Friday, 18 August 2017


Last month we saw TUSKS live. In fact, we didn't so much see it as experience it: her vocals fill the room, her guitar aches and conjures wide reverb-soaked expanses, her beats are sparse and minimalist, accentuating the wild sense of space that her music evokes. She played songs taken from upcoming debut album Dissolve, including Foals cover 'London Thunder' and lead single 'Toronto'. "Musically a lot of them are inspired by more cinematic music and scenery from travelling around the world," the musicmaker tells us via email.

This globetrotting nature manifests itself in the names of some of the songs—an allusion, she explains, to her experiences in those places at those times. "It's a really personal album for me," she says. "Six of the songs were written in the space of a very changing and dramatic year where I was really struggling with a lot, so I think they've ended up being quite raw and emotionally charged." And behind the power in the music is human person Emily Underhill, real name of the entity that we know as TUSKS, and she has agreed to tackle the fabled lazy interview so that we may learn some things about her.


w h o   a r e   y o u ?   w h e r e   a r e   y o u   f r o m ?   w h a t   d o   y o u   d o ?
I'm Emily, I'm from London and I make music.

h o w   d i d   y o u   s t a r t   c r e a t i n g   m u s i c ?

I learnt piano when I was little, and then picked up guitar in my teens and studied music tech at uni which got me into the production side of things.

h o w   w o u l d   y o u   d e s c r i b e   y o u r   s o u n d ?

Someone described it as evolving dark pop recently which I think fits really well.

i s   t h e r e   a   p e r f e c t   t i m e   a n d   p l a c e   f o r   l i s t e n i n g   t o   y o u r   m u s i c ?

I reckon at night on headphones somewhere, maybe outside…

I always wonder about when we're actually going to run out of original things to write that haven't been written before
w h a t   i n s p i r e s   y o u   m o s t   w h e n   m a k i n g   a   t r a c k ?
I'm not sure, I think I just like being alone somewhere and getting caught up in making the track. It's all quite a subconscious experience for me - I don't really plan it or consciously get inspired by things. It's more of a realisation after I've made the track of what's inspired it.

w h a t   i s   y o u r   m o s t   m e m o r a b l e   m u s i c a l   e x p e r i e n c e ?

The last tour around Europe supporting Asgeir was amazing - they were the biggest venues I'd played and we finished in London playing to a sold out Koko. I'm such a big fan of Asgeir, so it was amazing touring with them all and watching their show every night.

w h a t   a r e   y o u r   f a v o u r i t e   t h r e e   s o n g s   a t   t h e   m o m e n t ?

The War On Drugs – Strangest Thing

Foals – Mountain At My Gates

Lapalux – Rotted Arp feat. Louisahhh

w h o   d o   y o u   m o s t   a d m i r e   i n   t h e   m u s i c   w o r l d ?

I’ve got a lot of respect for Björk.

i n   y o u r   o p i n i o n ,   w h a t   i s   t h e   f u t u r e   o f   m u s i c ?

I always wonder when I'm writing songs about when we're actually going to run out of original things to write that haven't been written before. I think it depends on the creation of technology to open doors into new sounds and genres - it's something that's exciting though. 

w h a t ' s   t h e   f u t u r e   o f   y o u r   m u s i c   –   w h a t   d o   y o u   h o p e   t o   d o   n e x t ?

I want to start on the next album as soon as possible - I'm already writing new songs that I'm really excited about. I think if I can just do that and tour for the next 18 months I'll be very happy!

w h a t   i s   m o s t   i m p o r t a n t   t o   y o u ?

Just to be happy.


TUSKS Internet Presence ☟
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Thursday, 17 August 2017


"Over the years I've developed a nasty habit of digging for music during my spare time," Manila musicmaker Jorge Juan B. Wieneke V aka similarobjects writes in an email. "Whether it be the sounds of the past, present or future it always seemed like I've got a habit of seeking for something good for my ears to munch on." He's the latest artist to step up to the plate and smash a guest mix out of the park—and it seems as though he's a good choice because music, and not just making it, is a big part of this producer's life.

"For writers, people say that "reading is writing" and I feel like this applies to us musicians as well," he explains, "so when I'm not creating I just spend a lot of time digesting music from everywhere and anywhere."

In this guest mix, our 29th, similarobjects takes metropolitan Latin flavours and psychedelic guitars, moods conjured with gentle glossy keys and meandering jazz journeys, magical crooning pop party music, and gradually mixes them into the indigenous interiors of the Philippine islands with darkly chiming percussion and fresh organic textures: it is a cocktail of history and culture.

"As of late I’ve really been stuck on listening to a lot of Filipino records from the '60s, '70s and '80s that draw influences from Western jazz, Indo-jazz, jazz-funk, jazz-fusion, ethnic, samba, folk music, Brazilian, as well as some pieces that fall under the category of ethnomusicology," Jorge writes, taking us through the mix. "I thought I'd share a slice of Filipino culture through some of my favorite selections as a lot of these artists/songs really spoke to me and I hope this mix finds you well. And for those who follow my work maybe this mix can paint a picture of where my head is at the moment."

Previously the musical output of similarobjects has been typified by enigmatic atmospheres, otherdimensional flavours, beats that range from dusty organic to clipping and chaotic, a sonic world of synthetics and introspection. The gentle, cleansing house ambience in last December's two-track release Etheric is different to the high-concept frame of SoundCloud album Happiness is a deactivated Facebook Account, filled as it is with nerve-racking breakcore-style beat glitches and a hectic dystopian mood. He mentions in his email that he's working with RBMA Paris alumni JOHN POPE on "a collaborative EP in the form of a videogame," which will be announced properly soon.

