It’s round two. Back. Proper music writing. A nice collection of tunes this time around – chock to the brim and all that. Some thoughts and reflections on the tracks within the tape are below. Have a read and a listen would ya?
It feels as though songwriters are a hell of a lot better now at accessing a classic song structure and injecting it with enough personality and originality that it pops, so to speak. On this tape you can here it in the layers in L.U.V‘s track ‘You’ll Never Let Me Go’, the embrace of more traditional blues and soul instrumentation of ‘Down To Rest from Tom Stephens. And then of course you have the Waitsesque jaunt of Lost Animal‘s ‘Do The Jerk’ with its organ and sax combo. Dorsal Fins have always been on that classic pop tip – to the point where every single hit/strum/connection of brain to voice feels purposeful. My Brother’s Friends do the sing-a-long duet real well too, offering two perspectives on a track, simply via the differences in phrasing between the verses.
The cultural significance of movements like LISTEN and Sad Grrrls Club isn’t going unnoticed. Of course there’s forever to go, but the fact that female identifying and GNC artists are now visible is all sorts of good. What makes me (a white cis-dude) a little uncomfortable though is the fact that these artists easily compete (not that it’s at all a competition). It’s not the fact that these artists are themselves good, it’s the question of who the fuck are we to be only now realising that ‘hey music is cool and gee there are some bloody talented people out there’. What the hell were we (predominately white music guys) doing to only get this now. in 2016. Who the fuck are we to put structures in place (like casually sexually assaulting women/overly sexualising women/fetishising those artists that identify differently) that purposefully favour some artists over others? Artists like L.U.V. and Rachel Maria Cox and Julia Jacklin and Tracy Chen and Ninajirachi. All making these tightly wound tracks, some full of more intimacy than you can bear, some with these super tight guitar pop structures. All really really catchy and good (hence why they’re in this tape). We should all make considered and thoughtful choices about who we choose to support.
It’s something that’s been pushed a lot recently – we have a real super exciting electronic scene in this country. And yeah mate, we do. But the most exciting stuff to my ears (and hopefully yours) is happening away from the spotlight and away from the most hearted and reposted on soundcloud. We got a couple of those in here, from the warm and moving sonics of acts like LAIKS, Braille Face, and Ninajirachi; right through to the more pop sound of CDAD and Yon Yonson. I think special mention needs to be made of Tracy Chen‘s ‘Eggs’, which knocks me over into some tingly mess each and every time I press play on the thing. And it would be remiss of me not to make mention of Japanese Wallpaper, the exception to my most hearted and reposted rule.
And all the others in this here tape. This tape especially has felt quite a pleasure to post. If you just can’t wait to read more of me writing, then you may well want to sign up to the maamf mailout. Thanks to all those who have done so already. For those yet to, it’s a monthly mailout full with many of things I been reading and enjoying over the past month. You can sign up here. You can check out the past issues here.
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*
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.
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.
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.
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.
Sometimes sweet things benefit from a little bitterness. I learned this just now as I indulged myself in KOWL‘s latest 3-tracker, then immediately went ahead to feature the absolute least KOWLesque track on there. OR DID I?*
If you haven’t had the pleasure, Cal (Hobart) has had a hand in a bunch of projects (including stuff with Asta), and his own stuff as KOWL caught me last year with feel-good-house-disco and earworm potency. But the new stuff doesn’t just evolve the sound and quality, it also adds this tense onimous edge to the classic grooves.
I’ll take a punt that the darker mood has to do with some heartbreak for the poor guy, using evidence that includes the title of the EP. But that actually works out pretty well for you and me, as I find it makes it even more addictive. Just like the bitters in my trademark old fashioned, turning sweetened cheap whiskey into a drink of kings. Not that his old stuff was cheap whiskey by any stretch, I’m really just trying to boast that I can make a cocktail.
And so my choice is the uncharacteristic darkest of the 3, ‘You’re Welcome‘. It is slower, ill at ease, untrustworthy and yet moreish.
Also, it has saxaphone. Yes it’s weird there’s been 2 weeks of saxophone frenzy out of nowhere, but shhhhh….let’s not ruin it by talking about it on blogs.
This is a tasty drink KOWL, don’t mind if I do sip it again. Streaming on soundcloud, full release next Friday.
(* I did, but I prefer to call it ‘future KOWLesque’)
I won’t try and deconstruct the brief history of the tidy hyperactive trap sounds coming from all corners of Australia right now, because (like most people over the age of 20) I figure I’m on the outside of that loop.
