Wednesday, 21 June 2017


It's a sea-based intro, setting the scene with the clopple and clapping of watery sounds morphing to the crash and topple of waves on a beach. A tract of piano with dramatic baroque flavours of minor-major modulations switches between daintiness with light trills and skipping notes and something more colossal, strong robust chords; between a picture of the calm sea and the ocean fraught with ferocity. A plaintive melody chimes in, something reminiscent of the opening theme to Zelda: Link's Awakening, which also features strong maritime themes with 8-bit renderings of sea and surf. At 1:10 chimes whisk us from the ocean scene, the cresting waves, shifts the camera from directly focusing on the sea to the town cradled in the bay, the buildings overlooking the blue expanse.

Japanese musicmaker yomo-da turns the track into a jazzy illustration of life by the sea, a bossa-nova rhythm in the soft percussion the tingling cymbal shuffle and offbeat allure of the bass-rimshot pattern, a Latin coastal groove that soaks your mind with sultry azure visions. Warm organ chords play with airy turbulence and romance, a fluttering tremolo pulsing in your ears with a dreamy, far-off appeal, the muffled bed over which the piano returns and tumbles virtuoso, twinkling with the angularity of light and shade in the city, the bustling boulevards, narrow lanes, breezy palms, all of it fading into an aching silence where this conjuration gradually dissolves. 'Odayaka?' is the sea – fickle, light, beautiful, vast – whilst it also reflects the moods, the hearts, of the people who live with it.

  • πŸ”” 'Odayaka?' is taken from yomo-da's recent EP, γ‚ˆγ‚Šγ¬γε››ζ–Ήη”° (Yorinuki Yomoda – The Very Best of Yomoda). Released by Japanese netlabel OMOIDE LABEL, you can download it from their Bandcamp page on a name your price basis.
  • πŸ”” In the SoundCloud description of this track is written:

    γŠγ γ‚„γ‹ γŸγŠγ‚„γ‹

    mild, magnificent
    let's go to the sea

    The title, 'Odayaka?' refers to the mildness of the sea. Yes it's nice, it's breezy, calm—but, taking special note of that question mark, not always.

  • πŸ”” The artwork for the EP was created by ε—ι›²ε“‰ζžœ Saika Nagumo. The selection and mastering of the four tracks for the EP was done by OMOIDE label owner, YZOX.

yomo-da Internet Presence ☟


Grime grime grime. Recognised by countries other than the UK in recent years, it's having something of a renaissance. Only something of one though, because it never really went away: people just started talking about it more. One component of the genre who seems to have always been around is Dot Rotten, who lends his production finesse to this one under new name, Zeph Ellis, which he changed since he shifted his focus to producing over the last couple of years. The beat clacks with the slap of rapid-fire handclaps, sharp cymbals tsing with reverb and wobbly synth rains down on the jostle of the beat like meteors: this is 'Mad Ting' by Podgy Figures.

Indistinct vocal samples ghostly and icy crystalline ambient gossamer runs like mist through the dense tree thicket beats, gently looming as the track rolls on, first up with emphatic bars by Croydon rapper Bonkaz (you may know him from his 'We Run The Block') that rolls into the hook where the beat's poised and calm, the ice cavern synth frozen glacial chimes spinning its web as "mad ting, mad ting." Podgy's bars bristle with laid-back growl, referencing a few choice sports amongst other things "we gave rudeboys their showers / you don't want encounters / we're the founders / out man running like rounders" and "man's investing / dem man are fake like wrestling"—This track judders both with the spooky electric charge of Zeph Ellis instrumental and the controlled venom that these two up-and-comers effuse with energy.

  • The video for 'Mad Ting' was directed by Jay Parpworth.
  • πŸ”” The track is taken from Podgy Figures' new EP Gingerbread Season, which is out now.

Podgy Figures Internet Presence ☟

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Zeph Ellis Internet Presence ☟

Tuesday, 20 June 2017


The menace of the crunching bass and the downtrodden guitar, the slapdash strumming leading into a graveyard of sound that looms like something poised to pounce but never does—it's that ever-present threat of sound, melancholy on the edge of negative action, which gives 'Benz Truck (Π³Π΅Π»ΠΈΠΊ)' its brooding atmosphere, a gothic gloom that is charged with potential energy yet which seems to shrink and wallow in grief. It does both. Producer smokeasac attaches a disjointed drum machine the dirge, thin gasping snares crack whilst kicks gloop and thud, subtle hi-hats ticking slow and sometimes tripling up like origami assault rifles takata-takata-takata just adding to the hype of the track, the electricity of it that you'd swear didn't exist here if it weren't as palpable and downright tangible as it is.

