Wednesday, 11 November 2020


'Monoc' by Japanese digital artist and producer Satoshi Kanno appears like a electronic spectre on a nocturnal city street. Sparse chopped vocal samples merge with flickering percussion, skittering on a bed of bumping kicks and the soft bursts of distortion. Its angular structure feels mechanical, industrial almost, as the track moves into a moody footwork-infused midsection.

The splicing sounds and fusion of elements in 'Monoc' was a result of Kanno's approach to the track.

"I was inspired to compose this piece to reflect on the ways and meanings of communication between all things in our time," he says to yes/no via email. "The noise in the song refers to nature, animals, plants, machines, and humans, and even though each form remains the same, when they overlap each other, they transform into another form."

The track ends up as a "collective form", each element adding to a whole that brings together its fragmented parts to a sonic sum: a reflection of how an individual is ever-transforming, reacting to their situation, the times in which they exist.

Satoshi Kanno Internet Presence ☟
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Wednesday, 4 November 2020



There's more meaning behind the title 'Sixth Week' than an arbitrary measurement of time. It actually refers to when UK producer Visco City actually created it: during the sixth week of the country's nationwide lockdown due to coronavirus.

As such, the track bristles with anxiety — tracts of clattering metallic sounds, gnawing and insectoid, appear crushed and crinkled like the sound of a car crumpling sped up a hundredfold. But there are hints of hope here, optimism (or nostalgia for "old times") spelled out by a melody dancing over it all, thick warm plumes of bass enacting a sonic embrace.

The focus, Visco City tells yes/no via email was "to try and highlight the contrast between something anxious and something beautiful." And though shattered lines of chaos spark through 'Sixth Week', in essence it is a lush soundscape of better days, a slice of blue sky beyond the giant clouds.

Visco City Internet Presence ☟



The minimal production of 'Goddess pt. 1' by Swedish artist Shadi G doesn't just serve to create a luxurious atmosphere — it allows the vocals of the musicmaker herself to soar and glimmer unimpeded. A patter of kicks and the abrasive pop of a snare propels the track forward on a blanket backdrop of soft synth chords, a glitter of zithers ornamenting it all; at the forefront, Shadi G's voice itself lilts and meanders with slow, acrobatic ease, vocal reverb like mist casting a dreamlike softness over proceedings.

"I felt I was in a place where the fun and playfulness could take a bigger part," says Shadi G in an email to yes/no.

'Goddess pt. 1' may be at its core a silky R&B number, but it's also a soulful exploration of the singer's Iranian heritage: lines of Farsi curl and spiral into earshot in the finale. "I love the melody of the language, the nature of the language itself is so poetic," she says, explaining that she chose include Farsi into her track because of the importance the language has played in her life.

"I really want Farsi to get a platform to be heard and seen," she adds. "Music isn't just made in English, even though it's the language that's given the most exposure and space by the industry."

Shadi G Internet Presence ☟
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