Wednesday, 17 January 2018

🐣 HIDDEN SPHERES — LIANAS

The delicacy of this tropical track is beautiful, charting its namesake – liana, a species of woody vine that climbs to the top of a forest canopy for sunlight – as it twists slowly onwards towards life, glassy synths illustrating the robust nature of these vines with their percussive feel and full-bodied warmth, as well as the clack-clopping of subtle snare-woodblock. Manchester musicmaker Hidden Spheres inches his track towards brightness, gradually adding elements that conjure dappled sunlight, like vital breathy hi-hats, and a simple two-note horn refrain that blasts out low-key triumphantly.

The natural element to this chilled and breezy lounge-flavoured track is more than in the name, however. It begins and continues throughout with a backdrop of the rainforest itself, ambient sounds of insectoid white noise and mammalian hoots and indistinct birdcalls, taken from 1970s documentary Wonders Of The Rainforest. And so with the veil of nature draped firmly over the bumping kicks and skiffling percussion, which includes the tactile rolling of bongos, 'Lianas' is with those gorgeous chords and the aching rise and fall of more fizzing synths, lush and living, playful and paradisiacal: music for the splendour of the natural world.




πŸ“ 
Hidden Spheres Internet Presence ☟
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🐣 MATT SOKOL — THE ART FACTORY [εˆζΌ” • PREMIERE]

There is a great deal of urgency in Matt Sokol's 'the art factory', a track brimming kinetic energy courtesy of collusion between breakneck drums and earthy handfuls of synth arranged in robust arpeggios. Melodies cry out in its first half like little robots communicating brightly with chirruping bleeps-n-bloops, evoking the scene assumed by its enigmatic title: an art factory, where art is made; the sound is industrious, cheerful, with dips of intrigue and doom effusing from a couple of key changes within the first minute. Who are these robots on the production line? For whom is this art being made? We wonder.

Talking to us about the track, Matt Sokol – a drummer himself as well as producer – explains the hyperactive beats: "My love for drums and youthful obsession with math rock drumming means I can't help it," he writes in an email to us, "so many of my beats are crazy fast, flying all over the place."

'the art factory' goes through not only key changes, but whole stylistic shifts. At 1:14 the arpeggio falls away leaving a naked footwork beat thumping beneath a new set of spooky, gleaming synths, chiptune-esque (the VGM sound is "ultimately a coincidence" however), signalling a darker twist behind this art factory, a growling crunch of distortion raging till its crescendo at 1:46 summons an overwhelming sinister tone; look at the artwork—is that blood trailing from what we assume is the factory? The track ends with calm and steady beat, gentle guitar riff, with chilled sweeps of the strings—things are back to normal. It is a multifaceted offering. These are more than superficial changes, however, and are reflective of a thought process.

"I think my mind moves faster than average, both in good and bad ways," Sokol tells us. "I can think fast but also sometimes I can think too fast and go down crazy intellectual pathways in my mind that are not useful."

"With music it seems like that aspect of my personality comes out in overdrive."




πŸ“ 
Matt Sokol Internet Presence ☟
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Tuesday, 16 January 2018

🌏 VISITS — MATSUSHIMA

It was January and the Japanese town of Shichigahma was barren, the rice fields turned to a thick mud and the roads steely and slippery with ice. Overnight, as we peered out from the warmth of our floral futon bed, the sky has turned into a whirling white blizzard.

We had followed Basho’s path to the north of Japan and found ourselves in a snow covered paradise. The next morning, in layers of thermals, gloves, and hats, we set off to seek out the famous islands of Matsushima. Passing the next door neighbour as we left we called "good morning." He was busy clearing his driveway of snow and told us to be careful; the houses in the town are built on high concrete structures with slopes down to the road which work as a defence against tsunamis. The slopes were slippery and wet with snow and ice. The neighbour asked us where we were going. "Walking." we replied.

We walked along the empty road, passing some builders who looked at us in blank disbelief and stuttered a shocked hello as we said hello to them. We hiked up to the local Shinto shrine, Tamonzan, with views that overlooked the sea. The view from Tamonzan shrine is the Grand View, number four of the four panoramic views of Matsushima. The famous islands are one of Japan’s top three scenic spots.

From where we stood the islands scattered below spread out beneath us, the pines that grew from them stretched and bent into horizon, etched on the landscape like a Hokusai piece. We sat in the cold on a bench and took in the seascape. The beauty of the famous coastline revealed itself as we watched industrial boats tick on their way to different islands on different bussiness. This is Japan, a view that could not be replicated anywhere in the world, every detail so Japanese in its origin. Even down to the threat of Tsunami, everything of this place is stitched with the centuries of people who have come here to view these islands and who have sighed at the beauty of the pines. Basho, the famous Japanese haiku poet said everything that needs to be said in his travel journal, Narrow Road to the Deep North.

Matsushima ah!
A-ah, Matsushima, ah!
Matsushima, ah!

The following day we caught the train from Shichgahama, ten minutes away, to Matsushima itself to seek out some more of those famous views and explore some of the islands on foot. At the station we left the small crowd of domestic tourists and followed three girls over the road to a stairway carved into some rock.

The steps we coated in ice and the girls we had followed were slipping and sliding their way up them. We followed them in the same manner, unaware of where we were going or where the stone staircase would lead us.

