London based producer Lyne wrote this track around an year ago, while living in the countryside. According to the artist, this was a kind of self-discovery recording process, when Lyne felt completely lost in the music, intimidated by the beauty of such a composition. The picture that illustrates the record was shot in La Verne, Italy, by Nicholas Lyne.
The song is actually short, what is rather unusual for ambient music. It sounds pretty much like a prelude for what can be an entire project. It brings into memory the feelings represented by a ‘prelude’, the start of a long journey, whose ending is unknown. Interesting rhythms, marked as mysterious drums and ethereal glitches that appear once in a while during this almost three minutes of a ‘prelude’ contemplation.
It is possible to purchase the track by Bandcamp, as embedded here. Also, you can stream it on Soundcloud.
With this badly written internet-like quote we discover BNNY RBBT:
“Guys, just couple months ago I go to yard sale where I find old school camcorder bag. Inside was random weird items and VHS tape. And on VHS tape I discover something that changed my life forever… BNNY RBBT!!! The most amazing musician I ever hear!!
So I set up youtubes chanel and website try to find more music from him. After awhile Big World song submitted by fan and now — BREAKING NEWS!!! — a new BNNY RBBT song and video has been found. Song is called “Bombs” and is super magical and strange but beautiful!! I know BNNY RBBT fans will love.
Please to share on you blogs!??
When I said this blog supports original material, some artists around the world take it very seriously when they send us tracks. I Hate Love by BNNY RBBT is something extremely hard to define, but pretty. Overall it sounds pretty much like progressive-rock, with a big influence of pop music, sung with a soft voice and followed in the end by an interesting synthesizer. It is indeed well produced and doesn’t particularly fits into a specific genre, which is good, I like it.
Artistically speaking it goes beyond music itself, as BNNY RBBY is a factious character, artist. Therefore, there is not much information about in its official pages except for some quotes about him being:
“A giant animal singer (probably 7 foot tall?) who sings like angel and was last seen in 1990s”
It’s official website looks like something from the beginning of the internet, those times where you used to ‘surf’ on dial up connections and read HTML websites. Maybe not the most pop artist you will listen, also it doesn’t sound pretty much from the 90s, otherwise it would be heavy rock, something grunge or highly pop. There are quite a few YouTube videos about this artist, as much as several pictures in Instagram. According to Spotify itself, those songs were really produced in the 90s. Well, truth or not it is something original and highly interesting that can be listened to. I’m leaving here embedded a link to its Spotify profile besides Soundcloud.
“I don’t need your love but it feels so fine, It’s the way that you’ve been loving me, Through the night”
Through the Night is the newest collaboration between German producer Satin Jacket (Tim Bernhardt) and Berlin-based British singer David Harks. This new collaborative work is following last summer’s ‘Northern Lights’. A mild late night track, proper for dance clubs, lounge atmosphere of dance and drinks. As mentioned above, this is (nu) disco, with warm synthesizer, aided by funky rhythms, but at the same time highly atmospheric, the voice of David Harks summed by Satin Jacket’s production will lead you to your inner dance floors, where you can dance with closed eyes, no matter where you are. The track has been released 16th March, by Eskimo Recordings.
“Working with David has been great! After the amazing success of ‘Northern Lights’ we were bound to do a follow-up. The two of us are quite different in terms of working styles so I feel this is a perfect case of how opposites can attract.” – TIM BERNHARDT (SATIN JACKETS)
“It’s about being loved by someone and how it feels to be loved. Moreover it’s about how we can survive without that love or shape it and use it to suit our needs, “I don’t need your love but it feels so fine”. I wanted to create a song that explored these feelings but that you can also drop hot’n’heavy on the dance floor and Tim came in with his thick warm production and just took it to that next level.” – DAVID HARKS
You can check all the releases from Eskimo Recordings in their Soundcloud page. Also, Satin Jackets has been highly popular in Spotify (embedded) far-reaching millions of streamings in the past months.
Well, after all who needs a big label to make great music? Not saying that money doesn’t help a lot of course. But, a self recorded production can overcome many expensive productions out there. Fire is a single from Sgmaniak producer from Nashville, USA. It is a mixture of retro synths, with interesting rhythms, programmed by a 808 drum machine. Fire is a single from his debut album No Sleep, the single has been released with other track A Frozen Place. Fire has interesting synthesizer arps and a ‘heart-wrenching ending’, as it was called by the producer himself. The song reaches its peak after the chorus and drops to an almost orchestral middle-end to conclude completely uniquely. A track like Sommarvisa reminds Jeff Buckley and his singular voice.
