Looking Back Through 2020 | 27/12/20

Feels like this year is really trying to go out with a bang at the moment, everything in the UK is just sinking deeper into chaos and it's hard to see things getting better anytime soon. I still think there's benefit in the sentiment of 2021 brining a bright new dawn, even if it's just something to keep us going. Reading through lots of 'Best of' lists makes me realise the sheer magnitude of talent and art that's come through in the last 12 months, and I feel saddened I've not experienced it to its full potential - so that's what I hope I can do more of next year more than anything. I'd like to share some of my favourite sonic moments myself - as ever just a personal list and am in no way qualified to be making statements about what is best. That said, I'll back that it's all great music, so listen along if you can (here's playlist link).

Can't Fight (TSHA Remix) - Lianne Le Havas

Melding the sun-soaked sweetness of Le Havas' mellow tones with the eager optimism painted in TSHA's sound design makes for one feel-good chill out. This came out at the start of summer, when we were just starting to be allowed outside a bit, and brings me back to whole days spent in Burgess Park. The suspended chords in the chorus using a loop of her voice is the most technically eye-catching, but all the details are splendid; little bursts of synth melodies here and there, the various tinkling percussion. A heavy sidechain and modest increase in tempo allow for a change of mood from the original track whilst maintaining the basis of its beauty. The whole album from Lianne Le Havas is thoroughly enjoyable, and while this is my favourite thing from TSHA this year, I'd also mention the Griff garage mix which I had on repeat for ages.

Alone, Omen 3 - King Krule

I'm pretty sure I've mentioned this track and Anquetil's accompanying video numerous times this year, but here it is again. It's short and sweet, and the instrumentation feels natural, bringing you into an idle haze with the playful swing of the hihat pattern. Guitar holds steady, as bulges of synth chords are interspersed throughout. Archy stays on the softer side of his vocals other then a few delay echoes as you're taken from A to B on this through-composed journey.

Heartbreak - Bonobo, Totally Enormous Extinct Dinosaurs

Right back to the 80's and 90's instantly with this one. 'Heartbreak' marked the first release to appear on Bonobo's new OUTLIER records, a signpost for more club-focused sound to come (exciting!!). As such, the strength is in the drums, which feel utterly UK, despite both producers being based in LA. Looping melodies focus on capturing that classic rave euphoria, and a huge buildup from 2:08 gives space for focus on the Class Action sample. Drops are simple but effective, and I love the little breakdown outro - think that will sound huge in a mix.

Lifetime - Romy

From one throwback vibe to another. This time we see a full-on embrace of cheesy Eurodance 90's vibe in an anthem that feels hyperpop and indie simultaneously. It's endlessly fun, a love song that's charmingly naive during every moment the bass bounces through. The cluster of synths are all catchy, but the high-octave motif, ever so slightly off beat that you can hear best from 2:30 is my favourite. It's a bittersweet one; as exciting and wonderful this solo debut from Romy is, it's just screaming to be heard on a dancefloor with your closest friends. In this way, 'Lifetime' is the most representative of how music has felt during 2020.

Everything U Need - Overmono

Definitely wins best artwork 2020. Something dark and gritty to ground this list so far, 'Everything U Need' coats a core detuned motif with a plethora of sharp and snappy percussive lines, like darts shooting in all directions. This is then enveloped again by sustained bass and pad notes, encapsulating the mix with a wall of sound. Setting the bar high for what is a strong EP overall, this title track's spiky exterior would allow it to bring its emotive and introspective interior to an industrial basement setting.

We Once Knew - Jagā

I weirdly had the most profound response to this track while queueing for the gym a few months ago. The emotions in the track and compelling and inspiration, yet at the same time forlorn; as if with nostalgia for something long gone and never coming back. A real tear jerker, the steady march of the break punctuates the soundscape of cloudy pads. We set the scene in order to drop the drums at 1:28. The vocal sample is pitched up and heavily processed, but still feels desperately human in it's tone. As the drums drop back in, we glide through to the end of the track in a state of inward reflection. Potentially my favourite thing I've heard this year, shout out to my friend Rich Rose for showing me this one!

My Gemini - Kllo

One of the standout tracks from a stellar album, 'Maybe We Could'. Combining dance music sonics with emotive pop songwriting, Kllo produce a distinctive and memorable sound with each track that comes out. This one feels steeped in Burial influence; at surface level in the vinyl crackle form start to finish, and looking deeper in how the bassline will enter to transform the tonality of the chords over top. A blending of full lyric line vocals with looping cuts and the voice again sampled for the chords creates unified euphonics with a signature sound.

