Ok fair cop – we’ve not been writing heaps.
At least for my part it’s NOT busyness, that old gen-y copout. I’m just hating all Aussie music. All of it. Loathing every single morsel of sound from this oversized island continent.
Well, maybe not EVERY morsel. Maybe there are are a FEW tracks queued up for a writeup. Maybe even a few more than a few. Alright, I can disclose that there are a lot. But stop harping on about the damn queue and besides, my busyness is foundational to my identity. You can handle it, you’re nothing if not resilient.
In truth I damn near posted his Paces Remix last week anyway – my point being it’s ALL strong.
The guy has got ears. Classy, heavy, feelsy ears.
Everything he touches carries a kind of classic freshness, now including this (previously manic) post.
In this critical time, with classic freshness more precious than ever, I for one am glad to have this chill brisvegnite churning it out by the truckload.
These guys will surely be a very big deal very soon. I’d say as big as they want.
I will be glad about this, will attend their shows, will enjoy their shows.
I don’t know any facts you don’t, but their sound is bedding in and it’s pretty wild. Case in point, this ‘Horus‘ thingo.
His is the kind of sound that would be right at home in the Ghostly stable – a kind of rainy day pulse that turns introspective and otherworldy when you press into it. It’s a delicate area to work in – keeping a sublime flow but also embedding enough character and identity to avoid a life as (admittedly well-curated) elevator music.
The reason I think he succeeds so well is a kind of emotive frankness. Like “here’s a feeling that happened, and I caught it with synths. Feel it, or don’t.” It’s not hyped or amplified or demanding – just kind of….pure.
The single from this Dwell EP is ‘Pines‘ and it’s lovely, but my personal fav is the simplest moment: ‘Cave‘. I think it’s the sound equivalent of a hug with a loved one when both of your minds are actually elsewhere. A kind of semi-faded sanctuary.
Clearly that’s an odd feeling to try and describe – but, lucky for you and me, there’s no real need. You have personal access to the actual song. In fact, I’ll just…
*trails off, backs away, puts earbuds back in, leaves with wistful gaze*
But this is nice. Expansive.
I don’t know if she recorded herself in a large cave, or approximated that using digital signal processing technology – maybe none of us will ever really know for sure. But either way this one puts a fresh spin on an aesthetic I recall fondly from Florence’s Ceremonials. And if any part of you thinks that may not be a complementary parallel, then I think you need to listen to that album again.
Sounds like the epicness is even testing the poor soundcloud encoder, but such is our luck and luxury we can now buy a version captured with a fuller complement of bytes.
Also I couldn’t help but notice her Soundcloud is followed by people including Flight Facilities – to which I thought “hmmmm” and also “well now”. If they do ever do a thing together I’m calling that last sentence an exclusive.
Anyway I trust you value our new format, where we’re careful to review streaming encoder performance and who follows who on social networks. 2014 journalism is the best journalism.
How did he do it? How how how.
We like unpredictable, mashy electronic tracks because ART. It’s nice to hear new things. Genuinely new ways of vibrating air, as constructed by devoted humans. But, hip as you all are, let’s be real: these songs can oft be easy to admire, and oft pretty hard to live with.
So, we also like the warm hug of pop music because FRIEND. These songs don’t know a lot about the underground, they don’t chain-smoke or have crazy stories about what they did in Berlin. But they are friendly and trustworthy and they have your back. Or at least they don’t trip you over constantly, and some days that will do.
Not that I feel the need to talk to music blog readers about how we listen to different kinds of music because OBVS.
But, you tell me, which category does this Spirit Faces track fit in?
In a grail-chasing move, he’s balanced ‘Cloudplay‘ right in between these worlds, where the gravity of each cancels the other and it’s just….floating. Even a bunch of listens in it’s all loose and quirky and I can’t really expect what is coming at me next, but I ain’t panicked. I chilled.
Could this be ARTFRIEND?
