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

Allure of the Unknown | 23/7/19

I haven't done a real wordy post for quite a while, but this one is definitely gonna be one of those. In fact, the idea that's been gliding round my head, slowly making its rounds of the different thought processes, is how the unknown functions in our lives. We all know that the first time you ever hear a song is utterly different to any time you hear it thereafter. The way the brain interprets a new sound is important; it's learning rather than recalling or returning to the same place. It can only happen once, and can certainly be very special. Of course, as the cliche goes, the unknown is also scary. I try to push myself to listen to new music at least once every day, but it's unbelievable how easy it is to return to what you know. There's levels to it; first of all, it's easier on your mind, it doesn't have to work as hard to enjoy the song, you kind of just go into autopilot, but it also can provide a kind of comfort when you're stressed, worried, lonely. All these feelings can be softened by the comforting chords of your go-to music or soothing vocals of a familiar voice. What I've been finding interesting, is considering what the many benefits are of pushing past this and seeking to hear the unknown.

When a rollercoaster suddenly shifts into gear and you know you're in it for the whole ride, as the adrenaline pumps through your body, you're filled with the tantalising excitement of not knowing what's about to happen, but not being able to look back. It might seem like a strange analogy to use for music, but if you gear up for it correctly, I think the same feelings of being forced out of your comfort zone can apply. I went to a rave this weekend somewhere in North East London, something I've not done in this capacity before, and so I got to experience a lot of 'new' all at once. The location was dropped on the night, and when we arrived we were guided in the dark past a gate, along a canal, through a wood and over a bridge, until finally we see some fairy lights in the distance, and the party begins to take shape. Aesthetically I was really enjoying it, because there was such a collision of worlds going on. Huge electricity pylons stood all around us, warehouses were off in the distance, and yet around the crowd itself were trees and undergrowth sloping down into the darkness. Once we actually arrive, it becomes clear that it's in full swing, packed, and, to be honest, popping off. It blew my mind, because we couldn't hear anything for the majority of the journey, and even when we were close by it still seemed so quiet until we were right up in it. The seclusion gives this dichotomy of isolation and community in the most wonderful way, and it was so unknown. 

The journey didn't even feel like a trek even thought it was twice as long as I would go for a night out, it was part of the adventure. It set the tone for all aspects of the night, and that included the music. I reckon I heard maybe one song I knew the entire night, and as you can imagine it was absolutely refreshing. Being in a new atmosphere surrounded by tracks that are nameless to you, it was revitalising in a way completely distinct to how music I knew could affect me. The best part is, it didn't stop there. The reception was pretty terrible, no surprises there, so I couldn't Shazam any of the songs. I didn't know who the DJs were, and I had no way of finding out, so the night threw me into an uncharted abyss on all sides. I essentially had no choice but to just accept it, and all I had to guide me, to analyse and pay attention to, was the music itself and the environment it was being played in. Having come so far, I certainly wasn't going anywhere, and everything had been set up perfectly for me to live in the moment. 

I was so able to absorb it as an individual experience and that is what is so great about the unknown. As soon as you have something you know, you subconsciously cling to it. If you're at a festival and an act you know is playing, naturally you prioritise that because it's the safe option, and there's nothing wrong with that. If you have no choice but to delve into alien territory, the results can be really special. And now, I'm glad I didn't know who the sets were being played by in a way, that I wasn't able to connect any dots, because the secrecy and intimacy provides an incredible individuality to my memory of that night. Getting home by the way, not so fun, can't express to you how little I could be bothered to return to civilisation, but it was nice to see other groups of people with the same looks on their face. The whole experience was so sick and really made me think about how unique and authentic the actual rave scene in the 90s must have been. If this had had such an effect on me now, it must have been ten times that back then.

In stark contrast, I also had a conversation with a few of my friends, one of whom works for a music streaming service, about the editorial work of these companies, or for radio and so on. They select what songs go on playlists, are highlighted or picked out, and essentially what the majority of people will hear as their new 'unknown'. At first, it seems crazy to think that a handful of people have so much influence on what we discover, and it becomes easy to see it as another negative effect of our reliance on new technology, but it's easy to forget how much more accessible music is now, and how easy it is to put your stuff out there. Anyone can do it, and as a result we have access to an unimaginable amount of content. The majority don't have the capacity or time to seek out new music and don't even know where to begin. That's what the music industry is, and there's certainly issues with it, but it's part of what allows music to be worldwide and universal.

That being said, what it made me realise is that the ultimate, authentic approach does come in taking your personal research as far as you can. It's time consuming, and it pushes you to experiment with sounds you think you won't like or just going in blind. You have to think outside of the box, and actively strive to find what's different, look in different places, sometimes even pushing yourself socially. The more you put in, though, the more you learn about yourself, and the more you'll develop your own, pure and unique taste. As I've mentioned before, what you share with your friends and family is intrinsically linked with the emotions and connections you make through sound. To venture alone on top of this, you will get so much more out of music if you seek to find your own 'unknown'.

So thanks for coming to my Ted talk, got real conceptual there, but hopefully some of you know what I mean. It is 90,000 damn degrees currently so I'm gonna go and enjoy it while it lasts. Listen to something new, bye xxx