Friday, 29 September 2017

๐Ÿฃ IGLOOGHOST — SลŒLAR BLADE

Firstly it's like an overdose of caffeine and the juddering jitters that go with it, the free-form jazz of thoughts that hurtle round the mind on this sort of high, thigh-jiggling anxiety, dopamine cranked up rounds of it uzi-fire like a fanfare of madness. None of this negatively. The hyperactivity at work in 'Sลlar Blade' by UK musicmaker IGLOOGHOST is nothing short of addictive, compelling; it is not going on around you but instead it flows into you, it vibrates you, it enjoins us to join it enjoying the Jupiter storm swirls of it caught up in itself all wonderful, all jelly beans and jewels tornado jam. The never-faltering full-speed footwork beat pops and thuds in rapid-fire flurries like Bruce Lee punches, pugilistic, simultaneously knocking you into a, and out of your, stupor.

Pulsating columns of buzzing synth bass paw at your ears as they pour through the track like molten canals of lead and electricity, creating instant solid robust intensity, and over them crackling and fizzing like sparks and popping candy are gold-dust clusters of melody in an out-of-control strobing zoetrope of different textures and flavours – pizzicato strings, squeezy needling synth, triumphal trumpets, wheezy flute-esque noises—literally blink, with your ears, and you'll miss them, such is the depth of details dredged up from IGLOOGHOST's mind. And wiggling with these is a tract of sped-up nightcoreish vocal, whence it came is unknown; however it does infuse the cosmic playroom feel of the track with something external and real world, albeit warped and gibbering.

'Sลlar Blade' dips somewhere in the middle, and towards the end, where we enter this playful otherword courtyard garden of sound with birdsong and a dark mystic melody flashing interdimensional oddities at the windows, in the lightbulb, through the walls.


  • ๐Ÿ”” This wonderful track is just one of many wonderful tracks taken from the wonderful new and debut album by IGLOOGHOST, Neล Wax Bloom, out today on Brainfeeder. You may attain it for yourself digitally and physically via this piece of clickable text.


๐Ÿ“ 
IGLOOGHOST Internet Presence ☟
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๐Ÿ“ฃ LAZY INTERVIEW #31 — TOUCH SENSITIVE

Opening the email that contained the story behind Touch Sensitive's masterwork in electropop, 'Pizza Guy' – the song that burst into our consciousnesses in 2013, re-released two years later to even wider appreciation – was disarmingly exciting. It's a funny story actually.

"My friend and former band mate from Van She started a night called Pizza Party and he never invited me to play which is understandable because we lived in each other pockets," he writes, "But at the time I was disappointed so in a fit of rage when I was bouncing it to send to Future Classic I called it 'Pizza Guy'." Don't worry, he and Nick (Routledge) can laugh about it now. Originally an instrumental, he told us how it went through "so many different versions" and finally became non-instrumental: "A friend of mine (who went on to become a global superstar) cut up a vocal from an undisclosed location and that's kind of it."

And even though the song isn't this romantic tale of a struggling real-life pizza guy, we can still live vicariously through the video for the track which features Touch Sensitive as the eponymous purveyor of pizza.

Between then and now the Australian musicmaker has dropped a string of singles, including the glistening bouncy 'Slowments', and finally his debut album has appeared: Visions. Funnily enough the album opens with a self-referential track called 'First Slice', a dreamified snippet of 'Pizza Guy', and if that wasn't enough of a nod the "official visualizer" has the producer walk over to a table, open a box and pull out a slice of pizza that he nonchalantly munches as he gazes out a window—the majority of the album tracks do also come with visuals, including the album's piano-thumping lead single, 'Lay Down', which "went through 50 versions," we are told. Elsewhere on the album Harriet Brown features on two songs, there's an instrumental called 'The Mystery Of Cats', and glorious tape warp on 'You're My Last Chance (Interlude)'. Visions glitters and clacks, glows warm and textured with classic synthesiser sounds.

