Ellemetue is a project from Mingo l’indien and Nunu Métal , from Montréal, Canada. It’s an album, with 10 tracks, called En pays lontains, released in November 2018. It’s a blend of psychedelic rock, electronic and experimental music. That’s something that deserves to be spread and listened by its geniality. If you are fan of those styles.For studio geeks reading this, you should check its impressive set up, mentioned in its Bandcamp. Before starting the project Ellemetue, Mingo l’Indie was part of a band called Les Georges Leningrad. Plus, amazing cover art by Nunu Métal.
Check our playlist Psychedelic Waves of Eden for more experimental and psychedelic rock tracks:
“Infectious drips & drops flying into the atlantic from outer space”
Roach Motel is an experimental track from 5th Planet, artist from New York city. The track is part of a 6 tracks EP called CosmicDrip. It reminds us synthwave for a while, if focused on the synthesizers themselves. However, the drums are atypical if you think about this style, that focus on the usual reverberated kick and snare (4×4). CosmicDrip is way more complex and experimental, allowing 5th Planet to apply brights synthesizers while layering different beats upon it. The result is a Sega Mega Drive style of music, on a boss battle, uplifting and energetic. Another remarkable track from this EP is Elevation, that draws inspiration from house music.
Roach Motel has been added to our Spotify playlist Synths of Eden:
i knew is a track by sad face. It has been officially released on the 23rd of November, part of an EP called ok bye. Although the thematic can look depressing, including the voice sampling on the tracks themselves, besides the titles. The tracks are awesome, there’s a big energy in i knew, within all the sadness you can reach out to your inner energy and emerge, just like sad face.
The original song, Bangkok, combines electronic music patterns with traditional Latin American percussions and guitar riffs. The rest of the songs are remixes from Whirling Wolf releasing artist Claus Vega, Timoti, Kaan and Thommie G, reinforcing the idea of the album as a cross path between electronic and Latin America’s music.
Featured in Synths of Eden before with Tribal, Argentinian producer Wiki Chaves is back with a new track Bangkok. As much as with Tribal, Wiki Chaves drew inspiration from his South American roots to compose the rhythm and melodies to what is his kind of electronic music. The use of string instruments is something typical of Wiki Chaves when it comes to producing his tracks, he shows his skills as a guitarist. Bangkok comes out as an EP, featuring the original mix plus other 4 remixes, including a great remix of Tribal by Timoti.
Bangkok has been featured in our Spotify playlist Synths of Eden:
And every rhythm is a fire
Just want to be part of your tiles
So let us push these things aside
And start ourselves a paradigm
Capiroto Records presents you Moran Gang, from Stockholm, Sweden, and his single new single Andromedary. He provides us a delicate experimentalism, that shows the subtlety of synthesizers summed by poetic vocals. It’s etheric, starting slowly, growing, exploding with bright lead synth lines and ending gloriously, fading as a message or a blown leaf.
Moran Gang or Nathanael Saposnikoff, comes from Stockholm and generally plays in a couple of different groups and projects. He started producing solo materials under his alias (Nathanael) about 2 years ago and around the same time started to produce music for a dance performance that was more electronically oriented. Later on, he released the result of that show as Moran Gang (the EP ‘Squid Tango‘) and he is working continuously with both projects. The music for Nathanael Saposnikoff is more personal, more analogue, or indie-psych-dreamy oriented, while Moran Gang is electronic oriented, with drops of experimentation. Both projects are all produced by Nathanael throughout the whole process.
Check our Spotify playlist Synths of Eden for more:
Im Neunklang (Mahler 10.1) by Hellbachfrom Berlin is a re-interpretation of Gustav Mahler with synthesizers. The whole album Mahler is dedicated to re-interpreted the Austrian composer’s tracks with electronic music. In total 9 tracks. Great work that gives a total new face to what is conceived as classic music. Proving that you can certainly make classical compositions with the electronic music aesthetics making use of contemporary instrumentation and studio work.
Teleseen is the project of Gabriel Cyr, a producer and DJ based between NYC and Rio de Janeiro. His music draws on wide range of global influences from samba and dub to the darker corners of deep house and Detroit techno and the experimentalism of his hometown. Known for his shifting, polyrhythmic programming style and psychedelic synth work, his music has been released on labels such as 100% Silk, Boomarm Nation, Percepts and Goldmin Music
More great music coming from Portugal, though just as a label. As it was produced by artist based between New York and Rio de Janeiro. This is Lucia, by Teleseen, released September 7, 2018 by The Slow Music Movement Label, from Lisbon. Plus, the artwork was created by Harriet Richardson, a multidisciplinary visual artist based in Berlin. The track is followed by Bronze by Gold, that together make Lucia EP. The tracks if full of energy, with a bright sound design, mixing different rhythmic elements that make it danceable, with a certain organic touch on the shakers.