This guest mix, however, acts as a precursor to another upcoming release that seems as though it will be moving away from his past futurist abstractions. It's an EP called UGAT.

"Ugat means "Roots" and it carries with it a sense of re-connecting with our roots as Filipino people," Jorge tells us. "The underlying concept of this EP is that the whole body of work is an ode to forgotten and lost instruments, rhythms, cultures, traditions and practices of the Philippine Indigenous Tribes and our Ancient Ancestors."

As such, some parts of this mix – the obscure mystery of 'Suling Suling' and 'Ugnayan' for instance – really feel like a moodboard for the producer, fresh paint on the palette for his next artistic endeavour, the next step of his musical evolution.

00:00 Bong Peñera – Batucada Sa Calesa (1977)
02:54 Bobby Enriquez – Recado (1982) 
09:44 Flip Nuñez – See You Later (1976) 
17:14 Bob Aves – Gongs Can Swing (2014)
20:53 Boy Katindig – Midnight Lady (1978)
31:25 Dakila – Makibaka/Ikalat (1972)
40:06 Pasta Groove – Suling Suling (Dr José Maceda Rework) (19??)
42:08 Dr José Maceda – Ugnayan (1974)
52:02 Joey Ayala – Buwan Buwan (1991)

similarobjects Internet Presence ☟
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Wednesday, 16 August 2017


The subterranean tunnelling feel of this, the cold stark descent into the earth, the stifling temperature of it, the mild claustrophobia like miasma tendrils reaching through the labyrinthine space. The house beat of this track is muffled, a juddering rumble, deep and formless, simply the subduing boom of it, this treble-drained procession of kicks helps that underground feeling, the smothered nature of them feeling very in-the-earth, not cavernous but enclosed, buried. 'This One' by Polish musicmaker FM2 continues with the fluttering delay of unknown creatures in the dark, light abrasions texturising the lo-fi murk of these soft but percussive plasma synths, their bouncing stutter like some sort of echolocation, heightening the lonely wall of rocks that bound this stony warren like a blind mirror.

And in these tunnels lined with bare rock and punctuated with glowing minerals and calcified growths there is damp mist, drip-dropping water, the whispering reverb from the ticking hi-hats like rhythmic rain, open hi-hat razor sharp metallics leading the expedition to where they want to go, a garbled vocal sample like a lost radio update crackling into dust, finally around halfway through—the main chamber. How vast, sunlight glaring in from some unknown opening many hundreds of feet above, plantlife swaying in some warm errant breeze, the new brighter tone of the synths a gloss of triumphal discovery, a glittering upbeat new refraction, happier than before, all-encompassing bass gripping your body, soothing and cleansing, tumultuous exploration and its new world end game as told by this analogue techno journey of sound.

FM2 Internet Presence ☟


Here we are inducted into a harsh world of cliffs and outcrops, jagged mountains, errant bewildering boulders, an arid landscape strewn with stones and with suitably tough greenery dotting the brown-grey-red of it all with mossy juttings; totemic natural or are they natural structures tower into the pale tangerine sky half-toppling above it all. It is an alien landscape, something wholly foreign, a visual conjuration courtesy of these breakneck bone-shattering beats built by Berlin-based musicmaker Ziúr. The pugilism, the violence at work here cannot be understated: this is a brutal piece of work, the alarm clock of the deep cosmos calling you, wrenching you awake, rollicking machine-gun snares, sub-bass-explosions opening up fissures in the earth, an avalanche of perilous percussion.

Yet behind these hard and hefty tracts of beating battering drum sounds there is something more gentle at work in 'U Feel Anything?', noises erupting from the cracks opened up by the piledriver bangs and booms of the beat, sonic awakenings, modulating unidentified sounds pouring out and into the air. In the midst of this irregular pneumatic drill almost grime-flavoured uptempo-ness, this seismic doom, ectoplasmic synth bulges and bubbles in simple patterns, high-pitch needling insectoid sounds sharp and lasering, augmenting the sense of alien unfamiliarity in the already far-flung force of the drums—those drums, textured with crunching, crushing, exoskeletons bursting, the fragmentary abstract ADD itch, the champion drum, the charred earth, the nucleus of energy cracking the frame of terrestrial reality.

  • 🔔 This amazing track is taken from Ziúr's debut release, also called U Feel Anything?, which is out via Planet Mu / Objects Ltd. on 6th October.

Ziúr Internet Presence ☟
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Tuesday, 15 August 2017


Four years following the release of previous album No Better Time Than Now, Shigeto has produced a follow-up to 'Detroit Part I', an almost symphonic morsel of music, a journey of a track in which a brooding atmosphere is beset with bristling sounds, a melancholy atmosphere where a sense of downcast dystopia looms somewhere in the lament of it all. 'Detroit Part II' is a different beast entirely. If the first part of this sonic homage to the Michigan city charts abandoned buildings and boarded up houses and forgotten assembly lines, the dereliction of Detroit, all angular and atmospheric, then the second part is humanistic, living-and-breathing, focused on how people react to their surroundings in terms of art: its musical culture and heritage.

The track thumps along with a dusty wheezing organic thud of a kick, luscious handclaps and muffled snare rimshots and delicious clopping woodblocks and shuffling shakers punctuating and decorating this subtle driving force of a beat, a tangible waterfall of textures. Soft synth bass plunges fuzzy giving the track a wandering breezy groove, the meandering jazz feel of it augmented by saxophone peals that prize open the heart of the song and allow life to flow forth. Barely discernible, a mist of gentle keys gloss glassy nebulous aching and accepting, merging with the whispering tones of the vocal sample that reverbs into the streaming percussive beat and its homely comforting sense of space. This is a change of heart, the silver lining of the cloud, the other side of the coin.

Shigeto Internet Presence ☟