behind out of sight / Following the sun / On my homesick run..."


  • πŸ”” You can listen to and/or download 'Dandelion' via MADANII & LLUCID's Bandcamp. You'll also find the full lyrics there too, which are pretty cool to read.

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Friday, 18 October 2019

SUN CORP。 — RENEW

⌾ LISTEN TO SUN CORP。, RENEW ⌾

Arriving after the gloomy 'Displacement', Singapore-based Australian musicmaker SUN CORP。 continues an introspective exploration of urban atmospheres with 'Renew'. Trickling into earshot, the track soon shudders with with a the ghost of a 1980s rock guitar chord, sweeping the the scuttling tick of the track and its watery foundations.

A tumble of lo-fi beats setting wheels in motion, the track is a tale of waking up from a fever dream told in shades of vaporwave. Hinting at its title, choral synths cut through the air like columns of sunbeams, punching holes in the storm clouds — the destructed crush of those chords, the sound of thunder, traffic, noise, disappearing into the distance.



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Wednesday, 16 May 2018

🐣 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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Wednesday, 28 March 2018

🐣 TSUKI — LAPSE

As if it wasn't enough to treat us to such a stunning display of textured beat - as if those gorgeous handclaps, delicious organic flesh-and-boiled-sweets sort of texture to it, the streaming liquid sounds on loop gently swaying from left to right, the treble of it rising and falling like that warm state on the cusp of sleep and waking life, the shuffling grit of the let's-dance shakers, the delicate clockwork toy hi-hats, the tambourine's sparkling shiver; as if all that weren't enough, TSUKI had to go and make 'Lapse' even more beautiful, a vessel of delicate decay. (In fact, there is a feel to it that's reminiscent of the percussion in the Gerudo Valley theme from Zelda: Ocarina of Time).

The synths in this track, soft like silky smoke, like tea diffusing in boiling water, croon out a gentle repeating melody, this worn-down moderately decayed texture combining with the unexpected high notes in the pattern to give it a sense of tired-eyed drama. A feeling of watching the world from a window. Slow chords join in, warm and fuzzy, as a new lead melody wiggles in, crooning its spectral heartache, a friendly ghost seeped through your door leaning on your wall sighing beyond belief trembling from the cold; there's love in the warbling melody here, lost love, found love, a feeling of seeing someone passed just once more. But fleeting: in the ceaseless handclaps of the beat there is a sense of motion, or continuation—time rolls on in spite of what your heart has lost.


  • πŸ”” This lovely morsel of music appears on this year's WINTER WINDS vol. 5, an annual compilation by collective SVNSET WAVES meant for the chilly weather of winter. It can be purchased and streamed over at their Bandcamp.


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Monday, 30 October 2017

🐣 TACTILIAN — NERVES

The gleaming side of glitch reveals itself in this, a sphere of gold, molten gold, flowing through the sky and passing through clouds leaving a hole and eventually the sphere makes its way down to the sea and fizzles and pops into clusters of smaller golden spheres jostle and vibrate and then suddenly swerve upwards, into the sky again, and disperse in many directions, something that has this sense of the ornamental and glittering but that also feels majestic, grand, summoning a sense of space alongside its cozy treasure-trove. The continuous jostle and bustle of 'Nerves' may reflect the personality of its creator, Tactilian, who is currently located in Vientiane, the capital of Laos. "I moved here from America about 5 years ago to teach English and find a new head space for myself," he tells us over email. "I had found myself a bit too complacent and stagnant in the States, so I figured a radical shift or change was in order."

The plinking piano melodies and the chopped chords, the constant soft organ blooms, and the ephemeral sheen of gold that occasionally blast into the air, it all speaks of space, and constancy of the hi-hats speak of momentum in this vastness. Little noises make this quite wonderful. The stuttering percussion, and that same piano melody that has that expansive reverb on it also adds to the jewellery box of trinkets that keep this track on a level of gently sparkling throughout. The vocal samples, textured like whispers and placed in patterns that heighten the sense of swirling, give it a familiar unfamiliarity: we all know what voices sound like, but chopped voices arranged in wordless rhythms infuse this element with intrigue. There is no stagnation here, no attachment even—all of the parts of this track seem to orbit each other, merge together and then these fleeting connections dissipating, keeping it a swirl of movement on the canvas of silence, like the constant curl of clouds on the blue sky.




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Wednesday, 30 August 2017

🐣 GEO — FOR YOU

There it is, that liquid sound, that trickling water, the jagged trajectory of a countryside rill becolumned with rocks and pebbles and clear as glass, all of it glistening atop and refracted below, glinting glinting, overhanging plants, the gnarl of ancient trees, flowers, heather, stone and water, angular and fluid. And it's all created with percussion, plumes of percussive sound that jingles and rat-tat-tats metallic and clinking, all light and lo-fi, a constant trundle, close to haunting with the vintage crackle infused in this textured tapestry. Romantically titled 'For You' this wildly ornamental piece of sound bedecked in silver and gold and iridescent gems was created by LA-based producer GEO, sultry and splendrous, smooth and shivering.