Check Synths of Eden Spotify playlist for more tracks like this:
‘Vantablack Hearts’ isn’t necessarily about the inherent darkness that can be found within every person, but the potential to overcome it. Even vantablack – the darkest color in existence – can only absorb about 99% of light, which means that there is light even in the pitch black darkness. There is hope for every heart.
Hungarian Synthwave producer from Budapest, Kenshiro+ has been featured here before with his first single Vengeance Preparations. Now he’s back with an EP, Vantablack Hearts. As much as with his previous work, it’s inspired in 80s graphic novels, “The name comes from the classic 80s Japanese comic book, Fist of the North Star”. The best part of Kenshiro’s work is for sure his sound design, with his distorted lead bass, on his colourful riffs and with his aggressive mix. His work is a must for Synthwave fans. I’d recommend the full EP, Even a Devil does justice to its name, ending beautifully with Urameshi, a track that would make Yusuke happy.
The only Synthwave producer from São Paulo I ever came to know (which by the way is my home town) Cleeve Morris, artist name for João Carlos, has been highly productive, with a new release almost every single month. Besides being very engaged in building a community in Twitter and with his own Synthwave website called Synthwave Club reaching up to 4500 tracks according to him, representing more than 350 hours of music collected. All of that shows how much effort João Carlos invests on his music and on the Synthwave scene. Currently he is releasing a lot of new content every month. Such as his EP Psychological, self-released this past 14th September on Bandcamp (as embedded).
We have interviewed João Carlos to get to know more about him, his story as a Synthwave producer and asked him a few questions about the Synthwave scene in South America, specially in Brazil.
Present us yourself, where do you come from? What is your story as a music fan and as an artist, when did you first start make your own music? What motivated you? What were the first instruments you started to play and when. How did you come out to be the artist Cleeve Morris?
My name is João Carlos Alves, 35 years old, and I’m from São Paulo, Brazil, where I live and work. Also, I’m married, with a six years old daughter. Currently, I work as a Web Designer and Developer. I remember music since was I 4 years old, when sometimes I tried to listen children’s music, but my aunt was always suggesting me to listen some other things like: Information Society, a-ha, Alphaville…
My uncles have a big responsibility on an important part of my music taste. With my uncles I listened several different things (or styles) such as: Europe, Air Supply, Malmsteen, Whitesnake, Queen, Elton John, Van Halen, Saxon, Rainbow, Dio, Stratovarius and more…
My father always taught me how to love psychedelic and progressive rock like Pink Floyd, Yes, Crosby Stills Nash & Young, Jethro Tull… some good things that inspire me to do my own music are my triad: Vangelis, Kraftwerk and Jean-Michel Jarre. Pink Floyd was probably the first thing I ever heard in my life, no joke. With my mom and grandparents, I listened a lot of Brazilian music.
I really waited a long time to start working with music. I used to play with a few friends in the past, but for some reasons I left behind any possibility of working with music. I was stuck with listening to a single genre for a long time until I could realise how stupid it is… Now I’m also studying music theory.
I first started with acoustic guitar, shifting to electric, electric bass and experimented with drums for a while. However, I still plan to improve my keyboard skills. I used to sing as well, but a long time ago. Please, don’t expect me to sing on my own tracks at this moment! Nowadays, I use midi controller keyboards plugged into my DAWs (Digital Audio Workstation) and the guitar to help with the melody.
I started the Cleeve Morris project in 2013 with a friend that was procuding Vaporwave with me, as much as all the digital artistic concepts surrounding it. We fulfilled some goals without any kind of plans. And this was our gateway drug.
One night at work while listening to Vaporwave, I discovered in a playlist, artists like: Com Truise, Future Holotape, Cobra Strike Force. In that same night, my adrenaline was too high because I couldn’t stop listening that new genre called Synthwave. Months later I started the Cleeve Morris “solo adventure in the Synth world”.
Why the artist name Cleeve Morris? Is there a specific story behind it?
