Muito grudado, muito tudo junto
Interligados pelo nosso culto
Indubitavelmente mundo fútil
Dentro passado fora passo curto
Passar o dedo pelo cabelo dela
Ele queria aaa
E pendurava a calcinha na janela
Ela que ria aaa
Babiloving is the new track from São Paulo based producer Semper Volt, feature here in the blog before with Leve. According to João Tenório (Semper Volt), the track started as a hip hop beat that evolved after having some vocals added to it, with some more jazzy influences. The track was written in a blues scale, being inspired by many contemporary Brazilian artists, such as Céu or Nação Zumbi.
The track has been added to our Spotify playlist Synths of Eden:
Scan the horizon
Guided by plasma
Angel or sorceress
Wrapped in a white dress
Beware St Elmo and what lurks below
But I, I got caught in your gravity
With a chemical urgency
For that moment all shallow was deep
St.Elmo by Voltage Black is the newest experimental release that deserves a spotlight. It mixes electronic music with rock, such as post-rock with an industrial mood. The track is part of the debut album of Voltage Black released this 21st of September The Curve of the Earth is With You. The opening party for the album will take place at New River Studios, this Thursday 27th September in London. Voltage Black, is a genre-defying vocal project of multi-alias artist, Ewan Fisher. According to its press release, the album has several different influences as much as feelings that served as inspiration for the creation of each track:
The album is about a long and deeply intimate relationship in the artist’s life that recently ended, and the individual songs explore themes such as obsession, optimism, chaos, and the slow, unending road to self-understanding. It uses melodic and textural maximalism to impart a sense of emotional and cerebral overwhelm on the listener, whilst the sonic detail and unconventional structures represent the depths we can go to in attempting to understand our lives and their ever changing, unpredictable natures.
These seven psychedelic and crystalline compositions draw together elements of alternative pop, post-rock, synth-wave, techno and cinematic ambience, to make a new sound all of its own. The sonic and emotional result is cohesive, and Fisher’s understanding of structure and melody makes the songs accessible and universally resonant.
Check our Spotify Psychedelic Waves of Eden for more track of this kind:
Je Suis is a track produced by Kotaro Saito, featuring Yoko Ui and Yohei Tanimura. With vocals in French, and extravagant instrumentals, that mix tango with jazz. This is crazy stuff, typically Japanese, that never disappoint. It has been featured in our Spotify playlist Synths of Eden:
The newest feature of Synths of Eden Spotify playlist is Let It Go from Landon Holloway. This track is a mixture of Depeche Mode with Nick Cave style of vocals, in a dark atmosphere. Amazing instrumentals and vocals, a blend of contemporary electronic music with synthpop and post-punk. Great track that ends with field recordings. This is Landon’s second released single.
The origins of the project trace to a summer night one year ago. At the end of a gig-packed week, in the middle of the set on an outdoor stage, Morritt looked down at to find one solitary ant had made its way to the interior of his base drum and was crawling up the head. Morritt continued playing. The ant kept climbing.
“Must have been loud,” was his first thought. But, the image— that dark spec slowly ascending that white circle—stayed with him. It was equal parts peace and chaos, a brave but lonely act. There was beauty there.
At a transition period in his own personal and professional life, and having established himself as something of a rising star in Seattle’s experimental music scene, Morritt decided the time had come for him to emulate that speck on his bass drum. He’d compose an album. He’d release it himself.
Remy Morritt with his album The Ant, provides us with an avant-garde jazz, Frank Zappa style. The whole album was recorded in Hazy Bay Studio in South Park, Seattle. All songs were composed by Remy Morritt and counted with the collaboration of Alex Oliverio in the electric guitar, Andrew Lihudis in the electric bass, Daniel Salka in the keys and Levi Gillis in the saxophone. Six tracks that not only sound original in its composition, but also gives us a feeling of relaxation and joy. Released 26th August.
Art by Jocelyn Beausire
Venera is the second track of The Ant, that stars with a syncopated Rhodes line layered with guitar effects and cyclical chord changes. Its title is inspired by the Russian Venera missions to the wondrously volatile and hostile planet Venus.
Today’s update in our newest Spotify playlist, Psychedelic Waves of Eden, is Blood Shrinking Everywhere by Intenso, an experimental band from Perth, Western Australia.
The track is part of their latest EP, called The Stars Are Cold Toys, that places the band in a more narrative path. They claim to have worked with partially composed pieces, recording everything through the control voltage of a modular synthesizer. According to them:
“The action remains always and foremost free improvisation although entwined in this new EP is a deeper ambient disposition with a greater openness and pace to previous recordings.”