You can already stream the whole album No Sleep in Spotify, it is highly recommendable if you like electronic-indie with a Jeff Buckley vibe:
Another remarkable ambient track sent from Norway. Ceiling Filled With Water is the combination of two artists, Tortusa/Breinstein. The track is part of the album Mind Vessel released 16th March by the jazz label Jazzland Recordings. The duo was nominated for the Spellemann Award (Norwegian version of Grammy) for their last album in 2016. It is possible to affirm that this duo gets the best from both worlds of Jazz and Electronic Music.
Tortusa (John Derek Bishop)is an ambient artist that gathered with saxophonist Inge W. Breistein. After releasing the album “I Know This Place – The Eiving Aarset Collages” (2016) by Jazzland Recordings they returned to another collaboration. The whole album itself is a collage of saxophone recordings that are sampled and processed by hardware and software. Largely improvised, the album mixes partially composed melodies with rhythmic repetitions typical of electronic music.
Another interesting fact about the recording process behind Mind Vessel is the fact that recording sections were executed in different rooms of a Cultural Centre and former beer brewery Tou Scene in Stavanger. The acoustics of those rooms is an important factor to this album’s ambience, as much as harmony and melodies itself.
The duo is touring Norway, England and Germany to release the album. On stage they vary between playing improvised stretches and composed songs. Some of the saxophone played in the concerts are also spontaneously sampled and used as part of the live performance. In addition to pre-recorded material. Breistein also experiments with effects to extend the sound of his saxophone, just like a guitarist with his pedals.
Tortusa is also responsible for the album’s visual arts.
The whole album explores the limits of sound design in music, playing with sampling and recording, the final result is just great.
After all my critics to online communication and some social media companies written today in the editorial, a song that is talking about ‘Digital Self‘. Nothing more appropriate. The song was produced by Karakter, artist from Valencia, Spain. The track is part of the EP Create Your Own Karakter, which tells the story of three different characters, as expressed by its art cover. Besides Digital Self, there are also other tracks such as Grass and Chimp Up.
Digital Self is an experiment with long synth lines, glitch sounds and drums. It is a four minutes track worth listening. It reminds pretty much Flying Lotus, it is electronic music on a slow tempo, with drops of experimentation and audacity when producing music. The sound design is finely selected, each synth sound is summed by refined production techniques. This is for sure not more of the same, the whole EP launched by Karakter represents high class electronic music.
It is possible to stream Karakter’s song in his Spotify profile here.
March has been the busiest Month since the website started. The blog is growing and growing in numbers of followers in Soundcloud and Twitter, I am glad about it. And as every decision is political, I am officially declaring here my decisions to boycott some social media networks as this blog’s editor, something that has been done since I started Synths of Eden.
As it’s been done every month since the blog started, our March Soundcloud playlist features all the songs covered as blog posts or just shared in our Soundcloud page. In total 62 tracks, an almost endless playlist for you to enjoy the greatest tracks curated by Synths of Eden.
Facebook and Instagram are abandoned by the blog, at least in FB it keeps with automatic posting, thanks to WordPress machines. However, I should state that I am very disgusted by Facebook as a company and as a platform itself for a long time. I don’t use it, not even as personal profile. We receive a lot of traffic from there, thanks to people who share the blog’s links in their pages, and I am grateful for that. Yet, I don’t have a personal profile since 2017, as editor of this blog I am not logging in to check its page, I am no longer going to pay anything to this company (I tried as an experiment) and I am not going to spend any quality time there. As most of the traffic comes from USA, I should state that it has nothing to do with the USA’s elections and Kremlin’s influence there (as Jim Carrey stated in his Twitter), it’s not the point. This is an ‘universal’ problem and company’s such as Facebook don’t own “the internet” (Morozov, E. The Net Delusion, 2011) and should stop playing with politics, extreme-right wing groups, fake news and post-truth democracy all around, it’s a consequence of irresponsible business decisions coming from Silicon Valley and that is poisoning the whole world, not to say criminally. I deny being manipulated by those behaviourist experiments with likes and shares over there, as this company explicitly plays with people’s brains and productive time (besides the fact that those mechanisms also exist in Soundcloud and Twitter, which I’m pretty active).