A colleague from work who used to smok weed hidden from his parents called it “Cousin Morris” (a Philip Morris lost cousin). While he shared it with me, I created the name Cleeve as we laughed about that story (though we didn’t smoke “Uncle Morris” that day). Stupid, not a funny joke, I reckon, but while I was developing an artist name, that story fitted perfectly with what I looked for as an artist name.
Tell us about the Synthwave scene in São Paulo, Brazil and South America.
Synthwave in Brazil is getting bigger, but only as an online community. Sad but true. There are some parties happening here and there. They are all organised by DIY artists trying do what I tried here in São Paulo some time ago.
I attempted to throw a Synthwave party here (I was preparing myself and the public to receive Kalax (atist from Liverpool). We were close to doing this… but at this moment, sorry, probably would never happen. After months promoting the event, only 5 people have shown up. We were waiting, and waiting… in the end, we stopped the music and started to drink and smoke on the roof. A total failure. I don’t have this dream anymore. But I hope someday, someone else can try something different.
About Brazilian artists, there is a bunch of good people out there making Synthwave. Good names, I have recently listened are: New Black, Alseph, Francci and I specially Miami Cruiser 1984, who does an amazing artwork. We started to talk about a project telling a story together, music and design.
In South America we have a lot of good artists like Meteor, Ozimov, Cristian Bergagna, Steamboy…
I believe Brazil, Argentina and Colombia, are the leading countries on this scene here in the South America. They are really good artists and people!
How do you produce your music? It seems like 2017 and 2018 have been very productive for Cleeve Morris.
I use FL Studio, LMMS, Caustic 3 and Audacity with a simple audio interface and MIDI Controller.
I experienced a lot of personal obstacles during 2015 and 2016 and every single track I did by that time became automatically unreleased. After all of that turbulence calmed down, I realized at least I had some good content created, mostly not finished or not mastered, so I decided to collect all that material and release whatever I could. Not everything is of a good audio quality, but for sure there are plenty of good compositions within all of that. And of course I’m still producing new things constantly.
What do you think of music made by synthesizers in the contemporary time and what do you think about the influence of technology in the way we current listen and make music? Is there an interesting criticism you’d like to make? Overall, is it just an internet trend of late capitalism or it’s a genre coming from the 60s that opens the doors to many possibilities when it comes to music making?
Music is the best thing created on this world. No matter if was electronic or analog, or a simple kid playing some rusty metal on a poor village.
Music frees. Music heals. Music makes you cry and laugh. After creating my simple songs, my life changed forever, and I can’t see myself doing something else, even if it’s just a personal hobby. As a web developer too, I can say, the social media and some stream platforms are kidding with the users. If you don’t pay, believe me, max. 5% of your public will reach your content.
The more we use and share our things there, more people we can attract, but this is only a dream today. Show your money and everything will be fine or at least it seems to be…
I spent some money on Facebook recently, and had zero new likes. Well…
Is there something else you’d like to say about your music? Other works you do, free space to market your stuff. (such as your own website/radio)
I will keep composing more music, not only Synthwave or 80’s based sound. Of course, this will continue as the main Cleeve Morris style, but prepare to listen some random music sometimes.
Side by side with Cleeve Morris, I do a job with Synthwave Club, a simple web player I created and now there is more than 5000 Synth/Retrowave tracks there. I use the SoundCloud API to get all that information. It helps sharing a lot of new artists.
Now I’m doing layouts and coding the new Synthwave Club website, and I can say: it will be amazing!
If I can do everything I wanna do, we will probably have a good (probably the coolest) website to see good content and listen our beloved Synthwave (and other subgenres). I can’t say more now because it’s still a work in progress with a lot of things still undone. So, everything can change.
I wanna say a big thanks to have been invited to this awesome interview. Also I wanna invite Synths of Eden to publish and share any content of on Synthwave Club in the future. I hope everyone will give me a chance on their Spotify playlists.
Reunion is the first single from Old Faith‘s debut self-titled LP, due September 14 on Refresh Records. Band from the Appalachian Mountains (always portrayed in their art covers), their new album is currently in pre-order. As this first track comes as an impressive piece of post-rock composition (later followed by Landing), those guitars shifting from psychedelic clean chords to overdrive effected power chords, remaining melodic from beginning to the end. In Old Faith’s Bandcamp page, you can find two more albums Liminality (2016) and You Don’t Know How Lucky You Are (2013). In total Old Faith will hae 7 tracks. Both singles are available for streaming in online stores.
Reunion has been added to our Spotify playlist Psychedelic Waves of Eden: