On 30th of March, Capiroto Records released Haunted, album by H+, project of Malcolm Swan, from Bermuda island.
The idea of H+ comes from reading a lot of science fiction. He got the impression that some of the writers of science fiction were creating technologies that they would like to see in the future. Looking at current technology he thinks that science fiction writers have had an impact on the present day, so their writing inevitably will influence the future. Could music have the same impact? The obvious solution would be expressing the ideas with the lyrics, and while H+ believes in using words to express ideas he wanted the music to be the thing that excites the imagination.
In Haunted we can find elements typical of IDM, British Dubstep and Drum & Bass, mixed with some jazz elements, a rich album, that contain tracks involving a more phantasmal and demoniac thematic, nothing more appropriate to a label called Capiroto Records. Malcolm shows himself to be an splendid bass player in the whole album, which highlights the jazz influence on it.
Before working with H+ , Malcolm had another project called 1undred, since 2012.
Released on November 30th by Sine Language Records. Tides by Clydewas released as an EP, containing two remixes by Jvred and Buran, plus a track called Boats Not Horses. In general, both tracks are highly influenced by the English style of IDM and unorthodox techno.
Bio: Clyde began making music at an early age, after discovering electronic music through film scores and video game soundtracks. Gradually, his interests shifted towards the fringes, particularly music released in the early 2000s on labels such as Warp Records and Ninja Tune. This love for electronic music continued to grow as he left Manchester for Leeds and became immersed in local techno culture. Here, he was able to hone his production skills through whilst studying before moving to London, where he currently resides. Having released a number of tracks under different aliases and styles over the years, Clyde’s sound has matured and developed into something unique.
Tides has been added to our Spotify playlist Synths of Eden:
Currently resident of Earth (Sol System), it is the chosen task of the spirit/mind/body complex known as Infinity Interface to bring awareness of the nature of consciousness and universal oneness to the various life-forms residing on that sphere. This information transfer has been scheduled as a series of audio recordings, the first of which “Convergence One” has been disseminated amongst the population in the year 2018.
As much as for all the tracks that are labelled as IDM, don’t expect anything traditional that you can say “it looks like techno”, “it looks like this or that”. So we have here Convergence One by electronic musician Infinity Interface, based in Berlin. A 7 seven track that is all in one. It starts as a techno and ends up being everything after a drop, a synthwave with a four on the flour beat. It’s singular. The track is part of album called Convergence One.
Check our playlist Synths of Eden for more unique tracks like this:
Flight from Lycoriscoris (Yunosuke Senoo), composer from Tokyo, is a delicate track, full of minimalistic rhythms and use of audio. In total, 5 minutes of zen feelings provided by electronic music. Flight is also his first album released by UK label Anjunadeep. Before that, he was releasing on a Japanese indie label Moph Records, while also performing live. Senoo started to produce in 2009.
Senoo is also responsible for the artworks of his releases, this amazing picture of birds was taken by himself in Japan. Besides that, his work trespasses the boundaries of his project as Lycoriscoris, making music also for TV and web commercial. He also claims to be always challenging to discover the possibilities of music by making organic sounds by using analogue and digital equipments.
An ambient track that draw my attention, not the most typical synthesized sounds, obviously that could have been done by a modular rack, which is more impressive is the fact that this is a free modular software called VCV Rack, which I started to try myself after that, not an easy thing to do. The whole track Inconsolable was composed by this virtual modular synthesizer.
According to Time_Controlled_Organism, producer from Paris, France, the track was influenced by IDM and the Berlin School, it is dedicated to his mère, evoking nostalgia and sadness.
After some post of downtempo and chill beatmakers, now it’s time to dive again into more experimental tracks. So here we have Danny Playamaqui and Tumeric. This track is the combination of nice chords and glitchy beats, in constant repetition, from beginning to the end, with changes throughout the sound, in a fast tempo. A song that doesn’t have breaks, so expect acid aggressive bass, beats with synthesized sounds. Not the chillest work you listen here.
Artwork by Wou-Wou & The Wormlin. Danny Playamaqui is an artists from Barcelona. There is also a Bandcamp page with several supporters. The track is part of an album called VA(Valentino Arco) with 18 tracks.
Há, desde a origem do que chamamos de mundo, a tentativa do homem de não se fazer esquecer, o medo inerente do desaparecimento. A memória como refúgio, o desejo de fazer de perpetuar as sensações, o sentido, a procura do que escapa. “Só me faça esquecer das coisas” se encontra no entre a tentativa de permanência através da memória e da pulsação do desejo de esquecer.
There is, since the origin of what we call world, the attempt of men and women not to be forgotten, the inherent fear of disappearing. The memory as a shelter, the desire to perpetuate the feelings, the senses, the search for escapism. ‘Só me faça esquecer das coisas’ (only make me forget the things), is found in between the attempt to be present through memory and the pulsation of a desire to forget.
