Friday, 21 July 2017


There is a wholesome realness in this track that makes it difficult to not bring your other senses along for the ride: skin tingles and warms, mouth and tongue seems to anticipate flavours and textures of tasty food, visions of a natural world elsewhere swirl like mists into your mind. Combining the sounds of outside, the sounds of nature with its luscious crunches and the inviting glory of water sloshing and soothing, combining these with the sounds of indoors, the ultimate indside sounds in the form of synths that bleep simple and videogame-esque or resonate rounded and glassy with artificial digital perfection, Vancouver musicmaker cyanura transports us to wherever we most associate these sounds, a lake shore, the ocean, a boat, a riverside, a tropical island—where there's water, there 'splash' is.

With a big emphasis on foley – that is, creating sound effects or in this case instruments by effectively sampling real life sounds – cyanura serves up a bustling collage of percussion that gives this song its rich textural dimensions, that all-senses effect where the clean clicks and clops tapping and popping in the track feel like different hard sweets: it is quite literally delicious. We have the crunch of footsteps, the dry shuffle of sheafing through pages of a book, reverbing finger clicks, distant hi-hats, tiny rolling snares—a percussive playground. It almost overshadows the beautiful plaintive melodies of the track, a modern day pastoral, the childlike nature of it summoning a deep sense of fun and nostalgia associated with fun and the places where it can be had. Idyllic is the word.

  • πŸ”” This beautiful track is cyanura's first to be uploaded so keep an eye on their SoundCloud.

cyanura Internet Presence ☟


There is something instantly classic in this track, something that is instantly gratifying, a dose of familiarity with just enough unfamiliar infused, a sound an atmosphere that virtually lives in our collective memories with the easy sway afforded by the clean bouncing syncopated synth bass throughout, with the clonking stabs of piano chord that summon a resurging era of yesteryear, kicking up dust and giving this track the raw organic feel that effuses from real instruments like that, the sweating bodies hot skin real life humans on the other side of the speakers, a sense of sensual reality also rising from those vocals: "Why don't we lay down for a while?" The poetry in this simplicity is too much to bear: the electric charge behind those words, what it suggests as a situation, what preceded, what follows, it quivers carnally.

Australian musicmaker Touch Sensitive has certainly evoked something in 'Lay Down', that is for sure. Lyrically, because language is what we understand, but also in the warm crowded varying layers of the vocal, the aching reminiscence of the melody, the repetition of "lay down for a while" calling to mind some unnamable nostalgia—and then that shivering falsetto. And next to all this human organicity is of course the synthetic, the neon chords that fade in and out towards the end, the French touch splat and thud of the beat, the construction of it all, its artificiality, desperate desire for closeness in closed quarters, in private, spinning mantra-like in this track that both suits and evokes public dancing places, where you are alone in a crowd, an internal juxtaposition that combined with its timeless retro appeal gives 'Lay Down' a sense of tragic beauty, a yearn for something that was never there.

  • πŸ”” The very fitting video for 'Lay Down', decidedly of a different era with its flashing fonts and collages of dancing 3DCGI objects and imagery – and directly inspired by Prince's lyric video for 'Sign 'O The Times' – was directed by Lost Art with the 3D bits created by Melbourne-based Adam Parata.
  • πŸ”” 'Lay Down' is the latest single by Touch Sensitive released by Sydney-based record label Future Classic. You can purchase and stream the track variously if you click upon this link right here.

Touch Sensitive Internet Presence ☟


What really is surprising about this track is how it sounds like a variation on a theme of Bert Bacharach's smooth 'What The World Needs Now', its introduction fogged with those reminiscent chords, soft and lounge-leaning, a lull of resting heart-rate and horizontal chill. It is not exactly reflective of the track as a whole, nor the heart of the track, but it is a component of what this instrumental journey is all about—and that is drama. So this intro, the heartfelt touching sweetness of it, a trough of energy, soon builds with a flying formation of acrobatic distorted guitar into a peak, the concoction of it soon towering and vibrating all around you cinematic and atomic.

