INWARDS — RAINDROPS

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Highlighting negative with glossy, unobtrusive columns of bass, Inwards aka Kristian Shelley throws handfuls of sparkling synth into the air — clean clusters of beeps, tracts of phasing fizz — for his latest track ‘Raindrops’. Throughout, amorphous vocal samples snap like elastic, burst with watery clarity, matching the track’s title.

Though lacking its techno thump, ‘Raindrops’ recalls the freestyling antics of the synth at work in the Chao Lobby theme from Sonic Adventure 2: Battle. Perhaps it’s that carefree reminiscence, or maybe it’s the sheer cartwheeling joy involved in Shelley’s soundscape, but ‘Raindrops’ is like a sonic expression of innocence.

The warm bass envelops you, the vocal samples and synth spin like toys, the percussion hopscotches along like a clapping game, then there’s that nostalgic 8-bit element. Shelley's track inches very close to being a small portal opened on an idealised, pixel art remix of your childhood home; yet at its core yawns a bristling void of detachment, an inane world-weariness.

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• 🔔 Feeling So Fun Reality EP, scheduled for release via Brighton-based label Small Pond on 7th October. You may pre-order it and listen to 'Raindrop' over on Bandcamp.

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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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🐣 DJ EARL — NO CAP 4 2020

⌾ LISTEN TO DJ EARL, NO CAP 4 2020 ⌾

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"Pretty much getting reacquainted with the scene back home," writes purveyor of footwork DJ Earl, speaking to y/n about his latest track, 'No Cap 4 2020'. With unrelenting rumble and aching classic piano stabs — the all-important vocals samples like a mind-over-matter mantra — it's a floor-moving sonic sojourn.

"I was hanging with some footworkers, specifically Jalen (TOG) & Acey (The Prophecy). They was saying how they miss me DJing the footwork battles and that it's a missing element in a lot of the music that gets played there," DJ Earl continues.

"They were saying my travels definitely changed my sound a lot and that they wanted me to, since I'm back on Chicago, start making battle tracks. So I went back to form and made a Chicago-themed soulful footwork track with some familiar chants like 'no cap' and 'you can’t fuck with me' being something that gets said between dancers as they compete."

The carefree, sing-song vocals that wing their way over the heart-pounding thump of 'No Cap 4 2020' add a playfulness to the frenzied repetition of those two phrases, the rapid fire "you can't fuck with me" melding with the clacking snares for a devastating result — replicating the "kinda energy the footworkers need to fuel high levels of creativity on the dance floor," as Earl puts it — all the while piano chords hang in the air, prismatic, like onlookers mesmerised by the scene.

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• 🔔 'No Cap 4 2020' is taken from upcoming footwork compilation Street Bangers Factory 14, out 5th June via Moveltraxx. Grab it on Bandcamp if you feel like it.
• 🔔 You can also stream or purchase 'No Cap 4 2020' via your fav service.

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🐣 FOUR TET — BABY (FT. ELLIE GOULDING)

⌾ LISTEN TO FOUR TET, BABY ⌾

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Two things stand out quite a lot in this Four Tet track. First of all, the chopped Ellie Goulding vocals are a surprise — a welcome one. Giving 'Baby' its title, the samples litter the track with UK garage flavourings, what with the deft angular cuts, the intentional tinniness, the warmth of the words. The general minimalism of 'Baby' — with its ambient gossamer synths and its shuffling '00s beat — nudge yet more wintry garage aesthetic into your auditory cortex.

Secondly, the midsection. The beat falls away and we are left with gleaming synths, resonating slowly like the radiant heat of a sunny day on tarmac; the glass of a shop window glittering, swaying trees in a city park. What happens here is the emergence of that garage sound into a leafier part of town, the clearing of a green space in a forest of blocks and buildings; birdsong and glowing ambience, reminiscent of Japanese "environmental music" — ambient, but with added flora and fauna for full outdoorsy immersion.