Shouts to BUOY for bringing all her character and warmth, and giving things a natural woft and whimsy. Shouts to Mr Faces for his perfect sense of equilibrium, and of course the last chord – because HAIR METAL.
Hold off on your questions, no doubt all will be answered by the upcoming EP: probably with tidy taste and witty press because TEEF.
I’ve embedded the gynormo-player because I even feel friendly towards that little cloud.
So this thing. Wayyyyy out of the park.
You might well think it’s a fine line between calling mess and calling genius, but my chips are always on genius with HTMLflowers. Chips being a proxy of value in various casino gambling games, so we’re clear. Except I don’t really know a lot about casinos. My credibility might remain safer under your ruthless scrutiny if I revise to say that my potato chips are always on genius with HTMLflowers. We let go of my fundamental point, but I do have some reasonable first-hand experience with potato chips. Safe to continue.
So maybe I’m ignorant to his influences, or maybe this is just wonderfully unique – in every little decision.
My test is simply this: imagine if someone looped this delicate orbit beat – say, in a dark echoey room. Maybe they put a speaker inside an old bell, or hung some warped sculpture, it doesn’t even matter. Because either way you could be imagining my favorite installation art piece of all time. Just like that.
So in my opinion you should enjoy the streamed item below, and also if you book Biennale or something you should probably hit him up. I’d not even be surprised if he already had a concept ready to roll, having some hints at his spectrum of creative output.
Potato chips on genius.
I don’t always listen to folk, but when I do I tend to like it both succint and epic. Conceptually and actually.
Now that I think about it for the first time, maybe that’s impossible (or at the least unreasonable to demand)… but in stubborness I guess my reply to that would be some kind of shrug.
I don’t really seem to do meandering. I’m just not a meanderer.
So this Ainsley Farrell ditty grabbed me – an impossible little gem.
After the 30 second prequel we get rolling minor chords and even more rolling ocean metaphors – and you don’t get bigger and more mysterious than the ocean, do you? DO YOU? Well, except maybe for space. But space doesn’t really roll… and anyway shut up we’re talking about Ainsley’s song.
That aforementioned song I hereby refer to crams a lot of evocative, desolate sound into less than 2 minutes and it doesn’t even feel rushed or cut-off. Curious huh.
You are all here to witness the impossible moment where I post a song that meets my impossible folk demands.
Uh oh. Miks usually beats me to Gang of Youths posts but finally it’s me with a handful of sentences to try and explain why I can’t stop caring about what these dudes do. Could get gushy, you should brace.
Well if you put a gun to my head and asked me what the best art looks like, I would:
1. Suspect that’s not really your question. Because, you know, the gun.
2. Quickly pick a serious answer in a spike of panic (probably as you start squeezing the trigger), and blurt out: “just a human, easily seen.”
I realise that would be an awkward thing to say and I would still get shot. But it could be true and more importantly I think Dave Le’aupepe is a vivid example of this very thing.
Not so much in his press persona, where he is unpredictable and cut-throat honest, but still oddly mysterious. I mean there’s a whole other piece in that. But I’m talking songs.
‘Benevolence Riots‘ shows new colours sonically – there’s a flip to a resigned vocal that cuts through a surprisingly snappy song structure. But the key element for me is stronger than ever – the unusually deep heart. By heart I guess I mean that it has these undertones to it. Like a messy collision of many things I grapple quietly with myself, but spread out loudly in a spectacular, tragic, desperate, beautiful way.
For example, I get washed around from intelligent altruism to resigned devotion, dark cynicism to desperate hope, blue collar clarity to the confusion of human greatness, equality, craftsmanship, earning, failure and most of all: the deep unspeakable grind and reward of costly human relationships.
Heavy, complex, yes. And maybe I am too much of a fan to write this – but if you put this with their other songs to date, I swear all that stuff is in there.
It’s mostly Dave we’re seeing, though like most great bands I sense that the other guys have more to do with us hearing this stuff than we’ll ever know. Certainly these are an oddball bunch in their own right, possibly bonded now both as fun loving bros and more like actual brothers who have spent 2 years on a kicking bull together. That part you can feel live. But I’m digressing.
For mine, I’d take these songs straight. Like, neat. Raw on one of those prison cafeteria trays. Thus I’m not craving any more shimmer or dressing than we get here. But it is rather lovely shimmer, so I don’t mind if we get a lush record. As long as they keep Dave’s ‘easily seen heart’, I’m in.
Have I explained myself well? Maybe not. I still don’t really understand why I love this band so much. But I’ll say this – if we do get the album that these songs point at (next year?) I’ll be buying a physical copy so I can keep it near to me when I sleep. Music, hey.
A few repeat offenders this week hey?
Don’t get all steamed though – it’s not our fault that people who are already demonstrably good at recorded music are continuing to make recorded music. And release it at the start of spring. It’s as though the ice is melting and the new songs are starting to *can’t finish lamest analogy in the history of blog culture*.
I can’t help it. I’m just the messenger. Talk to him about the timing.
It is clearly one of his best though. I’ll just say that and leave you to your message.
It’s kind of kitsch, but in a fresh way that’s ….. classy.
Nostalgic, but again in a way that is ….. how can I say…..classy.
Eyetooth‘s work on the art is perfectly matched, I dare anyone to make a Wingdings border that….ughhh….classy.
There’s plenty of tracks coming out with sizzle and shimmer and hype, but I get the most excited by stuff like this – a quirky vision handled with a deft and smart touch. The internet is still making Cashmere Cat comparisons for it but I really think he’s found his own sound.
I’m going to respond by awarding him ‘most likely to splash overseas soon’ with a grotesquely opulent plastic trophy, so while I do that you may as well stream the damn thing.
I think my writing process is pretty much standard for Australian music blog writers, so at the risk of being obvious: here’s an #industryinsight.
Normally I’ll break into one of the nearby abandoned warehouses, where I’ll typically set off a few flares and scratch some maniacal writings on the wall using charcoal and ash. Then it’s just a simple matter of emailing a photo to cost-effective outsourced help, and putting my feet up until the confusing text appears in my inbox. It’s all very 2014, and works well as long as there are enough illegal fires around to keep the charcoal and ash supply strong.
But if I was to pick one small flaw in this ubiquitous industry approach, it’s that delay in getting the text back ready for internetting. I mean, you guys don’t seem to care if I’m like a month later (and notably less informative) than Indie Shuffle, which is odd but also nice. But it all starts to fall over when a guy like Planète drops a series of juicy treats from Melbourne in rapid succession. There’s another track out before I get my rants back on the previous one.
So, breaking the industry norm, I’m typing some of these words straight into a computer in order to feature ‘Snow Sketch‘ while honourably mentioning ‘Visions‘ and also this remix of Lanks’ Green Light. Not sure if he produces at the speed of light or queues it all up to torment/elate me, but we can all reach consensus that he knows his way around ambling the airy and articulate over the deep and round. I know that reads weird but I’m ok with it.
Serving suggestion: queue all 3 and ebb them into your ear holes for the dreamiest 22 mins of your day.
Silo Arts on point again too, just go on and trust em.
Shhhhhhh. Don’t make any sudden movements.
Here we have something that very few tours get to see, so let’s forget all those complaints you outlined earlier and remember to pay the damn fare.
This ‘How it Ends‘ is a gem of moment from Melbourne’s Telling, for now in a totally unsaturated state. Tim ‘many project man about the internet/radio’ Shiel and Ben ‘quite the classic heartthrob’ Abraham seemed happy to sneak this up without fanfare – but I have no reservations in ruining that quiet sanctity with song-tourism for immense financial gain*.
And look at it. It’s a surprising result really. Definitely not a straight sum of their current solo sounds. You won’t get much of Tim’s driving oddity or Ben’s friendly poppity pop, it’s more … cavernous.
I wrote a few comparisons then scrapped all those, so I guess it’s on it’s own – but it sits right with me. Just right. Best track yet. Of 2. But still. Short. Sentences. Punchy. Reporting.