But with the album release behind him by about two weeks now, Touch Sensitive was finally able to sit down with a slice of pizza and a kitten curled up next to him and answer our world famous Lazy Interview questions. Read on, dear reader, read on.


๐Ÿค



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 ?
My name is Michael Di Francesco, I'm from Sydney Australia and I make and play 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 played in bands at school then studied it at university then I discovered Daft Punk so I sold my double bass and went halves with a friend in a TR909 and an EMU sampler, after that we went crazy collecting records etc. etc. I also spent many years playing in cover bands and doing whatever session gigs I could, I got to play with some cool people most of whom are/became my friends.


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 ?


Not sure but I'm constantly trying to make it better and break out of harmonic and rhythmic habits, that's the greatest challenge for me anyway. It can always be better. But by better I don't mean technically or rather sonically, the combination of the elements.


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 ?


Maybe driving, I'm not sure.

If anyone likes anything you do it's nice and if it made people happy that makes me happy
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 ?
A sound, something that just happened, a couple of words or a phrase.


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 ?


I got to do a session with Snoop once, that was pretty cool, also had the privilege of playing with Jamie Liddell many years ago, that was cool too, some of the best ones are in a friends studio or at home.


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 ?


Harriet Brown – 20/15

<

Kate Bush – Why Should I Love You

B.B. & Q. Band – Mistakes


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 ?


Anybody that finishes stuff and puts it out. 


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 think it's an exciting time on so many levels but also it's a bit sad at times because most of the time music is not all about music, there are so many contributing factors, there are amazing players and performers all over the world who don't get the accolades or recognition they deserve. On the other hand with the technology we have now it's easier to find these people and message them direct.


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 ?


Not sure but not the same as last time. I just pulled my studio apart so time will tell.


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


The Rhodes Chroma from a materialistic perspective but as a human being probably coffee and good manners.


๐Ÿƒ



  • ๐Ÿ”” Touch Sensitive's debut album Visions is out now on Australian label Future Classic. You will find streaming options on this hyperlink, whilst over here is a more physical offering in the form of a vinyl, CD and merch bundle.


๐Ÿ“ 
Touch Sensitive Internet Presence ☟
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← #30: MARIUS #32: IGLOOGHOST →



Thursday, 28 September 2017

๐Ÿฃ NIMINO — JAFIAH

There is particularly something about the real noises that click and clatter, fidgeting and mechanical, like a rubber stamp or a stapler, a cosmic set of office supplies possessed and parading around the peeling paint and pockmarked plaster of their now tumbled-down surroundings. Delicious lip-smacking clicks and clacks, crackling vintage wear-and-tear, trickling jingles, all of it in a mixing bowl and whip into stiff peaks and let it become cooked in an oven and it's the meringue of this track, the sweetness but with simplistic block colour and sort of hard externally and kinda soft in the middle.

The chilled gooey sensation of 'Jafiah' by London/Brighton musicmaker nimino is alive and gloriously minimalist in its structure with just a few details like pine needles or tiny pebbles. Smooth synth chords bop along, wheezy and rounded, supported by occasional bubbles of bass rising to the surface; a shuffling beat sashays in, ricocheting hi-hat metallics and the organic percussive clopping sound, and this rolling snare insertion. A wonderful change in time signature brings the song to a heavier dimension, low synthy vocals croon in monosyllables in this new surreptitious wobble with its suave smears of synth whispering bassy. How 'Jafiah' seems so simple but is a meeting of opposing textures, a merging of rhythms, blocky but jewel-encrusted music.


  • ๐Ÿ”” The full version of nimino's 'Jafiah' is actually just over four minutes long and is taken from a compilation called Ample curated by London label Panel—and, in fact, it is their debut album. Various media for streaming this full version can be found listed at the destination of this hyperlink.