Reflecting Light - The Avalanches

After a campaign that steadily made its way through the entirety of 2020, accompanied by visuals from Johnathan Zawada, December brought us the release of The Avalanches' 'We Will Always Love You', a stunning sonic journey with a handful of creative collabs. The production aspect of the album is strengthened by the patchwork-style weaving of samples, here seen with Vashti Bunyan's 'Glow Worms' in the mix. It's hard to separate the track from the rest fo the album, but something in the strings and Maitreya's captivating vocals feels incredibly cinematic. This melting-pot of different sounds forms a product that feels futuristic, innovative and yet firmly familiar.

It's Gonna Be Perfect - Kev Sheridan

Kev Sheridan's classical music background is evident in subtle refinements of 'It's Gonna Be Perfect', notably in the 8-bar long melody that loops across the track. Its relationship with the tonality and harmony of the track makes it addictive, and with gradual shifting in its processing remains fresh to the ears after countless replays. Beat-wise, the Berlin-based Irish producer works this break to its limit. The pair of loops, drum and synth, you would imagine to quickly get boring, and yet the space and depth explored so stylishly in the track's mix and arrangement creates a powerful sense of narrative. The rhythm and melody are like two wheels of a bike, in the same constant motion, while taking you on a journey of transforming landscapes.

Black Dog - Arlo Parks

It's been an exciting year for the poetic singer-songwriter from South London, and I've been pleased to see her music stay consistently interesting despite expanding pop success. 2020's highlight for me is this touching plea with a loved one in pain. The lyrics are tender and vulnerable, matching perfectly with Arlo's soft, hushedly rasping voice. There's an ASMR quality in the guitar recording, with focus on the organic sounds of the instrument outside of the musical tones - the friction of the stringers against the fingers, the occasional tapping against the body. The ascending piano notes give a moment of ascension out of the grey melancholy, before letting us glide gently back in.

Alien Mode - Pearson Sound

Here's a fresh serving of intergalactic energy. Pearson Sound's first EP with Hessle Audio since 2015 is consistently effervescent, but this track evokes the call to the dancefloor strongest. Percussive elements, both synthetic and sounds from across the globe, merge into a rapid rhythmic underbelly underneath the variety of synth motifs, all mutating and other-worldly, befitting the track's title. The main sample of 'you're not losing your mind' is stretched and stretched, bringing out the metallic artefacts and is reminiscent of classic UK garage (think 'Ripgroove'). 

Both of Us - Jayda G

I'll admit that I didn't expect this one to impact me as much when I first heard it, but across the months the looping piano chords have cemented themselves in my brain and now any time someone puts this on it gets instant reaction. Jayda G captures the genuine essence of house without attempting imitation. Vocals are dreamy and give a real sense of atmosphere. The huge slowdown from 3:24 right up to 4:30 is quite frankly iconic and I can imagine being a lasting festival memory with ease if dropped at the right moment. Very deserving of its Grammy nomination.

That just about does it, but I feel like I've left out loads still. In terms of albums, there's a few not included within the realms of the above that I think need a mention too. The open of the year saw great stuff from Against All Logic and Grimes. I think Dua Lipa released a pop classic with 'Future Nostalgia', and both SAULT Untitled albums (1 & 2 here) feel incredibly important and stunning listens at the same time. Other highlights for me included Shinichi Atobe's 'Yes' and K-Lone's 'Yelli'. Not to mention, Four Tet's double drop on Christmas Day. I haven't included in the above as they only just came out, but 'Parallel' feels like a refined masterpiece and '871' gives us the full array of his creative experimentation. Anyway, here's to 2021! I hope I'm on a dance floor with you before we know it. xx

the sun is shining the music is PLAYING | 07/08/20

Hello all of you! I'm choosing the hottest day of the year in London to get round to writing this, probably because I don't have the willpower to do anything but flutter my fingers over a keyboard. I'm finding less and less time to write bits these days, and obviously less events to write about, which is sad. But I will always keep this up in some form; I've been learning to produce my own tracks recently and as results get better, potentially I'll start including some production breakdowns of interesting bits I've done during the process on here, if that sounds cool. Anyway, today I want to do some old school 'let's talk about the music' analysis so have taken a handful of tracks to talk about. As usual, let's look at a male vocal, female vocal, upbeat electronic, ambient, but can't resist two wildcards this time. Sit tight, get your iced coffee ready and let's go... 