So we all got lucky out there today. You’ll tell them good things at the information centre, won’t you? You will.
And also this might be one little google hit where Tim is referenced without any mention of Gotye so he’ll be…ahh, still nope.
*Again I simply can’t overstate how zero the revenue is from this blog. Much more zero than you can possibly imagine.
I have this playlist, and you know it is currently my favourite one.
I wouldn’t normally pick a favourite child like that, but it’s just so much more lovable than the others. For decompressing, disappearing with or even just being acceptable at dinner (at least in comparison to the grinding noises and disjointed art projects of my other playlists).
See I jammed it full of one of the more timeless sounds going right now – this minimal, spaced songtronica. A cold minimal beat, warm human voice, off time piano, VERBBBB. We’re talking SOHN, Erik Hassle – beautiful list.
But I am still wracked, WRACKED with guilt because it is currently unaustralian. You see, YOU’RE allowed to listen to whatever you want but this is an Australian music blog and WE have our responsibilities. It’s not all champagne and private jets writing for revenue-free blogs – sometimes we also need to bloody look after the koalas and have sunset beers on the beach and flaming listen Australian. There is good stuff close to the sound, but nothing native yet that has been at home in that list.
So imagine my delight when this one bubbled up from Sydney’s Little Deed. Low plays on the first track, so we shoppers are in on the first floor this time.
‘Neon‘ is totally in that same wonderful space. It slips from anthemic to claustrophobic, epic to personal. There’s a vintage influence too, I can’t feel if it’s a kind of blues or soul hint maybe.
This seems to be some kind of radio edit (my sleuthing has gone as far as the song title – you’re welcome), but I’d definitely eat 6 mins of this, so maybe she has a plan for an EP with a longer cut.
Thanks Little Deed, whoever you are, you’re about to break into my current fav playlist.
Have you ever been too certain you would love a track before you hear it?
It’s a dangerous place to be, wielding that kind of unbridled expectation. In fact, my old man used to proudly profess his pessimism (p p p p) with the sly gloat that ‘those who expect little are never disappointed’. Whether or not that is a healthy way to go about life (obviously it isn’t) (it’s ok because brackets are like whispering so he can’t hear) I paid no mind whatsoever and embarked on a life of overexcitment.
Yes, sometimes you do lose. Not everything tickled me like I hoped it would this week. But then sometimes you are just right. Confidently, accurately, literally correct.
The sound quality is top of the top shelf, but I just deleted more aghast gushing on that because it would be a waste to listen to this geekily. This one is about heart. Dripping, mature, full, unique heart.
I tend to believe Fractures when he opens his mouth, and Andrei is so far beyond his years in letting delicate sonic pieces run together just enough to take the focus off the skill and onto the song.
To quote myself on the result: “‘Ghosts‘ is an emotionally complex snippet of life wrapped in a deft beauty – and I couldn’t have over-anticipated it if I tried”.
Adam 1, unbridled expectation 0. Hah.
The whole Fractures EP including this track went up for procurement today. Why not throw some currency at it eh. I also grabbed it straight from Andre for full lossless immersion, for me this is the very kind of track that is worth such technology.
The twisty biology of musical trend eh.
5 years back this Slumberjack track would have sounded like it was from another universe, but in 2014 I’m just here casually inspecting it like a jaded doctor in some future sci-fi film – counting eyes to see if we have a new species or not. The sci-future is now in the beats world.
But as I’m examining all 12 tentacles and anterior scales on this particular specimen, you can imagine my surprise to start recognising body parts in some pretty strange spots.
A sugary double tempo build we see daily…. but with dropped Rasta acapella (yes it is Skrillesque)….and sampled piano….connected to a dirty Carmack-style drop? Weird mash.
There are even swoops over the top harking of Electric Mantis.
So obviously this pile of DNA sounds like a Frankenstein mess. On paper.