Maybe there are places on the internet where quiet/shy/anonymous/intelligent kids go to talk about various animals and inside jokes. Actually, that is probably most of the internet. But maybe there are also more specific places where those kids pick through Cashmere Cat tracks and chat through bed squeak samples, delicate percussion and clean plastic synth sounds… Well that’s not for me to know.
But however it started and whether or not Wave Racer was really the first to climb the mountain of this sound locally, the cordial is flowing freely right now and there is cool stuff coming from all directions. Our challenge here is who else do we pluck from the sweetened stream?
Today we have chosen Sydneysider JAWS. His debut ‘Need Me‘ doesn’t stray too far from the cat’s tasty tree of sound design, but it’s put together with a steady ear for clarity and a slower pace than most – measuring out the melodies without flustering my (probably much more ancient) insulin levels.
I dig it because it’s light, uncrowded and ultimately good smiley music. A good sign on the first track, as there is still nothing like a good old-fashioned smile.
Free download from the soundcloud too.
Ok ok. This one isn’t exactly plucked from obscurity. 58,000 plays in the first 3 days earns you the ‘not an underdog’ badge by my humble standards. But given the hip Soulection association, those clicks could be from anywhere, so it is plausible many of us here may not know Howls yet.
The collab between Perth’s most prolific and endearing fount of feels-heavy beats (Taku) and his multitalent mate (Kit Pop) has seen 3 tracks in the past month, each showing some vastly different colours.
From the playful samples and endless deep 808 tails of ‘001’, to the bent and cruisy ‘002’, and now the intense future-drama of ‘003’. The last is my current preference, just imagine that being dropped on you through a great system.
(Technical aside – ESTA the Californian Soulection beatmaker did add mouse clicks into 003 to (presumably) notch up the intensity even further, and sticklers may note that California is not in Australia. But Miks said OK anyway this time. So take that, sticklers.)
The variety is refreshing, the elegance is refreshing – and the tracks keep a relaxed and playful weirdness even when it gets heavy. Fittingly 003 appeared in my Soundcloud stream between two Mr Carmack (USA) tracks, and those 3 tracks just sat there nodding at each other in heavy-yet-effortlessly-cool ways.
I think this kind of stuff is an important piece if Australia’s electronic puzzle right now, and a heap of fun.
Here’s a quirky beat to augment your day, but in truth I don’t expect you will like it today.
Maybe I should say, ‘here’s a quirky beat to augment next week’ as that’s what it did to me.
I moved on when I first heard ‘Hopeless‘ by Nuclear Dream House, but it hung around in some part of my mind, working out, and growing in strength and character as if undergoing training befitting a Rocky montage.
And then we’re here now. It’s sample based/lo-fi/offtime and I know a lot of stuff is. But I submit to the internet that it has something that makes it a unique grower. And I submit that I don’t know what that something is.
I can only recommend you hear it, don’t put any pressure on yourself, and if necessary just wait…
Say what you want about Australia, but our producers know how to slow and pitch a vocal sample. Women sounding like deep voiced men? We’ve got you. Men sounding like odd miniature people? Look, whatever you want. We have been practicing as a nation and we can deliver.
But this skill is a means and not an end, you’ve got to be going somewhere with it. OR perhaps not going anywhere in particular because you’ve got a sweet ride for the journey. Two options, choose wisely.
If that song isn’t a big old saloon vehicle lapping the city at 2am, then we just disagree.
He’s on a roll too. My own fave is ‘Hold Tight‘ – a big plush bus of a tune that cruises and gleams and is always, always driving. When it plays I actually see a twilight road trip montage featuring said gleaming bus (you’re welcome future video clip director). Pretty sure Beyonce’s ‘End Of Time’ supplies the fodder for the slowed vocal, but he’s flipped the vibe half a world away. It’s always weaving forwards, never rushing, never resolving. Look forward to 1:46 when it flicks up to fifth gear and gets all deep and flowing.
I’m no marketing mogul, but if I met this clever dude I’d probably end up trying to convince him to go by just Basquiat, make us more of these, and buy some kind of large vehicle to match his music. Then hold tight indeed.
This is not the first time we’ve used a Lorde ‘Tennis Court’ rework as an excuse to flag someone we’ve had our eye on. It’s the first time I have personally, but two is absolutely our quota, so everyone stop with all Lorde stuff now. We’re all used up thanks to Bad Cop.
Mario the Adelaidian is behind it, and while most of his scant press refers to his noisy production, the special sauce I’m hearing are the hooks. The kind of lean, punchy pop hooks and elegant structures that good radio loves to eat up. Case in point is the recent ‘Brontosaurus‘ blowup, though it would appear that Tkay is getting most of that heat and Bad Cop is keeping his head down.