For me, it exists a lot of egocentrism in Instagram, a kind of ‘a trip to egomania’ with narcissist and snobs showing off their whole lives in exchange for empty ‘likes’ (neuro-dopamine and all its effects). I even wish I could keep posting every artist being shared here (of course it helps with the promotion), especially those with nice artworks, but it consumes a big time and it hardly attracts people to leave the platform itself and access the blog to read what’s is really being written here, it’s a crap for bloggers, differently than Twitter, that is more welcoming for platforms such as Synths of Eden. In the sense that everything is a trade-off and for a blog that is managed by a single person, choices have to be made, so I am focusing to use only Twitter and Soundcloud as “social medias”. In addition to Spotify playlists. I know many people use YouTube as a way to listen music, however I am not very familiar with the platform apart from just watching videos, much of the criticism towards Facebook can also be applied to Google itself as well, but in different ways.
P.S: I also want to post older music, rather than only new music, I just received too much nice premium submissions by Submithub and I just can’t leave them unnoticed.
SOS is the new single from Reliant Tom, duo From Hudson Valley (New York state), in USA. At first it sounds pretty much like trip-hop from Portishead, there are some heavy synth leads, that remind me my cute Microbrute from Arturia and all the noise I make with it, specially step sequencing. Reliant Tom combines remarkable sound design, with modern dance and songwriting with no specific genre intentions. Some of their earlier songs remind me 80s British post-punk scene.
SOS came out this 20th March, in all streaming platforms. The duo is formed by composer Monte Weber and choreographer/singer Claire Cuny.
Monte comes from a family of music passionate parents that have been playing Brazilian music in the state of Massachusetts, specially Brazilian percussion. As a result, Monte graduated in music composition, focusing on electronic music. His dream to have a band became concrete after he met Clair in a concert, according to him:
“Reliant Tom gives me the outlet to explore both pulse driven works while maintaining the other musical elements which I find fascinating – timbre, aleatoric processes, and interactive technologies.”
As for Claire, she started playing her own music much later, starting with piano and moving onward with choreography, as she already was a ballet dancer before in Dallas. The fact that she moved to New York brought her new opportunities, where she started to sing with different bands and write her own songs, before joining Monte to create Reliant Tom. She explains:
“It is very interesting to work together from our differing backgrounds. Our ultimate goal with Reliant Tom is to be a multi-media performance experience that straddles the line between pop and experimental music – and philosophising about what that even means, and is that even possible as “experimental pop”? It seems like it’s an oxymoron. I’ve learned so much from just trying to navigate this with him.”
Moreover, about the sound design and the inspiration to compose their new single SOS, the duo claims:
“SOS” is a recounting of childhood anxiety and repression from institutionalized patriarchy and guilt. The leading polyrhythmic and jittery synth line counters against a steady hook of beats, electric bass, and chord progressions, topped by the smooth cooing of Claire Cuny’s vocals to create an uneasy yet hypnotic groove.”
Later on, Clair states that the feeling of anxiety has driven them to create the track, an anxiety that serves as a creative force to write SOS. Mainly an anxiety that came from the oppression created by the cultural elements of patriarchy. Well, songs that explore current societal discussions, such as the oppression of patriarchy are more than welcome here. Let’s quote Clair herself again:
“We wanted to depict anxiety. The initial underlying synth is not the same tempo as the rest of the song – it’s faster and a little manic. It’s meant to instill the feeling of being calm and collected on the outside, while simultaneously experiencing internal turmoil… and the vocals are the stolid, unforgiving voice in the back of your head you can’t ignore. Growing up I struggled with anxiety in school. I had a lot of issues with the ideologies of my particular school; the patriarchy, the guilt driven morality, the close-mindedness, and the overall environment that made going to school an anxiety-ridden experience. In this song I studied that anxiety from that perspective and unified with it. I let myself become the anxiety and it feels powerful, like I’m overcoming it by becoming it.”
Their new album is planned to be released later this year by Division Records. You can stream their music in Spotify here.
Nice chord progressions and touchy vocals. As I always write in this blog, there are no limits to the invention of new sub-genres. With Imre Elzer and his WE’VE BEEN HERE FOR A WHILE, producer/songwriter based in the pretty Nijmegen, here in the Netherlands, we come across what can be called Ambient-Pop, this is traditional dance music, with long synth pads, four the floor beats and a mellow vocal, that is a great match for a comfortable, yet melancholic rainy afternoon, as much as it is perfect for an underground night club, in the lounge dance-floor, full of drunk people that is enjoying the night for so long so much and cannot go back home with so many nice songs, so they say “we’ve been here for a while”.
The track is part of the album Pommes Car, recently self-released, it deserves to be fully listened if you like that track, soon to be added in Chilling in Eden.