Well, no, maybe ‘Felon‘ is an mess. Maybe it is too creepily familiar, too unnatural. And maybe “on paper” a biologist isn’t supposed to catalogue beasts made by crazed surgical scientists.
But you have already forgotten that in the beats world we are already well past 2078, and all those ethics are old hat. In 2078 we reward mash and collage above all other art forms – and this Felon track is starting to draw the big crowds at the zoo.
Certainly the pieces are very well-integrated, and built up with exceptional sound sculpting. Are you really going to fight the inevitable future? You’re not.
May I suggest you choose from 3 allowable reactions (as is the 2078 custom):
– Call this the best song in the history of the earth (I’m looking at you, internet teenagers)
– Keep a close eye on where these guys take this excellent execution
– Write extensive complaints to Miks decrying how Adam eventually referenced Skrillex on maamf, undermining all you thought you knew and loved. Keep in mind Miks is a nice guy who already gets too much email, so please do try to keep it snappy.
I’m going to let you in on a private fact. Don’t let it shock you now, with all it’s realness.
We don’t post every great track we hear. Not even nearly.
I know, easy now. You thought this blog was encyclopaedic and we have betrayed you. Not unlike how actual encyclopedias betrayed me, when I learned there was knowledge out there not recorded on my Encarta 95 CD ROM. If you can’t buy all human understanding for $50, what is even the point. So don’t think that I escaped pain-free either.
But it’s better that you know. When this Fractures one dropped I had my hands a little full with life and it quickly splashed out on all those quicker blogs with their watchfulness and pouncing – and I was already days and days late. I didn’t want to risk being nicknamed internet explorer, so I quietly enjoyed it in the humble privacy of my own headphones.
Yet in the end it was just too good for that. It crept into my head and made some weary days all the better for it. Eventually I could take it no longer and stormed into myself in frustration.
“What a fool you’ve been, Adam. What a fool. Is this beloved song not worthy of an internet life longer than 10 soundcloud days*?”.
(*equivalent to 10 average earth days in the old measurement)
Of course angry me was right.
From the outset this thing is beautiful. Restrained, elegantly lean with the hook, flawless sonics (with those Eremin lows). But you have ears, you know what I mean.
Learn from my own tumultuous tale and keep ‘Won’t Win‘ rolling.
I’m not even going to try and be mysterious and jaded here – this is about to be a gush piece on Seekae. If you want unbiased information from a neutral source you’d best march those shiny boots over to the Telegraph. Here you will get nothing but extreme personal bias in favour of the plaintiff. Brace.
It’s not even that the song is killer, or that 1:46 makes me giddy. It’s the warm reassurance of knowing you can trust a group to grow their sound while keeping the depth. And if you’re not on the internet for warm reassurance, then go tell your internet service provider so they can dutifully cut you loose.
Like ‘Another‘ (which I was also hopelessly taken by), ‘Test and Recognise‘ is sparse and much more vocal than their old stuff – but it has one of the strongest moods they’ve ever conjured. It still floats untracked in that Seekae triangle between ominous, fun and beautiful – just moreso.
If you’re late to the party it’s possibly more divisive than their older work, but also a whole other thing to Alex Cameron’s impressively committed solo….character project(?) which you might be tempted to distrust at first (though you ought to attend here and let it grow on you).
Maybe Tommy said it better by saying less, but my effort is more informative because I’m also telling you that the full-length on drops 12/9/2014 and that the staff to seduce for a listen before then are those working for Future Classic.
In fact, life tip from maamf: seduce early for both tour and album listens. Don’t say we never help.
Well, here’s a thing. I (Adam) just had a kid. A genuine small female mammal.
Now that public service announcement is out of the way you may figure my taste will spiral into what you call ‘lamesville’ as the magnitude of my new fatherly role eclipses my yearning for cultural relevancy. For you, then, I have 2 pieces of evidence to prove you are regrettably and embarrassingly mistaken.
My taste has always had a small but valuable lame patch, so either way I have you on a technicality. Ha.
