Well, if the acid kicks in, don’t expect order. Not sure what ABSTe wanted to express with his track Acid Disorder, if it’s about lysergic experiences, the track tries to show what could be an adventure of acid and its effects by the means synths, thus the natural disorder, that starts, grows and ends after 2 minutes and a half of climax.
The track is part of an EP called Anonymous Delivery and it’s available in Soundcloud (as embedded).
As I always mentioned in this blog. When it comes to creativity, there are no limits or boundaries. Even if you want to create hardcore ambient, you can do it and it will sound just great. That’s what Frank Derain can show us with his last track When I Look Away, I See You, an enigmatic travel through the capacities of music created by synthesizers and all the experience it can provide with a fine selections of created sounds, until the outer limitations of a track, ending up beautifully in 4:30.
According to him, his biggest inspirations are Nicolas Jaar (read our review of his Pomegranates here) and Kaitlyn Aurelia Smith.
The track is a chill that grows and grows, resting by the end, mixed with field recordings of birds, interesting use of harmony, the sounds design is always filled by a white noise and birds. In the chorus we have vocals, electric guitars, vibraphone, Fender bass and drums. It’s a beautiful track. So much inspiration for an afternoon in the park in the Canadian November weather. This is Brava Kilo (with artists below) and Birds, Central Park, November.
Composed and Produced by:
Brian Kobayakawa – synthesizers & samplers, Fender bass
Michael Davidson – vibraphone
Kevin Breit – electric guitars
Serena Ryder – voices
Tim Proznick – drums
Recorded by James Paul at Union Sound Company, Toronto, ON
Assistant engineer Darren McGill
Additional recording by BK, various locations
Mixed by Andre Wahl at The Little Girls Room
The track will be featured in the album Hang On, You Demons! coming June 29, 2018. It had support of Canadian public policies that are investing in art and culture, funded by the city of Toronto. It is also a new feature in our Spotify Playlist Chilling in Eden.
This track is an exploration of African rhythms and the use of instrumentals providing a jazzy yet electronic tune. Indeed an original material, coming from Kalaha and their new release Dragon Jenny. The band consists of two electronic musicians (Rumpistol & Spejderrobot) and two live instrumentalists Niclas Knudsen & Emil de Waal, from Denmark.
It’s an impressive 6:07 that reminds a live experience, of a jam session of well skilled musicians, without loosing all the emotion and feeling of music. It’s a reaffirmation of the fact that all music have their roots in West Africa. With Dragon Jenny, the band allows itself to combine the African inspiration together with traditional electronic music with synthesizers, such as the keyboards, summed by electric guitar and rhythms.
The band has previous albums Massala (2016) and Hahaha (2014). So there’s a lot of good music by Kahala, I personally recommend Massala for a first listener. Their forthcoming album has been announced and will be called Mandala, to come out this second half of the year.
They also have some music videos, such as BWW (such a lysergic experience):
This is a new feature for our Spotify Playlist – Synths of Eden
“You are to sound the trumpets over your burnt offerings and your fellowship sacrifices and on your joyous occasions, your appointed festivals, and the beginning of each of your months. They will serve as a reminder for you before your God: I am the LORD your God.”
For a blog called Synths of Eden, the use of religious references for satirical purposes isn’t anything new. Little Saint, producer from UK, will officially release Y0UR G0D on digital streaming platforms this 31th May by Halogram Records. This is a 10 minutes track with use of audio samples, rhythms and synthesizers, in a dark atmosphere, old school dubstep style, a bit like Skream! (2006).
Artwork was made by English Artist Dr. Fuckjoy. The track will be released in Little saint’s album 1010. There are 10 different alternate versions for this track, which will be all released.
Instrumental electronic music with good sense of humour and a French house-disco touch, this is Gaëtan Vigier and Mamie Techno EP, released by Arcade 8-bit (Paris). Besides having techno in the name, don’t expect that dark crude repetitive techno that shows itself on the small details, like Underbooz previously covered here.
Gaëtan goes for a more danceable and party feeling, full of sense of humour. Sounding like an instrumental disco-house, first things that come to my mind as my next tracks are other French artists such as Homeworkfrom Daft Punk and those tracks in between the big hits or some other tracks from Justice, like Genesis (1997). Big use of synthesizers and repetitive lead sounds summed by the bass. The A side has claps typical from house and those chord progressions, great for a DJ mix in a party mood. The A side features title track Mamie Techno (4:32) – embedded -, Vacuum Weels (4:24) and the Bar Interlude (1:05).