#1 - I Wonder Why - Joesef, Loyle Carner

The endless stream of the on-beat tipper-tapper on the hihat underplays the dulcet tones of Joesef and Loyle Carner's classic flow. While the latter's verse is briefer than feels fitting, both bring a cool serenity to the track. Backing vocal 'ooo's and bulging strings merge and split to provide a lush bed for the leads and the guitar provides some countermelody, particularly in the spoken verse. It feels very 'smoke over a burnt orange sunset' throughout, with the soundscape settled very firmly into evening chill-out. It's the first collaboration I've heard from Glasgow's Joesef so far, and does go down very well, although I can imagine more exciting combinations in the future.

#2 - A Mirror - Kllo

Kllo's new album 'Maybe We Could' dropped a couple weeks ago, providing us all with a reflective peace to bounce against our eardrums. This track in particular actually sounds like your reflection in a lake, the beat ripples that wobble across it. The vocals in the first minute are spread across the stereo field and at different octaves, building up slowly on top of each other, giving the sense of whispering and chattering around your head. As we continue, the vocal samples continue to build in and out of each other, and the drop at 01:23 lends interest but doesn't break the peace. The plucked harp-like instrument coming in after the third minute broadens the stylistic influence on the tune, setting us up for one more drop and keeping the pace up. A lovely little number, but really do take the time to listen to the whole album for further context.

#3 - SYL - salute

If I had to describe salute's sound, I'd say it's the authenticity of UK garage injected with whatever's in Super Mario's mushrooms. Elements feel old school, yet there's something almost hyperreal in the brightness of sounds chosen. SYL is a case study into this, with the rising melodic motifs reaching into the heavens and pitched up vocals even more celestial. The EP also features 'Glamour Loop' and a version of this in reverse with the drums rearranged. It's fascinating how great they both sound, but particularly with the reverse version how intended it sounds. Not even sure which one is my favourite, although SYL makes the list for me as I haven't been able to get that 8-note melody that unites the core concept out of my head. Big fan of the album art also; the beams of bright light leaking into the landscape uncontrollably feels like a great reflection of the sound itself.

#4 Pius in Tacet - Pantha Du Prince

Pantha Du Prince, aka Hendrik Weber, is a german composer, producer and conceptual artist, and that's exactly what this track feels like; art. The brooding rhythms of the metallophone keep the trance of the track continuous as the beat brings us between moments of tension and release. Percussion from around the world is reminiscent of Bonobo's style, and the snare from about 03:30 breathes some fresh air into the story. I find the cello to be one of the most wonderful, earthy and emotive instruments in the world, and to have it used here for the bassline allows Weber to ground what otherwise feels like a very ethereal atmosphere. It's enjoyable to hear regardless, but its solemnity really brings something special when listening in solitary contemplation.

#5 - Ur2yung - Machinedrum

Machinedrum is back with an album releasing on Ninja Tune! Can't say I'm not excited. This one was an instant first-listen banger for me. The way low and high pass filters are used constantly throughout just makes you feel so gassed when the unfiltered hook comes back in every single time. It's an example of how a track that remains rhythmically the same for very long periods can avoid ear fatigue. The enormously stretched out section from 2:13 is particularly unexpected, but incredibly satisfying to allow your mind to sink into after the groove so far. It just feels very new and exciting from the North Carolinian native, and I can't wait to hear what else he has up his sleeve.

#6 - Up Inna - Cadenza, M.I.A., GuiltyBeatz

To be honest, this is the first track I've heard M.I.A. on that I've loved in a long while, and that alone has had me obsessed. Everything about it feels rapid and frantic, bringing you into the frenzy right from the get go. Just as you think there are moments of repose, the next line of agitation begins to build in. I love the occasional moment of unique movement in the bassline, and various sounds that are stylistic of South Asian music are blended in to add that flavour without feeling cheesy or try-hard. Something about the way words seem to permeate the entire track but without ever carrying the meaning in the song fascinates me. It's almost addictive, and bonus points for being a great one to run to. 

So, that should do it for this post. I'm going to try and make it to the electronic music exhibition at the Design Museum in the next few weeks, so hopefully next time I sit down to write it's about an event, for the first time in a long time! Really enjoying the playlist I've put together this week, which you can listen to here. Enjoy the rest of the heatwave weekend everyone! xx