The stairs led to are red wooden bridge which connected to one of the island. The delicate beauty of the perfect islands and their beaches covered in snow was almost unbelievable. Like a scene from a Japanese postcard of times long before. We ran around the small paths made by footsteps epochs before ours, exploring the island with excitement.

It turns out that The Legend of Zelda is actual real life. Well, that’s the funny thing about being in Japan: after playing Japanese games for so many years, everything in the games starts to makes sense and come to life. The paths and the forests, the small statues and the secret holes. It was like entering into an actual Zelda game.

This particular island had home to many different hermits over the years, each now represented by small statues. We clamber through the holes and caves that the hermits had inhabited. We hid and laughed at how we even found ourselves here on snowy islands in a world of such delicate details - we were from grey old England, this isn't where we were meant to be. We stood and listened to the steady drip of the snow melting from the thatched roof of the Shinto shrine and falling to the smell of the carpet of wet pine needles. This was paradise, not the desert-islands-tropical-sunshine paradise but a paradise so perfect and ancient it felt like being back in the past before everything that exists now.

We moved onward, this time further up the shoreline to Fukuura Islands, a more famous and therefore much more touristy island. To get onto Fukuurajima (福桦峢) we had to pay a small amount to cross the long red bridge connecting it to the mainland. There were tourists milling around from other towns that had braved the cold to see the famous view of Matsushima. Once across the bridge we took the long path around the coast, weaving past a cafe where we bought a little daruma doll with a fortune rolled up inside of it and looped around up wooded paths to a view across the sea of some of the 260 islands of Matsushima.

We sat on a bench and, in a very British way, ate the sandwiches we had made for ourselves in the morning. Basho was with us as we sat and looked at the pines in the breeze. We read sections on Narrow Road to the Deep North and looked out at the different hunks of rocks glowing white in the dazzling January sun, the land rising and curving out of the blue like it always had done, like it was when Basho had sat here on his journey and questioned how something so beautiful could exist.

Basho’s land is still here. The perfect scattering of pine-clad islands, the textured blue seas, the sandy beaches, the waving pines and the winding paths are still here. Tourists are here too, but not lots of them and, if you come in the cold of the snow, you can find yourself a spot to be alone. Sit and look across the famous vista of the pine islands, they have survived storms and tsunamis, look across the bay and see Japan as it was centuries ago, see the islands as they were and go on your own discovery of the deep untrod road to the north of Japan.


REBECCA ALICE SAUNDERS
@yesnotravel


🐣 NATHAN FAKE — SUNDER

This track begins and continues like a sΓ©ance: a plaintive hollow synth faltering and calling out, later layered and turned into something spooky organ-like—the beat thumping like the thudding heartbeat of a cynical believer, overdriven with simple fills that remain this constant biological function of the track as different percussion comes in and out of view: sharp hi-hats, sshhing shakers like panting pitchshifted, rattling metallics and eventually this garage-flavoured snare but decayed clacks into earshot.

Contact is eventually made. The dearly departed dismal diction at 3:27 the the synths grow ever more intense, the inexpressible emotiveness of Norfolk native Nathan Fake's live, raw approach to sound getting the better of our consciousnesses—"There are no post-edits - they are left completely as they were recorded - so they're quite messy but I love that energy," he says, explaining the sound.

The hi-hat keeps scathing time and the beat falls away and the synth warm and shaking and screaming out for something, for a connection: still that plaintive sadness, human closeness across the digital void or the vaults of time. It calms, recedes, ends ominous and exhausted and alien with twiddling synths and this one final note of dissatisfaction and regret and joy all at the same time. Intangible ghosts, old friends, ebbing memory.


  • πŸ”” This track is taken from Nathan Fake's exactly-the-samely titled Sunder EP which will arrive via Ninja Tune on 23rd February. You may stream and pre-order this track and the EP itself respectively in various ways on this page here.
  • πŸ”” The artwork for the EP (above) was created by Hubert SolczyΕ„sk. It echoes the sadness, the new-and-old-ness of this track, and presumably the four-track EP itself; the desire to reach out and touch something that is not and never has been really there: both the past, and our ephemeral online worlds.


πŸ“ 
Nathan Fake Internet Presence ☟
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Monday, 15 January 2018

🐣 FANTASTIC MAN — REALITY CHANGE

"Change reality…" The vocal sample in this track is a fitting one, breaking through its hypnotic heart with foggy delay and reverb like an interdimensional mantra and suggesting this most wild and fantastical of notions. It fits alright, suiting the fluttering synth of the track, the way it phases in and out, the glassy sounds that fold into the track like sugar into a delicious batter for the brain. Like rain, hi-hats seem to fall golden and white-noise pitter-patter, chilled rather than agitated.

Summoned by Australian musicmaker Fantastic Man, these sounds are the thinner spiritual elements of 'Reality Change', the veil of somnolent heavy-eyed air, the spirit of sunset-gazers, leg-crossers and cocktail-drinkers, a Balearic fantasia. At the same time, acid synth wiggles in, urgent and silly and elastic; and the booming bounce of bass and the unrelenting kicks ground this rave-wise into something earthly, the visceral anchor for its flights of fancy; at its core, these two retro styles inhabiting the same groove.


  • πŸ”” This is from Fantastic Man's P.M.T.C. 12" (featuring 'Reality Change' alongside one other track, 'Cool Waters'), released 8th January 2018 via Superconscious Records. You can purchase it on Bandcamp for a certain amount of currency.


πŸ“ 
Fantastic Man Internet Presence ☟
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