Slurring mumbling darkly with downcast confidence is Lil Peep, whose laid-back rap flows slow like spilled apple sauce, delivered with laissez-faire aplomb and a mellow fierceness. He casually delineates his situation whereby he has obtained money and success, enough for "iced out teeth on an iced out whip / with the limousine tints, you can suck my dick." He goes on to pre-empt accusations of sell-out that seem to come with the attainment of fame – "who you wanna hate now? pretty soon you gonna hate me" – as well as boldly stating: "all the money that I make now / I'll never let it change me." His tone, something like a drugged Jesse Lacey would sing over the top of something Brand New might play if they injected beats into their hard emo sound, is soaked with reverb, and conjures a persona at once calm and collected, less emo crying and commiserations, more stoic control of life.

  • πŸ”” The track is taken from Lil Peep's album Come Over When You're Sober, set to drop at some point soon I guess. You can purchase, stream and/or download 'Benz Truck (Π³Π΅Π»ΠΈΠΊ)' via this lil link here.
  • πŸ”” The Russian word Π³Π΅Π»ΠΈΠΊ in the title refers to the exact type of Benz truck he's talking about: G-Class—the word, read as something like "gelik" in English, and let's assume it's a slang term, throws up images of black boxy cars on Google.
  • πŸ”” The video for the track was directed by Get Mezzy (also editor), SUS BOY, and Wiggy. It was animated by Chadwickmak and Connor Moy.

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Lil Peep Internet Presence ☟
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Instantaneous. The lush pop rhythms and delicious pop flavours flowing and bubbling and resounding and spreading like a magical ether have a rare timeless appeal, an ease and fluidity that enables the track to reach you with instant effect. The first few seconds: the shuffling groove in the percussion, the indefatigable retro gloss of the glassy chords. It really is a lightning strike of pop. In 'For I Know' Netherlands musicmaker Saux has it covered: the simplicity, the sumptuous sounds, the summer-ready sulter. Barely any accoutrements dangle from the bones of the track, xylophonic luscious bones that frame the vocals lilting with pop melody, making this a minimalist's dream, a groovesome abstraction of cool longing.

Kicks thump, handclaps clop organically. The simplicity is one of the crowning glories of this track. Few elements come together to make 'For I Know' what it is. For added tropical poolside conjurations the constant stutter of a palm-muted guitar makes its sunlit entrance into the track, summoning a decades old adage of sound, heightening the retro quality, the simple lyrics as sung by Saux and friend Sjaak Thissen with its subtle harmonies slowly unfolding in the sashay forwards. Minor additions in the beat, the regularity of it, hi-hats, some shakers in the finale alongside, the guitar that mirrors the vocal hook. The sounds dissolve wonderfully into the well preserved space, reverb painting a sense of expansive universality whilst the dusty instrumentation, the intonation of the vocals rich and whispering, creates a sense of carefree intimacy, closeness not yet attained.

Saux Internet Presence ☟


The slow creep, the gradual rising up, the heavy burden feel becoming lighter, this slow climb upstairs, how luscious it awakens. 'YEARS' is a slow-burn of ascension and progression, of multi-instrumental additions, a cake mix of sounds with more and more tasty things poured in for good measure. We begin with decayed crystalline chords like glassy harps playing downtrodden modulations that seem to warp and shimmer sweeping in a haze of tiredness and surrender, as if these are the final motions to perform for a day: it is returning home after dark, work firmly out of mind but the pull of sleep dragging you down, the numbed feeling of knowing the drudgery starts again tomorrow. It is the theme for the unrelenting office worker, the effected chords tragic but sparkling minutely with satisfaction and comfort.

And here is our ascent. LA-based musicmaker deepsleeper begins to take us away from the dull dimness of the kitchen table, the lonely after-work dinner, and we are imbued with an uplifting sense of carelessness as we move upwards, somewhere beyond the real world. The warming-up-orchestra feel of the singing strings, the rich tones of brass, all of coming together into a densely forested seam of nurturing ambience, low rumbles beneath, the strings shimmering, the brass end-of-the-day tearjerking cheerful, the steady growing howl of it all, the roaring crescendo, the white noise waterfall whoosh, the big drums beating our approach, mindcleansing, bodystopping—the welcome fanfare of sleep and dreaming, our grand reset.

  • πŸ”” This is deepsleeper's first single. Credits on this dreamy track are as follows: trombones by Mike Richardson; violins by Steady Holiday; upright by Blake Estrada; drums by Kiel Feher.

deepsleeper Internet Presence ☟
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