Percussive and driving, warm and emotive, 'Baby' paves a way into inner city paradise, juggling beats, ambient and the sounds of nature for a city walk that leaves the rush, the traffic, for private reflections of the day in a public park.

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• 🔔 Purchase 'Baby' as a single. It's taken from Sixteen Oceans, Kieran Hebden's 10th studio album as Four Tet, released 16th March, 2020 via Hebden's own Text Records which you can purchase on Bandcamp.

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🐣 EAUXMAR & CAIUS — HURT U

⌾ LISTEN TO HURT U BY EAUXMAR & CAIUS ⌾

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It's the far-off vocal sample in 'Hurt U' that gives it a sense of instant feeling; stretched, pitch-shifted and flung into the distance, this scratchy, soulful voice gives the track its name. Partway between hearing somebody sing in the shower and listening to bootleg MP3 of your fav new pop song, the sample is all love and reminiscence—sometimes close to your ear, sometimes a ghostly recolletion.

Teaming up for this number, Caius and EAUXMAR lay warm classic chords on a bed of thick, clarified bass, seasoning it with sparkling ornamentations and gooey plasma synth. Layering the dusty grandeur of old-school funk and futurist glitter, it shifts between classic house piano desire lines and the robust fizz of mechanical bass with sweeps of chiptune sensibility. The aural equivalent to a mouthful of tangy, wholesome food, the production on 'Hurt U' is deliciously stodgy and packed full of textures.

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• 🔔 'Hurt U' by EAUXMAR and Caius is out now on STMPD RCRDS.

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🐣 GHASPER — LUVN U

Future bass is the sort of genre that tends to produce many copies; similar beat sounds are used by different artists, the same fizzy synths flutter in the drops, accompanied by the same pitch-shifted vox. It becomes a paint-by-numbers: the same overall outline, which might be pleasant and interesting, but is ultimately reused in varying colours. This track, 'Luvn U' by US musicmaker Ghaspr however, is something different. Though structurally it follows the build-and-drop foundation, its heart feels in a different place, its noises scream with intrigue, even in the drop which, whilst somewhat typical, uses it to present a gorgeous and delicate antithesis to the more glowering elements of the track.

Yes: the first thing to note here is by and large future bass is pastel-toned, bright, summery, positive. Ghaspr instead conjures a brooding, nocturnal atmosphere, one that's feels quite garage-flavoured - mainly in the rainy-night vocal sample, the shuffling two-step rhythm of the beat, the rumbling modulated bass bulging beneath. It's somewhat sinister, the beat rattling with bristling textures, little insectoid noises wheeling in the background, a spooky music box plink, too. So the drop, with its sudden plasma beam of synth and sense of space, feels like coming up for air; the javelins of sunlight piercing through tracts of overcast sky.

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• 🔔 Ghasper's 'Luvn U' is taken from the musicmaker's Mima EP, which is out now available to stream and purchase if you so wish.

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🐣 OH MY MUU — WORTHY

There is something beautifully sad about this song—even before you learn of its origins, which makes it sadder still, there is an air of farewellness to it, the slumping gentle feeling of the plucked synth that weaves through, the poignant space left between each resonation: the emotion behind it rather than the melody itself, which itself is wistful in its slow cheeriness, like bright blurry eyed melancholy. And the title: 'Worthy'. It hits the heart, combining with the music – the frustrated whispering glitch of percussion, the close intimate feeling of the beat, the warmth and welling-up of the thicker synth and bass, the watery outdoors samples symbolic of life and living – to summon this small heroic hope in the downtrodden swirl of depression.

But in 'Worthy' its creator, LA-based producer James Im aka oh my muu, is not only building this emotive and inspirational soundscape in and of itself; rather it has been created as a tribute to Kim Jong-hyun, the K-pop star who committed suicide on 18th December 2017. As such the song takes on a whole different persona, and becomes bigger than it is: especially when it is imbued as it is with Jonghyun's spirit—a sample from the singer's 2015 song 'I'm Sorry' crackles throughout, broken and decayed, as if heard from an unknown elsewhere, uncovered by you personally amidst digital debris; a truly touching, intense element of the track that feels instantly timeless; a sweet swansong.