Whereas for B side, we have a mixture of dark techno with 8-bits videogame influence tunes, like chiptune, such as in Crusty Night (3:52), followed by Radio Clones FM (4:03) and Velvet Club (4:58), all with the same vibe, which makes sense reading again the label’s name and after further research discovering that it is a creative agency that makes music for videogames and run by Gaëtan himself. Overall, the B side sounds like the Streets of Rage soundtrack.
Glad to receive it from Gaëtan himself and Arcade 8-bit. Great master, it sounds pretty well on vinyl. I had a great time listening it. Artwork by Clémentine Giraud, who has done a highly representative art for what Mamie Techno is as music.
Imagined as a surrealistic descent into an abstract alternate universe, Emergent Patterns is a small collection of dark, celestial electronic instrumentals that evokes imagery of ethereal and arcane ancient geometries.
New release from Outbanders Austin, Texas duo composed by Zak Angelle and Brandon Valosek. The release is available in Bandcamp and in Spotify, the second track Topograppler has just been featured in our chill playlist Chilling in Eden. Embedded below. Another release with an amazing artwork besides the tracks. This cover totally makes sense when you think about the word topograppler and possible geographic references to it.
According to Outbanders, Emergent Patterns begins with a shimmering crescendo of reverb-drenched synth lines backed by glitched-out drums in Dawnburst, followed by the driving rhythms of the polymetric jam Topograppler. Emergent Patterns finishes with the dreamy, smeared-out chill vibes of the melancholic final track Sacred Lines Spread Sacred Lies.
Diode by British producer Rick Parsons a.k.a Awe Kid is the kind of danceable deep downtempo track, with groovy bass, deep pads, with audio voices, a track for that high state of mind, high quality rhythms, pretty enjoyable to the ears. It was released as a whole EP, having Diode two other remix versions, by Clyde and Ose.
The EP has as second track Leap. The track is split in two parts, having the first one accentuated analogue synths, as for the second part more organic drums. The track also has an official video embedded bellow.
For those who follow this blog since the beginning, I have mentioned Nicolas Jaar and his works quite a few times, but never writing any specific review about them. Yesterday, after posting Get Horizontal by Radikal Rat I found myself listening to Pomegranates by Nicolas Jaar once again, so I guess it’s time to make a dedicated post about this album, 3 years after released in 2015 by Jaar’s label Other People. Nothing more appropriate to be featured here than an album that starts with a track called Garden of Eden.
Pomegranates is nothing usual, very far from what has been Space Is Only Noise release from 2011. From a more minimal-techno or house influenced producer, Nicolas Jaar grew to a very sensitive and deep music composer before Sirens and Nymphs, blending delicate sound design, marked by remarkable chromatic pianos, with field recording (especially voices), together with experimental and lovely melodies. In total, Pomegrantes has 20 tracks that serve as an alternate soundtrack to The Color of Pomegranates, an Armenian-Soviet film by Sergei Parajanov, from 1969. A highly avant-garde film that resembles classics such as The Holy Mountain by Alejandro Jodorowsky (1973) or Arabian Nights from Pier Paolo Pasolini, but softer.
The film re-counts the story of an 18th century Armenian singer Sayat-Nova, and as much as Pomegranates from Nicolas Jaar, is something distant from the easily digestible entertainment cinema and music. Tracks like Beasts of This Earth and Screams at the Edge of Dawn are as fragments of abstract sounds, that illustrate imaginary cinematographic scenes of beasts screaming to be later on followed by mellow piano compositions, such as in Divorce, a delicate piece.
This album is special for it’s singularity. Which is a mixture of very personal tracks produced by Nicolas Jaar, that touch multiple artistic expressions, such as poetry, cinema and music. The originality of music production is taken as a priority over commercial interests. Remaining still, as one of the most interesting and complex works ever produced by him. Hardly fit into any specific genre of music, which is ideally what we aim to share in this blog. If split in two parts, the first half shows itself to be more complex, a more abstract part, that is followed by delicate tracks after Divorce, such as Three Windows, Tourists, Shame and ending up gracefully with Muse. All tracks range in length from around 2 to 5 minutes, so all of them are quite short for what is usually ambient influenced music. Though only a feel, we can still listen to Nicolas Jaar’s skills with rhythm in tracks such as Club Kapital.
Pomegrantes is a highly authorial work from Nicolas Jaar, that opened op the doors to what came after as Nymphs and Sirens in 2016 and 2017. We definitely need more musicians and releases like this in this ever-changing music industry, filled with more of the same fads and a big lack of originality, when artists and composers alike put number of plays as priority number one before feelings and providing highly artistic materials.