Monday, 17 November 2014

POST LOUIS – FRAGILITY (BEN HAUKE REMIX) • 初演 PREMIERE

Here is a remix of a song called 'Fragility' by London band, Post Louis. The original is something like a jagged escape to the country, a slice of guitar-led music that switches between slap-dash fuzzy sounds and melodic softness, a kind of art-pop indie feel that is many things at once, crashing beast morphs to curled-up cutie, as wonky and experimental as it is gentle and ear-friendly. You get the idea.

This remix is something else entirely. A different beast. Altered Beast. Another World. It is ultra-cool. Tiptoeing a tack that summons a smart and angled atmosphere, perfectly designed, intelligent and snappy. Sharp white-noise hi-hats count liberal time in the condominiums of the future in Ben Hauke's fabulous, glistening reworking of 'Fragility' – understated handclaps sneak in past the 10-foot-tall steroid-infected bouncers (don't worry about them, it's much better inside, you'll forget all about them, sit down, have a cocktail, it's on us).

A bassline with all the treble sucked out of it bounces the track along, lightly guided by the subtle boom of the kick, horn snippets rising through the walls like phantomatic, melodic car horns, quiet bongos veil like a mist as the alcohol begins to kick in – STRINGS, spectral strings, this is a sophisticated party after all. Vocals, messed with, submerged and surfaced and reverbing, chopped and thrown around, the iridescent lights catching the fluttering voices of people in the midst of this understated yet unrelenting dance-inducing track.




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Tuesday, 11 November 2014

VULPIXIC – 12AM

Who dis? Dis Vulpixic. Who dat? Musicmaker. Self-taught. Also studying for a PhD in ocean optics. What dat? "Atmospheric and ocean optics is the application of optics and radiative transfer to problems in the atmosphere and ocean," says Wikipedia. Then I went on a Wikipedia voyage and I forgot what I found out and ended up on the 'List of alien races in Marvel comics' – that's what always happens. (Not w Marvel but y'know).

Enough of this utter fatuous nonsense. We talkin about '12am', a track by Vulpixic (I guess the adjectival form of Vulpix), a veritable dream of a track, a pure blue sky day with maybe a few clouds tumbling across it because of an impatient but friendly breeze, a lake rippling and flowers nodding and smiling creatures like tumbleweed made of feathers bounce in meandering herds across verdant meadows.

It's upbeat, led by a three note bassline burrowing beneath it all, gentle beeps scurrying across your field of hearing with a cascade of chimes and metallic percussion added to the luscious mix, occasional glitches halting progress for the same kinda satisfaction I get from looking at architectural models – tiny but minutiae-focused buildings with tiny people doing all sorts of different things. Towards the end, synth vox veils the sound with solemn ambience, a different beat bouncing with restful yet determined zest.

  • This comes from an EP (or it's not labelled as such but might as well be) called Rabbit Reasons and you can grab it for just $1 over here. But as you can see you can download this one track for frees.



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Monday, 10 November 2014

SAUVAGE – MARÉE NOIRE

I first wrote about these guys a while ago, finding the beat and vocal harmonies and, well, everything about their track 'Camel' quite difficult to not become addicted to. They're from Paris and they're French and they're called SAUVAGE and this track is called 'Marée Noire' which is an epithet (literally means "black tide") for an oil spill in French.

This one is quite different to what I've heard before; it rings with juddering electro energy, bass jouncing along with the rollicking beat joining it, electric chords jolting across the galloping path of the rhythm. This is at least how it sounds in the first half. But a middle section announces the arrival of a fresh-rain-against-a-window gentle drum pattern, the entry point for the vocals, too, which almost whisper in this quiet section.

The track's second half is all groove, a contrast to the first half; synth chords seem full of feeling zap into life – which seem to breath heavily at the end – the bass holds court with its simple groovesome rhythm accented with octave-skipping notes, the vocal melody is not over-highlighted and smoothly sails across the crashing, raging waves as electric arpeggios sparkle like twinkling stars in the eventual crescendo of the track. All that's left is the kinetic beat.



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