After more soft, playful synth, the track ends on a crescendo of fluttering grainy synth chords atop columns of bass, like tears and pain mingling with determination; or, having felt devoured by despair, it's the shock of having someone tell you, "it's ok, you are worthy." Catharsis and letting go.

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• 🔔 More excellent production from oh my muu over on his SoundCloud.

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🐣 ANOMALIE — NO WAY

The Montreal maestro of keyboard Anomalie inducts us once more into his world of virtuosity with 'No Way', a squiffy head-nodding hip hop-influenced track that with its boom-bapping organic drums and their ticking hi-hats gives an aching sway to it all, founding the whole thing on a cartoon sea, all of it bobbing on deep blue waves. And if you thought the regular beat was fine just wait till the little fill at 2:09, all riddly diddly—just one of many ornamentations that make this whole experience pretty opulent in terms of sound.

Alongside that bounce is the star of the show, the keyboard, the motif throughout refraining with all the squishy wah-wah you could imagine, plasticine electric slime giving it an elasticity which, although the track is a slow one, crams your soul full of potential kinetic energy, winding you up like a spring. The vocal sample – "No way…" – adds colour to the groove. The crashing cymbals as the refrain rolls around again, they help, splashing metallically. And it ends with lounge piano, warm and sophisticated, the swank of a fancy restaurant dawning as the wonky squelch of the streets ends.

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• 🔔 You may download 'No Way' for free if you choose to do such a thing.
• 🔔 Anomalie has a new EP coming out in April 2018, arriving after his debut Métropole EP last year.

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🐣 EMOTEGI — GNAW

The druggish quality of 'gnaw' by California resident and musicmaker emotegi, this sort of staring forward heavy eyes mildly imploding brain, is achieved with a number of ways throughout the track. The variation of the vocal samples is one thing: they switch from pitch-shifted to barely audible to scratchy and unnaturally refraining. The glitch, how the fizzing crackling electronics cackle in the stuttering circuitry, vocals like viruses.

We stumble into a relatively minimalist section that drips with the orange-lit façade and exhaust coated bricks of Grime, the bass synth bulldozing its way down in depth charge pulses, and the beat hurtling on with plunging clusters of abrasive handclaps, soft kicks joining the murk, and the melody a refraining spook on loop. (The vocal sounds around 1:40-ish like it comes from 'Finder's Keepers'—but it's doubtful.) And then later, to end the dark journey of this oozing computerised simulation, the kicks fall in a house pattern before falling away into uneasy slumber.

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• 🔔 As you can see above, emotegi's 'gnaw' is a free download, so why not.
• 🔔 The track was shared via Tsundere Fan Club, a collective and showcase founded by a few SoundCloud producers, including Irish musicmaker Harmful Logic, the person who gave us YES/NO Guest Mix 009.

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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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🐣 CITY FATHER — COQUETTE

A tumbling drumkit and a set of disembodied hands engaged in a rapture of rhythm, the hammering and clatter-tshh of the virtousic fills and thuds that trill and flood the air with hard bristling organic sound, the ultimate in percussive propellant, summoning the speed of rolling down inclines and speeding around corners late at night with dim street lights thumping your peripheral vision. The beat in 'Coquette' by LA producer City Father is full of life, both by extension of its sense of movement and also by its intimate, sound-coming-from-the-room-next-door aesthetic, ostensibly real sounds that breathe and scrape with robust physicality.

It begins thin, just this thunder-and-lightning of percussion bumping the track along on a backdrop of nocturnal void, as well as this sampled panting whispering and sheafing through the track like turning the page of a dusty book, the regular breathing of a late-night rendez-vous, but harshly cutting through the sound, a particular detail of memory on loop. The track morphs via scintillating synth details, fibrous and plasma-like, into something with more body, sludgy synth bass rising like a tide towards the end – something like a vocal hooting and crooning wordlessly colourful in the monochrome of it all – heating the track up into a scathing crescendo before it cuts off and fades into forlorn quiet, the empty feeling of despondence.

