The Vast Expanse of Sound | 1/4/20

Good evening, hope this post finds you well and that you are keeping safe during these worrying times? That feels like the standard way to open every message right now one of many signs of the times. While the majority of the content I've been seeing produced has been vapid, trying to get a share of the hype with momentary fads and forgettable trends, it's undeniable that the blunt change in lifestyle has bred some authentic, isolated cultural and societal instances. Home video is everywhere, clapping for the NHS was a real heartfelt moment, but actually it's the nuances of things that seem to be happening naturally that I've found interesting. In general, people are friendlier and more polite outside when you do encounter each other on your run or whatever, for London at least, and WhatsApp voice messages, themselves spreading at viral speed. The giant lasagne being cooked underneath Wembley Stadium is like some sort of myth of the quarantine period, generating a myriad off-shoot stories from its sturdy core. The one that has struck me the most exciting, has been a version of Billie Eilish's 'ILOMO', supposedly '8D Music', in reality 3D binaural audio. [I have no good visuals this time, so enjoy some pictures of my dog]

Listen to the track here (with headphones). It's an absolutely incredible example of the technique used in post-production, essentially using a panner and reverb, but it's immaculately mixed so that the sound literally sounds like it's floating around inside your head. Of course, it's just something cool to pass along once you've listened, but I really think there's a larger comment on our current reality. Human beings aren't going to lose their interest in music, and a fundamental part of what makes it so brilliant to us is sharing a sonic experience with the people around you, hence why moments from live music stick so vividly in our minds for years and years. If we're unable to be with each other physically, this desire to share has to take a new form, and listening to a track like this for the first time evokes a unique reaction that can make us feel connected to each other in the novelty of this 'sonic experience'. It's a new connection, outside of the memories from normality, that still feels personal in the word-of-mouth method of passing from one to another on WhatsApp. 

As I was writing up the points I wanted to cover for this yesterday, Max Cooper released a version of his track 'Synthesis' using the same 3D binaural processing technique, which is available here with great visuals from Kevin McGloughlin as usual. It's not quite as dramatic as the above, but still highlights the sheer amount of space there is within the sound environment that isn't usually utilised. He gives a much more in-depth explanation of the science behind 3D music in the description, and the timing of this release made me wonder if this is something we're going to see more of in the coming months. With live music essentially of the cards and everybody clambering to fill the void of potential exploration in the enjoyment of music, perhaps it is time to truly rethink the listening experience itself? How much beauty can you hide in the corners of the world that's being built between your ears?

As of yet, the effect is only achieved when you wear your earphones to separate the sound waves, but technology never ceases to advance. Should these effects be achievable or even elevated within a home sound system or exhibition space, I can imagine that the journeys you could be taken on artistically could be sensational. Yoga sessions could transcend into all-encompassing ambience. The illusion of VR could be taken further and further. Maybe it's not possible, but the current state of the world has made me realise that culture will constantly evolve and adapt to still bring the most incredible ideas to light, no matter how heavy the restrictions.

In terms of the electronic music industry's attempts to keep 'live' music continuing, there have been plenty of amazing streams going on.  Resident Advisor had a whole virtual club, Club Quarantäne, going on all weekend, although the sets were prerecorded. I really enjoyed Mall Grab's Boiler Room, but DJ EZ definitely took the cake with a 24 hour set. Shoutout to Bandcamp also for a 24 hour period of waiving revenue shares, meaning musicians made $4.3million for their own music.

On that note, there has been plenty of amazing great music to keep us going! Bicep finally released the first track from their upcoming project, 'Atlas', signalling hope that dance floors could be worth the wait when summer comes round. Maribou State released their 'fabric presents' instalment, blending some dance tunes in with soulful classic sounds, a real spread of genres and consistent movement between acoustic and digital, vintage and contemporary. Little Dragon delivered a new wave of mostly chilled vibes, with a couple tracks to get you moving mixed in, but the most exciting release for me has been Nicholas Jaar's 'Cenizas'. It's as off the wall as you'd expect, drawing sounds from a variety of classical areas, from solo piano to the celestial sounds of male choir. With moments of intense, industrial grit to balance the album out, the overall tone never loses the gentle grace of a single, snow-white feather while it floats above an endless, menacing chasm. Check it all out and some more great tracks in the playlist here, and as ever, stay safe during these worrying times. xx

BICEP x PRINTWORKS 21/11/18

I've been complaining to all my friends about how sad I was that I didn't get tickets to Bicep at Printworks 'cause I thought they were too expensive at first and then when I realised I had to go it was too late. It's funny how if you complain about something enough, you annoy the universe so much that it just gives in. So, on the day of their first show, I found half price tickets, and of course, copped them. Shoutout to Will on Instagram.