This track. The one I am posting right now on this very blog. This Lanterns one.
I’m not even going to mention the deftly resampled organic sounds or carefully vocal layering – because frankly using musical descriptors for music isn’t a thing dads are even into. At all. Dads do metaphors.
So ‘Left in the Dark‘ is locking yourself in a cupboard. At first it’s mysteriously tight and claustrophobic, but slowly your brain starts drawing those rainbow pictures for your eyes and things get more expansive and curious.
Is this particular cupboard as clean as you first thought? Is it a vulnerable place, or maybe a little sinister?
Look, I couldn’t even be sure enough to warn you.
But I went back in, and I daresay I’ll do it again.
Keeping my eye on this Lanterns guy.
If there’s one thing that strangers on the street ask me endlessly, it is whether I know of any large-lineup bands still making party songs. If I had a dollar. Whether its dodgy trackpants at the park, or old bitty off to get her hair curled, even some of those hyper-hip guys wearing bogan clothes ironically. Everyone still seems to want lively party playlists, because presumably people are still having parties in 2014. I’m not a sociologist, but I calls them as I sees them.
This is one of the incestuous musician-sharing projects out of Melbourne that reminds me of the first time this Sydney kid got a taste of that southern scene. Maybe I missed the local nuances at the time; but it felt personal, unhyped and raucous. Plus brass sections didn’t feel so lame, I’d almost admit they started to seem rather exciting.
To me this track captures some of that for keeps. Who cares about words or aloof personas if you’re crammed in a cave with a band in full stride and the place is heaving. If you hear to 1.30 and don’t agree this is a partymaker, we really do go to different parties.
I can imagine that people who sell things (like maybe jeans) will have an ear for this one, so I say beat those execs to it by playing it first at your own shindig this Saturday.
Also seems there’s a tour in a month. Assuming that’s as a 7+ piece or something, could be quite the spectacle.
So this is me breaking a rule.
I had a silent agreement with myself that I would not post any productions (at least for a few months) that featured synths or samples approximating steel drums, marimba’s, kalimbas or frankly any mallet-use instrument potentially associated with notions of tropical islands.
I know that’s shallow and I love the summer breeze as much as anyone, but if one attempts to listen to a lot of Aus electronic these little things can hit one’s own private limits in 2014.
This one is all full of their best strengths – nostalgic sample cuts, dreamy beats and unique rhymes put together with organic feels and interesting friends – like Marcus Whale from Collarbones. That doesn’t really capture it though. I always find that the more I listen the more I hear their different approach in all the little details. It sounds familiar, but many of the micro-ideas are actually quite new to my ears.
This is of course the opposite of a copycat, in fact I’d I consider them ‘producer’s producers’, quietly making their own thing in their own space. So the steel drum sounds are overruled and here we are – me looking a bit silly, you a bit confused, them winning. Just hit play and all will resolve. I posted the video, as the visuals continue the casual haze just so.
Oh – full disclosure, I did catch their live set supporting Elizabeth Rose recently and that’s probably further tainting my opinions. Great risky set with nailed vocals and crazy amounts of manually triggered groove. Whether that is a conflict of interest or a legitimate track-feature-factor, Sydney dwellers may want to claim a spot at the vivid launch for the album due in June.
Have you ever noticed how some Australians sound more Australian than others? I have. And to call a knife a spoon, we’re not always into it.
But we have our reasons. I know I’ve found the most “audibly Australian Australians” do tend to position themselves in backpacker hostels around the world, methodically eroding my love for my own accent.
But sometimes there are shining beacons who learn to use their power for good. Beacons like young East here.
This first taste from her is as Central Coast NSW as my family summer holidays, and yet it may be my new benchmark for pop music on this big old island.
Yes I said pop on a blog. Without any fear whatsoever of your haughty internet eyes.
Let’s all be honest and admit that good pop is an especially noble thing when it’s done right – lean, genuine and characterful. And this ‘Old Age‘ ditty sounds to me like an authentic (pretty gifted) 16 years old’s songwriting wrapped up tight into a 2.42 cannonball.
