Thursday, 15 August 2013

KOLOTO KILL SCREEN

I wrote about Koloto, real name Maria Sullivan, last month - her track 'Fox Tales' was a hotbed of organic sounds and glitchy beats. I suppose in many ways it still IS. But we are forever moving forward. So let's move on. It'll be on her forthcoming EP (no name nor date for that yet) in any case. We now arrive at her new musical creation, 'Kill Screen'.

It's very different from 'Fox Tales', which was a very natural-sounding track. Full of innocence. This one instead is unnatural, in that it's pretty much wholly synthesised, and it is also not innocent. Not at all. Instead 'Kill Screen' brims with a looming menace from the very outset. A low and gloomy ambient atmosphere is cast with waves of dwindling hollow synth and a glitched-out harp arpeggio; aching sounds, like something being tightened, pressure rising, conjures images of something lurking in the background. A shuffling shifty clipping noise builds up to the drop.

And when it comes it's quite a change.

The harp turns into chiptune synthesisers, wildly bleeping in that same arpeggio; that tightening sound becomes a frantic frenetic beat. It's easier to hear the progression now - a kind of fugue that I guess even Bach might have been proud of - which gives it an epic kind of sound. Those bleeps though, aren't they delectable?

And it gets even more wild after the second drop. The synths are layered on top of each other, the beat more full yet still staccato. It conjures an image of an old castle from some old videogame - it would naturally be like, a boss fight or something, and it wouldn't be easy either. Or a chase scene. In any case, it's a menacing, Dracula-is-coming-for-you vibe that is still whizzing around in my head even after I've stopped listening to it - wholly worthy of its title, I say.

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