I've seen Bicep DJ sets before and they've been very much enjoyable but nothing I've wanted to go crazy about - the thought of a live show was much more exciting to me. The album has a consistent sound and yet variation in mood enough to create highs and lows in the set. As I'll explain later, this definitely turned out to be the case. We arrived just in time to catch the beginning of the performance, and there was a general murmur of excitement running through the crowd. Which, by the way, was massive, and the way Printworks is laid out boxes you in under such a high ceiling that the crowd seems even more intense. 

They opened with 'Orca' - first song on the album, pretty straightforward choice. It was built up really effectively to bring us in and get us hyped for the show before dropping the bass heavy. Their 3-bicep logo was pulsating on the screens behind them and the ground was shaking. Truly captivating opening. I think 'Metro' came next - my memory is a little fuzzy here so can't say much - but 'Rain' was the next huge tune. I've mentioned it before in this blog and it is without a doubt one of my favourite tracks from the duo. The crowd mentality was superb, it was almost like the rails up the walls around us were shaking with the rhythm. The light show onstage during this was particularly impressive - as well as the general geometric patterns, flashes of light would fade in and across the screen; visually mesmerising, acoustically brilliant.

Suddenly, we move into the Bicep remix of Isaac Tichauer's 'Higher Level', and the cold blue-green tones onstage flash into a passion of red and orange. It's like heat has been turned up on the gig, and at the same time it's refreshing to move into a remix from pure album content. It's raw and blunt in its sound and approach, I feel like the intensity levels at this point in the show were at their highest. With this being the case, it was then an effective transition to move into 'Just', returning the lighting to crisp dark blues as the robotic synth melodies echo around the dark, old printing house. I really enjoyed this one as I think the acoustics of the venue worked so well with the music and the ease off on intensity was peng after the last track. 

Next came 'Opal', which was likely one of the most anticipated numbers. It delivered for sure, there's no way this banger couldn't slap. The rotating biceps came back on to the screen and everyone was singing along, how lovely. I thought that I would be wanting Four Tet's remix, being such a fanboy, but I actually really liked that they kept mainly to the original; it reminded me how great it is stand-alone anyway. They also took it down a heavy techno route towards the end which was GREAT, as gritty as you could ask for. 'Dahlia' featured with some pretty cool light shows on the back wall of the hall - again Printworks as a venue making the gig even greater. 'Aura' was another crowd pleaser that they smashed it with - what a tuuuuune. I've actually got to include footage of the drop here because it was so perfect - enjoy with my very own complimentary 'oi oiiii' lol:

So sick, no? I just find the melody of this track so hypnotising and with the lasers and deafening live bass it was insane. The next few tracks similarly carried the atmosphere high and maintained the overall effect the show had seamlessly. Musically, 'Vale' was probably the most enjoyable here, it has that sound that makes you drift up and away with the vibrations. It was fresh to have some lyrical emphasis as well. The music ultimately seemed to come to a finish and the stage went dark. You heard mumblings around you as people wondered if it had finished when the vocal sample of 'Glue' began to leak out from the speakers. Obviously, everyone loved it; this was the clear closing choice and a fantastic encore. The lighting was just beautiful, with an array of rainbow colour choices on the screens and with the lasers, there was a strong sense of goodbye in the track. It left me feeling satisfied with the show and got the biggest cheer out of the crowd at the end!

So, overall Bicep's live show was without a doubt enjoyable and some of the highlights really hit home for me. At the same time, I have to say that it didn't really surprise me. There weren't any track choices that caught me off guard and I think it was essentially a showcase of the album with a few other big tunes scattered in. I'm sure this was what most people were wanting, so it definitely kept us happy, and I definitely have a sense now that I've seen Bicep live, but I would have loved a moment where a mix of two songs left me mouth open. Maybe an obscure track choice or a big track from another artist. I just feel like that would have made it feel more performance-heavy, if that makes sense. With that said, I do think that the lighting and adaption to the venue were effortlessly well executed, 10/10 for that. Thank you for such a great show, Bicep, and can't wait until the next time!