Vacilant – Só me faça esquecer das coisas
Today Synths of Eden has the pleasure to feature Vacilant, artist from Forteleza, Ceará.
His album Só me faça esquecer das coisas, with the link in Bandcamp embedded, has been released by Mercúrio Música, label also based in Fortaleza. The whole album itself is great, with 11 tracks in total, mixing audio samples in English and Portuguese with organic and synthesized sounds and instruments. The whole album has been composed by Yuri Costa, mixed and mastered. Though it had the participation of Felipe Couto in the guitars, Clau Anis in the clarinets, plus Junior Quintela in the percussion. Tracks are kind of short, with an average of 3 minutes each. It is Yuri’s second album, after Dissonia, released in 2014.
The 11 tracks are a big voyage through electronic music, mixed with rock influences and lo-fi beat-making. My favourite one is Tecnologias não me ajudam.
It is also possible to stream the album in Spotify. For sure it will be featured in our playlist Synths of Eden this week.
Divagation – Sharing Independent Brazilian Music
As a Brazilian I know pretty well how my country can sometimes be a big enclosed island and it is not itself the most open to the international world, with several great exceptions of course. What is not necessarily wrong, as I strongly disagree with the idea that everybody should know English to have an “international” insertion. I believe in a multi-cultural world and multi-lingualism. So this blog will not be focused on the English speaking world, we want to share artists from whatever country it may be.
What I learned is that Brazil can be a big hub for creative artists that can stay away and unknown for the international English speaking world. They keep hidden in that local Portuguese speaking environment, that revolves around the use of Facebook, regional concerts and parties.Naturally in a country that lacks democracy of means of communication and people have to struggle every day for the most basic rights, making local artists known across the borders is not easy at all.
So when I created this blog I also thought it would be a nice space to share independent Brazilian music to those who read and write in English. I have been living in the Netherlands, I have a master in global communication in this language, so why not? Let’s unite my best knowledge in the Brazilian world and apply it to my knowledge in international communication with this blog.
You can check my playlist Brasil Progressivohere, for the best Brazilian progressive rock and some influences here.
No Emotion from Toronto based produced ttwwrrss (pronounced ‘towers’) is another great electronic track producer around the world recently. A big diversity of drum patterns yet melodic. The track was released 30th March by Maisonneuve.
Sean Thompson, ttwwrrss, was born in Mississauga, Ontario, Canada and raised in the ‘post-industrial steeltown of Hamilton’, with his first releases he achieved Canadian college radio success with his last two albums, ttwwrrss_2 and ttwwrrss_3. No Emotion was composed, produced and performed by Thompson himself, with additional production by moon:and:6.
The EP from GPU Panic, a Lisbon based producer, is an exemplary work of electronic music, what could be called for some IDM music, or non commercial electronic music. This EP has 4 long tracks with aggressive bass, synths and drums that don’t follow the traditional four on the floor style of electronic music, such as techno. The beats are unconventional and mixed with synthesizers that explore ambient, chill-out, industrial and downtempo styles at the same time.
It might not be the best tracks for a Dj set on your neighbourhood club (with exception of Inhale/Exhale and Escape Route that made me personally feel like dancing a lot), but is certainly full of quality and atmospheric until the end, great for listening during a tiring day of work or during breakfast. The work from GPU Panic reminds me tracks from producers like Four Tet or classics of Kraftwerk (such as Escape Route and the breaths from Tour de France) and this great unconventional style of electronic that crosses the limits imposed by genres. Producers who usually do more of the same end up being boring, this is not the case for this EP.
Check out the Souncloud of GPU Panic or support his work buying his tracks on Bandcamp.
One of the best discoveries I made recently when it comes to good electronic music is this album, Morning/Evening, by Four Tet (producer Kieren Hebden), released in July 2015. I know he has been around producing good music for a long time (as it’s his eighth album), but the sample with the voice of the indian singer Lata Mangeshkar stroke me deeply. Morning side is an unconventional 20 min track that has been considered Hebden’s second greatest streaming, it’s not by coincidence that one day Spotify discovery algorithms suggested me this.
This album is a proof that electronic music has no boundaries and that the genre limitation is always possible to be corrupted with the producer’s creativity. Four Tet has been attributed as IDM, Intelligent Dance Music, very controversial. For me, I still prefer to think that electronic music, and music in general, should not be limited to a few types of genres where artists should be limited inside them, that’s why each decade more genres arise with talented artists. Genres are important, as they give ideas of how to proceed, but corrupting them shows the talent and creativity of artists.
Morning has an expansive vibe, with emotional synthesizers and drums, that can be dancing and yet evolving for mere listening at home. I would suggest listening it in the morning. As the name says by itself.