Wednesday, 14 June 2017

🌭 MICHAEL O — YOUR WAY

There is something wonderfully intoxicating about this track, something mesmerising—maybe it's in the general uplifting atmosphere of the afrobeat wholesomeness of it, or maybe it's something more physical, in the cyclical three-note melody played throughout that draws you in like a hypnotic spiral, in the instantaneous get-up-and-move feel of the rhythm, the warmth of the track. It soothes and caresses, enlivens and boosts, feels like a 1UP, feels quaint and whimsical but solidly ready for dancefloors and poolsides across the land. Like an uncut gemstone, this is the unassuming beauty the herald of bittersweet emotion that is 'Your Way' by Los Angeles-based Michael O.

There is a delicacy about the synthetic bass sounds, something fragile there, the reverb gently whispering off each note as the sprinkling pings of the repeated melody, feeling like tiny instruments, continue in their happy splendour. The dancehall drums with their offbeat and their busy clacking shuffle suggest carefree movement, but the gradual warm synth that flows in and out like waves on a beach, there is a far-off brave acceptance of something adverse, yet that plinking melody remains upbeat—this is like the true tides of emotion hidden behind a cheerful personality. The tranquillising lilt of the vocals is like a lullaby, even with the autotune hardening the tone. An essence of a person, of an emotion, is in this track, like alcohol in a cocktail, sweetness and sourness and the inebriating feel, an effortless mix of many ingredients, of many feelings, that slides effortlessly into your soul.




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Michael O Internet Presence ☟
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🐣 TCTS — DO IT LIKE ME (ICY FEET) FEAT. SAGE THE GEMINI & KELIS (MELÉ REMIX)

TCTS's original 'Do It Again (Icy Feet)' is a brooding slice of funky house that features rapper Sage The Gemini and the lilting voice of Kelis aching in the almost taunting pseudo-hook "icy feet…"—but in this re-do the Manchester producer's track gets more than just a facelift: the cold synth syncopation and robust rigid beat, the dark aura, the digitised mechanical body of the track – as well as all its shuffling funk – gets new life injected into it, becoming a warm, organic, living-breathing track courtesy of Merseyside producer Melé. Snare rolls drop in and snake through lively rattlesome, carnivalesque percussion clatters between bars: it lives!

The serious slightly screwface nature of the TCTS track is, like a frown turned upside down, put on its head and has in this remix all but dissipated, with Melé adding a few cups of French touch-flavour impiousness, the bassline up-front and playful as it bounces through. Similarly the vocals get a slightly oddball treatment, warped and layered and twisted with atonal robotic pitch-shifting, taking the brazen almost cocky nature infused in the original vocals and making them less confrontational, more fun and trivial and leftfield as they repeat unrelenting, "I bet you can't do it like me…" Melé has birthed a yang to the yin concocted by TCTS, conceiving and delivering not just a light side, but a lighthearted side for his body-moving remix.




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Melé Internet Presence ☟
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TCTS Internet Presence ☟
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🐣 MIKE LIGHTZ — DISTANCE

The resounding fluidity of this track suggests a sense of relaxation, the chimes that ring out into the air, the constant breezes of ambience, but there is something more heartfelt at work here than simple chillment. The tone of those chiming chords, their gradual subtle agitation in indistinct arpeggios, the occasional sweep of guitar, that sharp chord leaning to the more lonesome side of noir, and you realise you are in a whirlwind of icy flavours, of emptiness, of lamenting, of exactly the eponymous state of the track itself: 'Distance'.

North Carolina musicmaker Mike Lightz claims in a short pitch about the track, "I had to give up my year long relationship in order to make this." Accordingly it is in this track that there is heartbreak, the idea of distance emanating from the reverbing sounds of the track, stretching out between two individuals and separating into searching tendrils that search in vain. The beat, disjointed and clacking, creates a sense of dislocation, popping in the sludgy whirl of sounds, the liquid swirl and gentle sounds like muffled glass breaking and the low looming rumble below, becoming more frustrated as the hi-hats begin to tick with the insistence of passing time. The expansive nature of the track, its almost pastiche noir moments, hint at a positive side, an optimism, in the midst of glimpsing fretfully into a fissure of despair.




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Mike Lightz Internet Presence ☟
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🐣 BARAKA — LEISURE

The beat here, the decayed whispering tap of the boom-bap beat, shoots a beam of instachill as soon as it starts its swaying swing beneath the bendy bass and liquid stream and sultry vocals that fall in like a fog as the beat becomes more legible and the kicks bump the ambience with their cassette tape thuds. This horizontally inclined track is from producer and jazz pianist Baraka (real name Geoffrey Dean) and it is very fittingly named 'Leisure'—and that is exactly it, jazz flavours combining with beats to create a sense of blissful nothingness.

Effusing from the track – from its golden haze of sound, the soothing textures of those crooning vocals, the ambient plasma of synthetic noises, the deep chimes, the snippets of flute that wind in – is a big sense of leisure, of having nothing pressing to do, of melting into a sunset, dissolving into nature, occupying oneself with no occupation. The way the sounds weave between each other, a loose tapestry of languorous dimensions, this one fading into that one, this one falling away, now all of it gradually breaking only to return in fuller form, this pattern is random in the gentle way that clouds pass by overhead; so here we are, outstretched in warm glinting grass, observing the ebb and flow of clouds pluming majestically in its grand wisps melting and growing and merging and going.




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Baraka Internet Presence ☟
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Tuesday, 13 June 2017

🐣 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.


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


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5thPlanet Internet Presence ☟
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