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• 🔔 This track arrives courtesy of LA-based label and artist collective Mateo Sound. You can download it for free via The Artist Union.

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🐣 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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• 🔔 You may download Tactilian's lovely track 'Nerves' from Bandcamp if you like.

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☟ Tactilian Internet Presence ☟
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🐣 DJ SEINFELD —TIME SPENT AWAY FROM U

The overdriven beat is what starts this track on its way to you heart. It is not only the superficial decay of it, the lo-fi crackle as the booming kick begins to distort into a speaker-blowing splodge, the grainy swishing of the hi-hats as they cut through the buzzing air, the exploding handclap hidden in the splash of curdled noise, the snare like robust cardboard thudding its accents on the beat—it's not just the beat existing in this way. It's not just the entire track existing this way, actually, the whole of 'Time Spent Away From U' shuffling with the rhythm of funky house, big sunset crashes of synth destroyed by sidechain and the decay of the track, the vocals crooning ancient lovesongs into the mix. It is not the mere fact of DJ Seinfeld's track existing in this lo-fi manner.

It is more what this actually conveys. What does it convey? When people think of vintage crackle, what is that? It's from turntables, from old records warped and scratched, from old never-replaced needles. But the nostalgia, unless you are old enough to remember it, from these is borrowed, nonreal. The nostalgia of the warping and destruction of this track is blissful and intimate, it has a bootleg feel, as if it were captured on a tape recorder in someone's back garden shed, as if it were being shared by friends on a hi-fi, the speakers already damaged from playing music too loud and now this late night discovery blaring on the speaker, all of you crowded around. It is not just the sound of a song being played a thousand times already, but of the soundsystem it's played through being used even more times. The warmth of this situation, the uncapturable time-and-place perfection of it.

This quality, this aching tragic nostalgic quality of the track, our generation's recognisable nostalgia, not borrowed—this quality, coupled with the sudden gutwrenching drop in the stomach that the big pianos of the track conjure, perfectly illustrates its title. Missing somebody, longing, needing; simply told, bold and blocky, brash and blunt. And through the bleary-eyed sadness of it, we come through the other side, the crunch and depression of it ceasing to quake our ears, the final few seconds of the track free of decay and distortion as we enter into our cold realities once more.

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• 🔔 This track is take from Barcelona-based DJ Seinfeld's debut album of the same name, Time Spent Away From U, which is being released on 3rd November courtesy of Lobster Fury (Lobster Theremin / Media Fury). You may pre-order the vinyl version of this, which features more tracks than the digital version, by clicking this hyperlink.
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🐣 IGLOOGHOST — SŌLAR BLADE

Firstly it's like an overdose of caffeine and the juddering jitters that go with it, the free-form jazz of thoughts that hurtle round the mind on this sort of high, thigh-jiggling anxiety, dopamine cranked up rounds of it uzi-fire like a fanfare of madness. None of this negatively. The hyperactivity at work in 'Sōlar Blade' by UK musicmaker IGLOOGHOST is nothing short of addictive, compelling; it is not going on around you but instead it flows into you, it vibrates you, it enjoins us to join it enjoying the Jupiter storm swirls of it caught up in itself all wonderful, all jelly beans and jewels tornado jam. The never-faltering full-speed footwork beat pops and thuds in rapid-fire flurries like Bruce Lee punches, pugilistic, simultaneously knocking you into a, and out of your, stupor.

Pulsating columns of buzzing synth bass paw at your ears as they pour through the track like molten canals of lead and electricity, creating instant solid robust intensity, and over them crackling and fizzing like sparks and popping candy are gold-dust clusters of melody in an out-of-control strobing zoetrope of different textures and flavours – pizzicato strings, squeezy needling synth, triumphal trumpets, wheezy flute-esque noises—literally blink, with your ears, and you'll miss them, such is the depth of details dredged up from IGLOOGHOST's mind. And wiggling with these is a tract of sped-up nightcoreish vocal, whence it came is unknown; however it does infuse the cosmic playroom feel of the track with something external and real world, albeit warped and gibbering.