๐Ÿ“ 
nimino Internet Presence ☟
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Wednesday, 27 September 2017

๐Ÿฃ LAXENANCHAOS — I AGONIZE MYSELF

In music whenever two disparate elements are mixed together you would expect a lack of cohesion. Something too x mixed with something too y. But these forces are often complimentary—a certain hardness, for instance, helping to underpin uncontainable jelly softness. This is the case in 'I Agonize Myself', a wonderful morsel of music that illustrates its title with self-torturing million-miles-an-hour thoughts in the form of a skittering tumble of beats, a landslide sped up five, ten times as fast, burying the self on its winding road through life with worries and wants. These are the foundations of breakcore: inhuman beats that twinge and judder, cut and re-cut and delayed, messed-with beyond the realm of regularity for the ultimate in what the addled mind desires.

But in clear opposition to these theatrical swarming insectoid beats, Laxenanchaos, the musicmaker behind the track, summons a sea of music that with strings and synthesised sound spin slow melancholy crooning lamenting, the steady swirl of clouds spellbound grey and white and the spluttering rapidity of the rain below. A vocal sample later in the track narrates the emotion behind it all. Whilst the whooshing orchestration paints thickly and expansive an undeniable sadness, each peal and strain of melodious sound infused with heartache and downcast feeling, passive, the barrage of beats is aggressive, active, a jitter of attention-splitting details, pockmarks and craters of anxiety: the unrelenting internal monologue.

The track grows in intensity as it rolls onward through our minds, beginning with real-world sounds, the sweet sentimentality of birdsong, and grows, rushing into a hurricane until around 2:38 when the kick thuds with more bass than before, bumping the track into a new realm of feeling. We end up in a thicket of bristling ambience, fading once more into the innocuous real world sounds of breeze in trees, birds singing. 'I Agonize Myself' in this way represents the little storms we go through each day; how in real life we can be going about our business in any setting – shown by the found sounds that book-end the track – and be suddenly beset by the gravity of emotion, the sudden tumult of mental illness.

And we join the calm and crash of Laxenanchaos, our own feelings mirrored, our noxious negativities compounded, condensed, and then let loose in an LHC of emotive noise, both illustrating and providing even just a moment's respite from ourselves.


  • ๐Ÿ”” This incredible track, which originally surfaced in 2015, is taken from Laxenanchaos EP MEMORIES, which can be attained in the form of a free download from Bandcamp courtesy of Virgin Babylon Records. As the label themselves state in the description of the EP, the musicmaker himself "invites you to feel catharsis from chaotic emotion."
  • ๐Ÿ”” The artwork for MEMORIES, at the top of this post, was created by Osaka-based illustrator mieze. It depicts a girl hugging a horse, drawn in unreal melancholy pastels. Often a symbol of unrestrained freedom, and in this case perhaps a representation of the girl's own freedom, the horse is free from tack, is riderless, whilst the girl herself is fettered with a bridle. The hug itself, a deep closed-eye embrace, seems emotional enough to be a farewell. It may also be important that the girl's hair is styled in a ponytail: the name of the style is enough, but the fact that this is a way of taming hair by tying it up suggests even more lack of freedom for the girl.

    The EP's title, "memories", seems as though it is reflected in the artwork—indeed, instead of a current freedom that has been let go, it may well be that it is the freedom of the past, childhood, which is the recipient of this goodbye. The horse in question is actually quite a lot smaller than the girl, maybe suggesting that it isn't fully grown and that it does represent the passing of childhood, the loss of that much freedom, and moving into adolescence and adulthood whereby the individual is bridled not just by society, school, work, but by oneself as a reaction to these facets of life.



๐Ÿ“ 
Laxenanchaos Internet Presence ☟
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Tuesday, 26 September 2017

๐ŸŒ VISITS — TOKYO SHITAMACHI

When the sun is setting across Japan, down suburban city streets, a song is played through speakers on every corner. We asked a Japanese friend why this was—they told us it was to let the children know that it’s time to go home, called the goji no chaimu (5ๆ™‚ใฎใƒใƒฃใ‚คใƒ ) or the "5pm bell".