The justification for posting this one is that I like him and this is his latest. But conveniently it also highlights my point. I find it more infectious than the original, and more mature than just showoff laptop trickery. The drop moves with restraint, and the little mutes, stutters and twisted samples fit together carefully in catchy phrases. I was caught by the catchiness. Take that, english teachers of my past.
Even if you’re well past Lorde saturation point, this one may get under your skin. Consider how that’s no mean feat.
I read the book White Fang as a kid, and cried a fair bit. I think it was when Scott tried to make White Fang stay behind by pretending to hate him, though he was the first person White Fang ever trusted. Or if that didn’t happen, it should have. This story is nearly irrelevant, except to agree that the brooding intrigue of that White Fang character is probably a decent reference for this project.
Mystery girl Whyte Fang has been trickling out originals for a little while, it’s interesting to see the movement and the confidence changing. If you’re into Australian house music you may remember her from a Lancelot track last year, but the fit is more natural with her own aesthetic in my opinion. Her new jam ‘Heart’ keeps the cloudy sound and restrained wavering voice, but gives us a greater peek behind that carefully maintained curtain.
Her melodies in this one are more pop, it skips along at a Haim-like pace, but they are bent around the edges in a way that makes you unsure of what sits behind them. The sound is still that kind of hollow “is it electronic or organic” rhythm-heavy atmosphere. I’ve seen other blogs drop the Knife comparisons – while not as creepy, there is definitely something of that oddness in there that adds a wary depth.
So the Knife producing Haim. It would seem that’s the fragile familiarity link I’ve decided to clutch at, in combination with a cherished novel from my childhood. It doesn’t really capture it, but hopefully it’s enticement enough to make you curiously click that play button.
Before I let Adam begin…what wait? Adam? Who’s Adam? I thought this whole maamf thing was a joke because it’s called Me, And ALL My Friends but yet it’s only just me Miks coz, well, #sadlife?
Nah, I met Adam through a mutual mate (Cheers Max). Adam’s pretty top notch, writes pretty well (better than my attempts), and in general, loves some great local music. If all goes to plan, he’s gonna be a regular for maamf, offering up some slightly more electronic new Australian music. He’s already introduced himself over on the maamf fb, so give him some lovin’ eh?
Let’s talk about simplicity for a minute. Specifically, let’s talk about how a man from Melbourne with no shortage of ideas can cram such an entrancing moment into barely 3 minutes.
Lots of loop flipping? Negative.
Many careful synth layers? Nearly none.
Then he must have swamped it in trendy reverb like an audio instagram filter? Hey hey easy with your pointed tone. Reverb is our friend, and you’re being insta-snarky. And actually, the answer is not at all.
Please give a warm welcome to the brand new project Lanks, from Farrow’s Will Cuming. He went and did it with an intriguing song ‘Rises and Falls’, and an earthy vocal telling a good old-fashioned fantasy story.
I’ll admit, I’m not normally one for putting screenplay plot in lyrics – and some parts near my limit for flowery language. But the gentle production and relentless cold beat sets off the warmth in the voice, and the intimacy of the dry voice sets off the otherworldly lyrics. Yes, everything is setting off everything. Thus it manages to balance itself beautifully.
All up it is entrancingly simple, and I genuinely keep hitting play to dig back in.
It’s just out and the soundcloud plays are accelerating already, there’s a free download going on his bandcamp too – I say jump on.
When you click play on this one, it’s something else. I was kinda expecting yet another ‘weird’ introspective electronic pop song. But nah, actually, it’s pretty special, and completely not what I thought.
There are those unrelenting drums, the soulful vocals, that ‘live’ and organic sound in what is clearly a one-girl production show.
B_U_O_Y (don’t ask me how you say it, what with all those underscores and everything) is from Sydney, and, thank god, is doing some really interesting, well crafted electronic pop music.
Blue Mountains fella Spoonty is doing some really nice textured, layered intricate electronic music. He manages to put in such a big encompassing sound into all he does.
You can check out his EP Collections Vol. 1 over on his bandcamp page (free download).
I got my fave cut from the EP below as well as a new track that Spoonty uploaded a few days ago onto his soundcloud.
To my ears, this feels as though it should be the other way around. The original track sounds like a remix, and the remix sounds like the original.
Maybe that’s DEJA‘s rather excellent sense of production -that slowed down groove of the original is big as all hell and absolutely kills. Then there’s Claire’s vocals – sitting so tightly with that groove.
Cosmo Black‘s remix ramps up that groove into a more dancefloor friendly big club track. I really dig the Cosmo Black boys and yeah, they kill it with this remix – THAT SAX!
You should also check out Cosmo Black’s new project Saturn Program, something that the DEJA peeps helped out on.