'Sōlar Blade' dips somewhere in the middle, and towards the end, where we enter this playful otherword courtyard garden of sound with birdsong and a dark mystic melody flashing interdimensional oddities at the windows, in the lightbulb, through the walls.

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• 🔔 This wonderful track is just one of many wonderful tracks taken from the wonderful new and debut album by IGLOOGHOST, Neō Wax Bloom, out today on Brainfeeder. You may attain it for yourself digitally and physically via this piece of clickable text.

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🐣 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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• 🔔 You can find GEO's stunning 'For You' on Hype Machine and give it some love if you like.

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☟ GEO Internet Presence ☟
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🐣 11:37 — FALCON

A juddering twang of a synth bass, halfway between doinging a ruler on a table and the crundering of a plectrum picked bass guitar, a sort of synthesised bass vibraslap, and it pops out with groove that sits simply in the bottom layers of this bitesized track called 'Falcon' from newcomer 11:37—this enigmatic name is taken, the musicmaker says in the track's description, from their time of birth. Although in this digital setting, something they wrote calls to mind a DIY ethic that is often overlooked when it comes to SoundCloud producers: "Saw no need to draw it out," they said, "because if the Ramones can keep it short and sweet why can't I."

The producer keeps it bright and textured, adding shakers and shimmering tambourine hits as well as delicious wet handclaps and a gleaming chime that glomps into the distance, all before the main body of the track begins beset with a parade of pitch-shifted vocals. Wordlessly these call out rhythmically jumping octaves, skipping and dancing through the columns of thudding bass kicks and tight snares that punctuate the streaming glittering mist of reverb from those vocals, the ticker tape of hi-hats and sheafing cymbal whooshes subtly detailing the beat. Here in 11:37's debut track there is expansiveness, attention to fine-tuning the track's ingredients, sort of like the eponymous soaring falcon zooming in on the minutiae of the landscape with its keen vision.

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• 🔔 You can show early support for 11:37 and 'Falcon' on iTunes if you want.

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☟ 11:37 Internet Presence ☟
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🐣 SHIGETO — DETROIT PART II

Four years following the release of previous album No Better Time Than Now, Shigeto has produced a follow-up to 'Detroit Part I', an almost symphonic morsel of music, a journey of a track in which a brooding atmosphere is beset with bristling sounds, a melancholy atmosphere where a sense of downcast dystopia looms somewhere in the lament of it all. 'Detroit Part II' is a different beast entirely. If the first part of this sonic homage to the Michigan city charts abandoned buildings and boarded up houses and forgotten assembly lines, the dereliction of Detroit, all angular and atmospheric, then the second part is humanistic, living-and-breathing, focused on how people react to their surroundings in terms of art: its musical culture and heritage.

The track thumps along with a dusty wheezing organic thud of a kick, luscious handclaps and muffled snare rimshots and delicious clopping woodblocks and shuffling shakers punctuating and decorating this subtle driving force of a beat, a tangible waterfall of textures. Soft synth bass plunges fuzzy giving the track a wandering breezy groove, the meandering jazz feel of it augmented by saxophone peals that prize open the heart of the song and allow life to flow forth. Barely discernible, a mist of gentle keys gloss glassy nebulous aching and accepting, merging with the whispering tones of the vocal sample that reverbs into the streaming percussive beat and its homely comforting sense of space. This is a change of heart, the silver lining of the cloud, the other side of the coin.

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• 🔔 'Detroit Part II' is taken from upcoming Shigeto album The New Monday, which will be released via Ghostly International on 7th October.
• 🔔 The suitably atmospheric video for the track, a production of The Work Inc., shows Zach Saginaw (real name of Shigeto) driving around Detroit and recording the track in glorious greyscale. It was directed and produced by Brandon Rottman.
• 🔔 Here's the yes/no review of Shigeto's 2013 album No Better Time Than Now.

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