The first time we heard the tune we were returning to where we staying in Sasazuka, Tokyo, along the same paths as the weekday commuters. The shadows were long and the air was cold; through an open window we could hear a child was practising trumpet; all was calm and in the place that it needed to and should be. This was when we realised that Tokyo was much more than the sense-overloading megalopolis that people would have your believe it is. Here was a city of delicately layered lives, people filling up every corner of entwining towns, each of them brimming with their own texture, complexion and charm.

Although the whimsical whistling of the 5pm bell is a test of the public emergency alarm system, it illustrates the peacefulness of residential routine, encompasses the almost indescribable subtle world of Tokyo's suburban backstreets. The goji no chaimu appeared in our ears like a melancholic melody; a wash of perfect sound flying along the waves of the golden evening sun that was swiftly losing its touch to the dying darkness of the winter's night. The lasting light glowed orange and yellow in blocks of shape across the uniform patchwork grids of tiles on the facade of low houses and lit up the leaves on the faithfully arranged potted plants placed on doorsteps and atop air conditioning units. The aesthetic of care and consideration. Of making the best of the practical situations of life. The tangles of telephone wires up above echoed the song and people slipped silently off of the road and through the front doors to their small dwelling calling 'okaeri' as they left the city streets behind, all on a track, one by one slipping off into their different private worlds.

From the spiderweb of roads between Sasazuka and Shibuya station, to the old wooden shitamachi (downtown) of Yanaka, the aesthetic of Toyko is not the singular hi-modernity of glowing lights and high-rise buildings. The winding backstreets at sunset—the peaceful stillness of a graveyard in the snow—Toyko's delight is all in the delicate details and intimate atmospheres. The city is more than what first meets the eye. Before we arrived in Japan the notion in our mind's eye of Tokyo was seen in flashes of images – Scramble Crossing, Harajuku fashion, blaring lights, overwhelming crowds – a daunting and hardy futuristic metropolis. What we discovered was global city filled with fun and warmth, careful pragmatic design, understated style and endless heart.

REBECCA ALICE SAUNDERS
@yesnotravel



All photographs © 2016, yes/no. Please credit if used


Friday, 22 September 2017

๐Ÿ“ฃ LAZY INTERVIEW #30 — MARIUS

21-year-old Norwegian producer Marius swoops by to take part in this laziest interview series of all time. It's Friday and it's just about a week since the musicmaker had his debut EP Existence Problems released via Pelican Fly, the independent Belgian label responsible for introducing Cashmere Cat and Lido to the world, while also playing host to various other electronic entities like French producer Canblaster. Marius is in good company. And he deserves to be there: influenced by producers such as these as well as the psychedelics of Tame Impala and an earlier interest in progressive metal, his music is a crazy collage of ricochets and refractions, ideas echoed and warped.

Previously known as Melf, this year's moniker change kicked off with inaugural track 'Easy', which unfortunately didn't make it onto the EP—it's filled with maddened energy, a charge of breakbeats and popping percussion that gradually gives way to a coda that djents with distorted metal guitar satisfaction, showing a brilliance in the combination of disparate musical styles and elements. The EP's title track shows a softer side with a plinky rockpool of cute quirky sounds that also rains down a bullet hell of percussion in waves of delicious incoherency; latest track 'Lame' mixes up kaleidoscope psychedlia with slow voidsome beats. So far it's a triumph of originality that sees Marius slotting together jigsaw pieces that don't fit together, making new dishes from the buffet of influencers that have come before.




๐Ÿค



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 ?
My name is Marius and i am from Eidsvoll in Norway. I like to make music that I’ve never heard before.


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 started creating music when I started playing the guitar. I played progressive metal and wanted to record my riffs. I had Garageband on my Mac, so I started programming drums and recorded my 7 string guitar.


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 ?


All over the place.


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 hope so!

I like to make music that I've never heard 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 ?
This is such a tough question. To be honest, I don’t know the answer. I think it’s a bit personal, and not something I can really put words to.


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 ?


๐Ÿ’ฌ


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 ?


Selmer – Surfin With U

Mindtrix – Moon Pigeons

Tame Impala – Reality in Motion


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 ?