For them Blood Shrinking Everywhere sees a slowing of the heart rate from vintage Intenso into more controlled, moody even movements and vibrations. Sizzling modular synth tones lead us down dimly lit, unknowable sonic corridors which quickly become unstable and fragment exponentially. The Intenso formula is always in flux, the three piece line-up remains the same and the direction, blood simple.
The album was out today in all streaming platforms. And it’s being featured in our playlist as well:
An instrumental tale of unintended consequences. Things don’t always go the way you want them to.
A complex blend of synthetic and metallic sounds against an analog synth atmosphere. The fast break beat is contrasted against the contemplative ambient melodies and rhythmic pulses.
Good Intentions from Aesaire is a highly inventive track, it starts with orchestral strings, growing to be an aggressive electronic track, Prodigy style. The greatest remark about this track is certainly its variety of finely designed tunes and layers working harmonically at the same time, without secret, but beautifully. Described by Aesaire as: metallic and synthetic sounds, created using a variety of processes such as frequency modulation, feedback and sampling.
Art by El_ot.
The track has been featured in Synths of Eden, Spotify playlist:
Premiered by Mixmag in Soundcloud, London-based musician and visual artist Alecs Pierce launched his new project a month ago as @yemgel with a four-track EP titled ‘Knot Being’ on @kick-clap-2.
According to his premiere by Mixmag:
At its forefront, ‘Knotg3rl’ channels an 0PN-esque stuttering sheen – glossy sounds flutter like jets of serotonin. Beneath, sounds spanning breaks, abstract grime pops and digi-harp strums meet in an intoxicating concoction of misfit styles. We can’t get enough.
It is not an easy track to listen, it goes to the absurd when it comes to experimentation with audio files and what you can do composing music by aggregation of samples. But it’s quite impressive the work done by Alecs Pierce. We have 6 minutes of a composition that dares to experiment and to impose itself as the creation of several layers and different music elements, stuttering sounds that are annoying per se, but in the end combined became deep music, it’s not something easy to do.
Yem Gel’s debut EP Knot Being has been released this Friday and it’s been featured in our Spotify Playlist Synths of Eden:
“I tried to throw myself into the fucked-up dream that is the opioid epidemic in the United States and capture what I could of its hazy and ironically self-destructive fantasy.”
Well, this track impress me. I don’t have a genre to classify this, it would be a kind of progressive rock with an influence of stoner rock and many other things. Highly well produced. I will not say much, I’ll leave it to yourselves to judge. According to Jimmy, about his newest track Smile:
“I didn’t write Smile because I’d found any answers and writing it hasn’t afforded me any catharsis. Smile is simply a reaction to the corporations who perpetuate addiction as a pillar of business, to all the trendy marketing campaigns of the tobacco, alcohol, and pharmaceutical industries with their side effects in fine print or sped-up voice-overs, and the innocent souls on the other side of a rigged transaction.”
It will also be featured in Synths of Eden Spotify playlist, so don’t follow it if you want to loose many nice tracks curated by this blog for the past few months.
“I’m glad it’s over, to be honest. This thing has been a labour of love and a veritable chapter in my life, but there’s only so long you can work on something and expect it to improve.” Christopher Giffard.
Another track that flirts with pop, yet allows itself to provide us experimental sounds and makes us enjoy music outside the box imposed by the industry’s aesthetics. Though its press release mentioned it being influenced by Flying Lotus, for my ears it sounded way more like a Hot Chip.
Not all the music produced to the perfection level will achieve, as much as there are many track recorded and produced in a few hours with great results. Though it served as push Sydney based artists Christopher Giffard to present a great work with Talk to Me. A blend of percussive jazz piano, dreamy vocals and washy drums. It’s a complex track lyrically simple, it express the powerlessness felt when a loved one struggles to express his or her feelings or accept help from his/her partner.
The track is a collective work, featuring keyboardist Glenn Sarangapany (Birds of Tokyo) and drummer Michael Hardy. It was recorded and produced in collaboration with engineer Nathan Sheeny. This group collaboration happened in Glenn’s vintage studio Electric Sheep Music. The track has been sketched for over an year, showing that productivity meant less than final quality. Before that, there was a mountain of discarded takes in studio.
An interesting fact is that Christopher started making music first in computer to only afterwards get into jazz and piano composition, he claims to be involved by a feeling way more than by a genre itself.
You can stream it Talk to Me by Spotify.