Showing posts with label uplifting. Show all posts
Showing posts with label uplifting. Show all posts

Thursday, 5 July 2018

🐣 MARQUIS HAWKES — DON'T U FEAT. URSULA RUCKER

Uplifting, yes, but not to the point of euphoria—uplifting from a low-level mood, bringing you out of the darkness, the feeling of looking up at the blinding sun after you've fallen over and grazed your knees or just woken up from a nap and remembered all the things that are making you anxious but then you rationalise. Far from the dancefloor, Marquis Hawkes' track feels more as though it both reflects and alleviates suburban misery. It is a track of small, important victories: dancing won't heal you, but it's fine for now.

Part of that almost solemn feeling of 'Don't U' comes from those skyward synth chords - in the style of a chapel organ, the continuous chords with occasional single note changes feels very organ-like; it suggests something redemptive about this track. The tone of those chords has us pointing ourselves similarly skyward: they're slightly decayed and warm, not too bright but also not dull; the synth – like the track itself – is elegant in its simplicity.

Simple acid synth bass squelches in sparse groove to give this sense of dynamic movement alongside the constant house kicks. Ursula Rucker's star-of-the-show vocals softly pad alongside the incidental gladdening synth chords feeling like a motivational speaker or a pastor telling you what you want to hear—or else they sing in gentle butterfly snippets. Combine that with simple dynamic subtractions and additions, tumbling toms, a handful of simple percussion, teetering on the edge of lo-fi house to deliver an atmospheric, modern-day sermon of a track in the church of dance with an overflowing heart.




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Thursday, 11 May 2017

🐣 SAMPHA — (NO ONE KNOWS ME) LIKE THE PIANO [LTMR REMIX]

The straight-from-the-soul beauty of Sampha's single '(No One Knows Me) Like The Piano', taken from his debut LP Process, gets a sunny reworking courtesy of Philadelphia resident LTMR. What this stands for is a mystery; acronymfinder.com suggests Less Talk, More Rock or – my favourite – Long-Term Multilineage Repopulating. But we're not here for acronyms—we're here for this remix, which crackles with vintage warmth, to where LTMR leads us, through a breezy garden sprinkled with birdsong, into this room heavy with nostalgia and resonating with dusty piano chops and heartfelt vocals, light filtering in through half-open windows.

It's the original alright, but sped-up, taken up a gear and bumped by the thud of a beat, a gratifying sidechain softly pockmarking the proceedings. Raw metallic hi-hats shiver along with it, galloping to the beat as the original track plays out in its new casing, one that highlights the loving touch on the piano keys in particular. Parts of LTMR's remix feature vocal and piano chopped with scalpel precision, strewn over a new smartly clacking beat with the snap of snare starting and the kicks ba-bump ba-bump heartbeat swing creating a sway of rhythm in this breezy atmosphere. We leave through the garden again, blue sky, birds chirping, feeling better for having heard this, a soul-cleanse, and then walking into the life of spring and the uplift of nature.




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Wednesday, 1 January 2014

MIII EVERYTHING HAPPENS TO YOU

HAPPY NEW YEAR TO ONE AND ALL. What is a good way to start the New Year? With a list of resolutions and things to change about yourself, like some kind of end-of-year self-assessment? Maybe. I mean, it's not a bad thing to do; there's always room for improvement. One of mine will be to get up earlier. Because I woke up today on the 1st January 2014 and saw a glimpse of daylight – by the time I got to the window again it was dark. So I'm gonna wake up earlier. I'll have to hold me to that.

In other news, you could always just, I dunno, listen to a nice song that seems to be full of the promise of a New Year ahead, full of the potential and possibilities in each of these next few hundred days. Buuuut then again it's not so good to look far into the future. What is a good way to live, in that sense? Day-to-day? But then you like, can't have a calendar can you? What am I saying— this is nonsense. I've gotta stop and just introduce this song to you now.

It comes from Tokyo-dwelling 21-year-old Japanese producer called miii (real name: Mizuki Wada, who's also in band The Wedding Mistakes as well as being writer/editor for magazine, UNCANNY) and it is called 'Everything Happens To You' – whether that's in a positive-yet-envious or negative-yet-sympathetic sense, who knows, but it's certainly uplifting – it has an atmosphere to fit both a cathartic cure for being envious and a life-affirming pop of energy for those trampled by life's problems. It works wonders. Have a listen.

This is an genreless track in one sense, infused with things from pop, hip hop, juke, classical, but in another you can kind of rest it comfortably beneath the umbrella of Shibuya-kei and be done with it. If you're having trouble with it, that is. I know some people love their labels. But there are so many beautiful things in this song – from the eternal backing of an ever-so-slightly mournful organ to the occasional stabs of jaunty piano, to name just a couple. Then there's that plaintive flute synth melody running over the top – the song's refrain, and perhaps where most of its positive feeling comes from.

That's not all, of course. There's the indomitable beat, flying from here to there in maddening cycles of hi-hat fidgets, snare rolls and the odd woodblock tock, providing necksnapping bubbles of dynamism when it needs to. Then there's the vocal samples, which at times seem to follow the bass of the song (or vice versa) in a great partnership, giving it this gorgeously cute affiliation with harder, more urban music in an out-of-place yet genius stroke that often flavours this type of music. Then, and finally, there's the ending: squelching synth bass joins in with other sounds that appear out of the mix, finding affinity alongside the emotion-filled strings that rise up too; it's a whole mash of noises that suddenly fades into the winsome glare of the organ chords that led us into the song.

It's quite beautiful and it is the lead track from the EP of the same name Everything Happens To You, which is out as MARU-128 I-don't-know-when on the unique Japanese netlabel Maltine Records, who release everything on their site as a free download. On that note, I guess I should say that you can download one of miii's previous releases from Maltine, namely his Sunlight Disco EP (click!) if you want to.



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