This is another tough question. I admire a lot of people I think, but I think I subconsciously draw on a lot of influences when I write music. Everyone from guys like Flume to Lido, to bands like Tame Impala. My track on Pelican Fly, called 'Lame', is actually really heavily inspired by Tame Impala.


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 ?


⇩⇩⇩


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 think these two questions I can answer together – as an artist I do dream that the future of music somehow involves something that I can contribute to. I think that’s a natural internal want for any artist – for your art to connect with people in new ways.


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


๐Ÿ’ฌ


๐Ÿƒ



  • ๐Ÿ”” Marius' debut Existence Problem EP is out now on Belgian label Pelican Fly.


๐Ÿ“ 
Marius Internet Presence ☟
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← #29: WALTER EGO #31: TOUCH SENSITIVE →



๐ŸŒญ THINGS THAT ARE TASTY — SAIGON

In Vietnam's second city there's no shortage of food. And when you add a sizeable expat community into the mix you get as many burger places and Western enclaves of deliciousness as you do bun cha and street vendors. The main streets flaunt sit-in restaurants, some decidedly upmarket, which you'd expect, and the rabbit warrens of alleyways that etch their way between these boulevards house thousands of little stalls and cubby-hole eateries. It's tasty business as usual.

๐Ÿด La Fiesta
Craving good old portions of cheese and wanting to sink our teeth into some stupidly stuffed-full burritos we found ourselves greedily perusing the menu in La Fiesta, a highly tipped Tex-Mexican restaurant in Saigon. Run by a cheerful American guy with bubbly American service to match, La Fiesta turned out to serve up some of the best Mexican food we've eaten in Asia.

We kicked off dinner with some mouthwatering home-cooked nachos that came with heavily loaded with black beans, gloopy cheese and with added depth of flavour, chopped spring onions and fresh tomatoes along with the standard but highly integral salsa and sour cream. With our nacho-lined stomach were prepped and ready for the main deal we were served the burritos.

Oh burritos, how we have loved and missed you. In Taiwan we ate popiah, a type of rice-flour wrap stuffed with meat and crunchy greens, and in Korea we tried out Korean take on Mexican food at Fuzzy Navel, which was well appreciated. But this here at La Fiesta was the closest we had some in months and months to properly, well stuffed, home-style burritos.

The portions were Americanly massive. Double helpings of burrito heartily packed full with refried beans, rice, salsa, sour cream, guacamole and melted cheese. We tried the vegetarian tofu version, we'd never had tofu in a burrito before, but this being Asia, using the everyday staple for a vegetarian substitute just makes natural sense. We ordered the chicken burrito too which was rich and flavourful and very very thick indeed. These were the textures and cheesy deliciousness we so wanted and needed. Needless to say we left like boulders and rolled down the street for a beer.

๐Ÿด Ban Trang Tron street food
We had been on the hunt for Ban Trang Tron since we were introduced to the street food in Hanoi by our friend Sammi. Whilst walking to the Opera House we walked past this lady and her street stall on the other side of the street and stopped by for a look on our way back.

She had the classic collection of ingredients needed to make Ban Trang Tron all prepared and chopped up in different sections on here cart. We attempted in Vietnamese to ask for one once we had waited in a line behind some hungry school kids on their way home from school. The lady seemed to understand us (what else would we've been asking her for?) and nonchalantly mixed up all the necessary tasty molecules to create the tasty classic Vietnamese street food dish, using scissors, as is normal, to cut up the sheets of noodles.

This version was spicy than the two we tried in Hanoi, more sour-tasting with less apparent sweetness. An easy stomach-filler to munch on whilst hot-footing around Saigon's tourist sights.

If you see someone with a little cart like this, just go up, do some smiling and maybe a little nodding and pointing at what you want and try the food. It's not as scary as it seems. The cost is so cheap and you will be trying a part of real everyday life in Vietnam. Don't get put off by the plastic bag: it's Asia—even ice coffee gets served in those land filling bad boys.