There's a great point in 'Up' where the Dublin-based band Γ„TSCH, having already skipped up some gears via new zooming tempos and cascading drums that skiffle and shimmer sharply and a storm of bass, where it all joins together in-sync and wonderful, jumping into staccato patterns at 03:05, locking in gloriously and falling away for the drums again to roll tornadoes into the proceedings, and the virtuoso guitar wailing now with jazz freedom furious rapid lightning in the crashing noise of it all. And we end where we began, the gentle piano chords resonating quietly, framing this dramatic sojourn of sound, this ascension into the clouds and somewhere beyond.

Γ„TSCH Internet Presence ☟


Here we are in a world where past and future meet, a teetering limbo of a place that pops with pastel lightness, bold bass booms buttressing beneath the breezy surface. Here is a slice of post-rave late-'90s-early-'00s electronic dance music with syncopated synth chords chewy and sweet, wobbly fluttering neon chords like cotton candy, and all with a rumbling backdrop of beats that tumble noisy mouthwatering. 'After Hours' is a bright lamination of sucrose flavours founded on substantial elements that give the cradling haze of cuteness a standoffish sense of dance dislocation, highly impersonal but also highly loveheartable too.

Created by LA-based producer VenessaMichaels and inspired by YΕ«ta Nishio (θ₯Ώε°Ύι›„ε€ͺ)'s manga After Hours, the track feels smooth to the touch, light but heavy like freshly kneaded dough, decorated with variegated tracts of synth that swirl sometimes half-abrasive and reflective of a feeling of confusion, echoed by the vocal samples which also call out not necessarily celebratory or triumphal but more like internal yells of life and living. The intro feels somewhat grave, verging on melancholic in the guitaresque arpeggio resonating with a cooling loneliness over the stumbling stutter of the beat. Raving and cute, inward facing yet extroverted, solid but hazy, 'After Hours' blows hot and cold in a really neat way, displaying two sides of the coin at the same time for an illustration of internal struggle and finding one's place in the world.

  • πŸ”” VenessaMichaels collaborated with Viz Media for this track, which is of course named after the manga which they licensed towards the end of last year. The media group describe YΕ«ta Nishio's After Hours as "a heartfelt story about a young queer woman coming into her own and finding her place in the world."

VenessaMichaels Internet Presence ☟

Thursday, 20 July 2017


A slice of music toasted and spread with a sweet combo of videogame music and carefree swing, Aesaire's track takes us into a shuffling world of fourth level fun, the sort of music that doesn't denote the easier levels of a game but something a few stages on, you know, but not the hard levels. What first sprang to mind was Dynamite Headdy, sort of like this, but more the atmosphere it effuses, the way it visually builds grass-topped 16-bit platforms and robot enemies as it bounces along. The syncopated melodies weave with the jabbing chords that stutter between the wide swing of the kick-snare dynamic, the dreamier soft choral haze that flutters upwards for extra breeziness in the already breezy quite jazzy chiptune-flavoured 'Chromatic Canopies'.

Indeed its feeling of playfulness is a direct effect of the music theory elements behind the track, "swing rhythms and chromaticism," as Aesaire tells us. Basically a free-for-all of any notes rather than those of a particular key, chromaticism literally adds colour—and the colour at work in this track comes foremost from the bleepsome melodies that appear to dance around the other bassier notes and the chords, and from the more rhythmic sections themselves, too. It's like a hop, skip and a jump, a spring in a step, setting off on the right foot and various other light, optimistic cliches for the beginning of this music project, as well as a brazen reminder of the importance and influence of videogame music in the current landscape of the electronic music world.

  • πŸ”” This is only the beginning, so keep your eye on Aesaire's SoundCloud.

Aesaire Internet Presence ☟