The clanking evolves into more woody sounds, clopping clonking robust hollow tick-tockings lashed together with sharp sheafing hi-hats, blessings of percussion that make the skin quiver, hairs tightening in their follicles on the nape of your neck. As if that wasn't enough, bass with a beautiful thick rounded tone scoops out the underlayers of the track and fills it with slow bubbles of groove for a slow-jam feel, soon joined by warm piano chords that lock in with the bassline, play with organic power the hot sighs of a beating heart. Vocals lifted from somewhere paint in silken soothing brushstrokes crooning romance. Little squelchy bleeps act all playful with soft melodies and synth peals soar into the sky. Streaming and flowing riverine and pastoral, here is that sonnet of sound, that melodious pouring forth of emotions, something beautiful carved for a beloved someone.




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🐣 OSCAR OSCAR — HEY HO

This is the sound of dopamine acrostics, the sound of wondrous sultry nights permeated with loneliness, the sound of the gargantuan grey of rainy mornings, the intensity and power of distraction, the chimes of loss, the jostling gongs of creativity—it is many things. 'Hey Ho' is all about texture, from the curved angularity of metallic percussion and the bright clinking strings of a sampled East Asian instrument, to the insectoid crinkling trickle crackle like white noise and the smooth satin of oscar oscar's voice itself folding its falsetto through the diverse soundscape. Texture, and the variety of it, sets this track ablaze with lightning intrigue.

The noise that stands out the most in this slow bopping refreshing sluice of sound is that soft clonk of marimba, each note in the chord deliciously minutely out of time with others, producing a low-key audio instrumental version of a light slurring voice, just ever so slightly off, the reverb luscious, the sound so very organic, so very human: it's no wonder that this noise is often left to its own devices in the track, cradled between thudding kicks and tight snapping snares. The second half of the track is more about the samples, truncated snippets of oscar oscar's vocal like avian ad libs, as the song reaches its dissolution into its simplest elements towards the end, languorous and nocturnally downtrod as it began.




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Monday, 14 August 2017

🐣 CHLOE X HALLE — USED TO LOVE (MOZADO REMIX)

Half sleekly clinical space-age white with reflective smooth screens, half organic heartfelt body and muscle and historical small streets and cafes, this track is a clear split, a love-letter to real humanistic flavours told with synthetic electronics, the hip shuffle of salsa bossa nova patterns exude through the syncopated piano that pulses cosmopolitan below the wonderful velvet vocals that skim warm richly throughout. These are the voices of sister duo Chloe x Halle, this track being a remix of their song 'Used to Love', a gorgeous a cappella composition filled with sultry lilting lines thick with harmony, solo parts powerfully cutting through and soaring gutsy above these choral comforters, impatient spoken-word "ok…ok…" and handclaps perforating the languor with potential energy.

But musicmaker and serial remixer Mozado, clearly seeing the promise of these incredibly endearing vocals, as well as the non-instrumental setting, turned this from an album intro light and airy as that time between asleep and awake, falling into slumber in the warmth of the sun, takes this feeling and through rhythmic permutations of Latin sashay and ticking trap brings out the bubbling energy of its heart, the powerful vocals now washing through the thudding beats that Mozado punctuates with luscious percussion chiming pots-and-pans tinkering and the warmth of the plasma synth matching the richly layered vocals, the hefty sub-bass, the dynamic of it all, this instrumental sliding along like a cloud-filled dream as much as it bumps and whips with pumping blood panache, this remix a vital reaction to the raw honest beauty of the original.




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☟ Chloe x Halle Internet Presence ☟
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Thursday, 15 June 2017

🌭 AYLIN — ON MY OWN

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

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


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


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Saturday, 20 December 2014

CUT FROM THE TEAM。– POCKET TOYS

This guy called cut from the team。 tweeted me a new track the other day, well a few weeks ago it feels like now – I dunno, it was a while ago. That song, which I liked and stuck on a one-day-will-write-about list, got taken down (snooze ya lose I guess), however I found another more recent song that is a real good showcase of the beats that emanate from this enigmatic SoundCloud page.

I'm presuming that their name comes from that Taking Back Sunday song, but then again it's bad to make presumptions so I'll just say that it's a theory. It's a theory. And allegedly they are from Japan but then again they say they're from Lawtown so it's quite difficult to ascertain exactly which one is the truth. Who knows. That's the internet for u.

Anyway, the track in question is 'Pocket Toys' and, described by cut from the team。 as "broken beats around december afternoon," it's a chilly number that summons the crunchy cold of traversing wintry cityscapes, whilst at the same time itself being quite warm in tone – like sitting toasty inside watching the frozen world outside. Reverbing marimba sounds glisten softly like slow-dripping icicles in afternoon sun, joined by subtle whisps of boinging noises, cosmic sounds that summon the sometimes alien feel to a city covered with fresh snowfall; crunchy noises invade, like walking through thick snow.

The final part of the song brings a watery dimension to the crunch – an intense rainstick of slapdash, random percussion, or maybe it's a delayed sample of somebody screwing up an empty foil packet of crisps – with more high-pitched chimes evoke the strange delicacy that the freezing air and naked trees of winter seem to lay bare for us every year. And that's not to mention the beat at all, the substantial noodle of this flavoursome broth of music, a fragmented slow-flutter of thudding kicks and clacking snare hits.

A refreshing, chilled out exercise in textural, atmospheric beatmaking, even the slow lassitude of afternoon feelings — an ode to December.




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