๐Ÿด Bread and Butter
We will be honest and say that this place wasn't our first choice for dinner. We had walked on a wet dark night out of the main hub of town to try out a cool vegetarian place - the type with polished concrete floors and young students with half-shaved heads. It turned out to be laughingly overpriced and a fat old rat scurried around our feet as we sipped our beer. The last straw was they said they had no rice. No rice! So we left.

Bread and Butter was a comforting and warm haven in the loneliness of a busy foreign city. It was late when we arrived but we were greeted with smiles.



Hungover, hungry and wet from the rain we sat at a little round table and greedily munched on burgers we nodded to each other in approval of tastiness. This was the simple food we wanted and needed that night. The veggie burger and the classic cheese burger were everything we could have wanted to comfort us in the tropical downpours.

Some Japanese guys came in and sat at the bar enjoying a drink together. This scene made us smile, the cosy space helping to remind us of the same homely atmosphere of izakayas in Japan. A kind of easy feeling washed over us as the warming blues music followed us out the door and then it was back to our hotel to bed with full stomachs.

๐Ÿด Royal Saigon
At first Royal Saigon could appear as one of those standard tourist restaurants filled with westerners. Its situated on the main strip where touts attempt to persuade customers in bars and restaurants, we probably would have given it a miss if it weren't for a recommendation from a couple we had met the night before and we are glad we went!

We tried the bun dau hu, one of the many vegetarian dish on the menu. Bu dau hu turned out to be a heaped bowl of rice noodles topped with crisy tofu and some chopped up vegetable spring rolls hidden in the mix – just the right amount of moisture and crunch - fresh salad and a zing of pickled carrots topped with a sprinkling of peanuts for depth of taste and a vegetarian dip on the side.

We also tried the meat version, bun thit nuong – cold rice noodles topped with vegetable goodness and succulent grilled pork. The quintessential Vietnamese combination of crunchy chewy, fragrant and spicy.

๐Ÿด Goi
We first discovered the delights of banh goi in Hanoi. It translates to something like pillow cake and it appears to be a close cousin of the empananda, being as it is minced meat and cellophane noodles and usually an egg in there somewhere wrapped in a nicely greasy deep-fried pastry with similar fork-made markings round the closed edge. Or like a pasty. Anyway we found a cool place in Saigon that specialised in these delicious morsels and it was simply called Goi.

Located near the famous Post Office, this Hanoi-style eatery is small and feels like a secret, like the sort of place the Viet Cong might have planned their operations from, spartan and functional, complete with vintage posters, old clocks, squat bamboo tables. Even the crockery was themed. Reminiscent of national coffee-and-more franchise Cong Caphe, there seems to be a growing interest in and market for nostalgia.

Of course we tried the banh goi, which were literally delicious and came with cold rice noodles and a salad of lettuce leaves and coriander, and the obligatory sweet and sour dipping soup. We also tried bun dau, fried tofu with compressed rice noodles sliced into chunks, served with sprigs of tรญa tรด – a mint-ish cooling sort of taste – alongside chunky cucumber slices and soy sauce for dipping. We were eating just after the lunchtime rush clearly: we were the only ones in there eating, apart from the staff who, after serving us, crowded round one table in the corner chowing down on their own lunch.

REBECCA ALICE SAUNDERS
@yesnotravel


๐Ÿ– More things that are tasty from… ๐Ÿ–
HONG KONG (๐Ÿ‡ญ๐Ÿ‡ฐ)GUANGZHOU (๐Ÿ‡จ๐Ÿ‡ณ)GUILIN (๐Ÿ‡จ๐Ÿ‡ณ)YANGSHUO (๐Ÿ‡จ๐Ÿ‡ณ)
GUIYANG (๐Ÿ‡จ๐Ÿ‡ณ)KUNMING (๐Ÿ‡จ๐Ÿ‡ณ)HANOI (๐Ÿ‡ป๐Ÿ‡ณ)HUE (๐Ÿ‡ป๐Ÿ‡ณ)