The production is angular but supple, and proper nods to John Castle for keeping all the heart along with the shimmer and punch.
If you like it catchy and audibly aussie without it being over-calculated, add a play to all of mine.
Full disclosure: if you’re here for primarily slacker/guitar tunes thanks to Miks’ rather solid ear for such, this post may require you click away or seriously brace yourself. As in, brace yourself for dirty techno. As in, the weirder end of dirty techno.
Melbourne’s Andrei Eremin was ktsche up until this track – you may have heard and melted over his beautiful I’lls remix. I did. Any Australian music blog reader would have probably heard his handiwork as mix and mastering engineer too – and he is justifiably in serious demand. I can confirm this as I too jumped in that queue and became a believer myself.
So for his own stuff, one would expect there may be some creative variety and sonic treats packed in there…
Still, I’d say none of us could have expected this ‘Voynich Manoeuvre‘ chaos.
Warped sci-fi quotes and sultry deep pulses start in underground Berlin, and then pretty much burrow down to the centre of the earth from the halfway point. The burrowing grind starts from 2.30 – and I don’t mean it’s a little bit gritty. This is a massive, deep, tasty and frankly apocalyptic use of synthesizer technology.
Whether or not this kind of music has been on your radar before, try letting this one envelope you. The movement and the pulse has a way of stopping time, and you will not find better execution anywhere in the world right now. If you have a pretty decent sound system, I would try putting this on large – just make sure you’re sitting down by halfway.
Let me tell you about the epiphany I had when electronic music first opened up for me: it is not robot music, it is human music. What?
Well permit me one outlandish claim:
For all the futuristic designs, talking computers and synthetic sounds: the best electronic artists are the always ones who do what computers can’t – harnessing all the inhuman aesthetic to highlight the humanity behind it.
*canned crowd gasp*
I know it sounds all philosophy-nerd to type it out, but think about it. Right? Daft Punk are the classic example of this working (identity-less robots from the future making visceral, organic disco?) – but today I present to you Sydney’s Jordan F in the very same sentence.
‘Falling like Diamonds‘ (bottom of the post) was totally the correct choice as a single from his new Freefall EP – that could respectably rep some good 80’s retro in a club set anywhere – and plenty of cooler blogs justifiably jumped on the teaser last month. But now we have the whole thing and I’m especially wobbly over ‘The Void‘. Just listen to this thing:
Man. That raw instrumental mix, that throaty analog heartbeat, that shimmery digital cloud, and all the timing just loosened off enough to get me chair-swaying every. single. time.
I guess I would put it somewhere in the void (ah? ah?) between Kavinsky (Fr) and Todd Terje (Nor), but it’s different – and very human indeed (Edit – just saw Acid Stag beat me to the Kavinsky reference, but I do surely agree). Kudos, Mr F. You will find me over on his facebook compulsively refreshing the page until some live dates appear.
It’s that classic story that used to fill my dreams as I grew up.
1. Friends make band, scrap together something sketchy.
2. Clever local radio station hears through the imperfections and throws it on air.
3. Label man hears, loves, signs.
4. Label and band delicately grow the project until we can all hear the greatness.
5. Worldwide acclaim.
6. High fives.
Movement, FBi and Modular are the characters in this very real example of such a moment happening right now, and I daresay they are just about at step 4. Let ‘Like Lust‘ in behind your cold, jaded autumn shell and see if I’m wrong. I honesty feel like the vibe of this is undeniable.
Maybe I was tempted to assume over the last few years that it isn’t organic anymore unless it involves label-free twitter and soundcloud accounts from a bedroom. But it’s stuff like this that’s all like ‘stop dreaming so small you hack’ (to me, not the bedroom entrepreneurs).
So kudos to all parties involved in the story so far. I’d say this will eventually catch worldwide – and if it’s through genuine, heartfelt hugs of sound like this, then bloody good on them. God speed, Movement.