tag:blogger.com,1999:blog-88817457528176027562024-02-18T23:44:04.889-08:00NoiseDartThe good music blognoisedarthttp://www.blogger.com/profile/06745374993976062054noreply@blogger.comBlogger107125tag:blogger.com,1999:blog-8881745752817602756.post-27503056690850199702019-09-13T17:00:00.003-07:002019-09-13T17:00:35.347-07:00LOFT - sSLABicks<div style="background-color: white; font-stretch: normal; line-height: normal;">
<span style="font-family: inherit;">There’s a point about two minutes into the third track off of LOFT’s most recent EP <i>and departt from mono games</i> where a shimmering chord rises from the stuttering and thundering surface of the track. In most writing about LOFT aka Aya Sinclair’s work, this “stuttering and thundering” is described as the producer’s tendency towards “experimentalism.” That is a claim I will not dispute. The more I listen to “sSLABicks,” however, the more I’m convinced that LOFT has turned everything on its head. The more I listen, the more I feel comforted by what might seem to be the chaotic mess of percussion and samples that make up much of the piece. And the more I listen, the more I actually feel overwhelmed by the ultra-clean, shimmering light of the chord that pushes through two minutes in. This is what I love about LOFT’s music. It remains sincere, but without trying to assert a “difficulty” in experimentalism. In “sSLABicks,” I believe that you can hear the joy of experiment. And that joy is what makes this track and the whole EP something worth listening to. </span></div>
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<i><span style="font-family: inherit;">Contributed by K. M.</span></i></div>
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<i><iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/600898056&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="95%"></iframe></i></div>
<div class="blogger-post-footer">http://blogname.blogspot.com/feeds/posts/default?alt=rss</div>noisedarthttp://www.blogger.com/profile/06745374993976062054noreply@blogger.com0tag:blogger.com,1999:blog-8881745752817602756.post-55056822720848418492019-09-11T15:27:00.002-07:002019-09-11T17:42:23.356-07:00Shards - Unrest<a href="https://www.erasedtapes.com/">Erased Tapes</a> have done it again. The ‘it’ is to breathe life into another unusual, original, poignant contemporary classical group - and to righteously deliver their music our ears, where it belongs! There was Nils Frahm; there was A Winged Victory for the Sullen; etc…<br />
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Now there is Shards: a twelve-member experimental choral group led by Kieran Brunt. Their recently released debut album <i>Fine Sounds</i> is in turns disquieting and comforting, minimal and cinematic, digital and analogue; Brunt’s desire to play, to experiment, unconstrained, is transparent at every point on the album. And yet this free play comes across as neither scattered nor incoherent. Instead, the anchor of the album tying it to worldly concerns is its reverence for the textures of all 12 voices. Eager to celebrate the voices and bring as many effects as possible out of them, Brunt sometimes allows them to collect into a powerful wall that crescendos like a storm gathering; elsewhere the harmonies are delicate and uplifting; and sometimes single, forlorn voices flicker in and out of our path (ehemm “Lost”).<br />
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This is an album that ponders if choral music can be deeply affecting and deeply human even when chopped up, filtered, interwoven with synths effects, with robotic elements, with smatterings of percussion and bass. The answer: a resounding yes. When you open up this album and its tones hit you, you’ll feel you’ve entered a surreal church service at some sort of Hi-Tech Cathedral.<br />
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"Unrest" is my favorite track on the album. For ... reasons.<br />
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<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=273899895/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3899417910/transparent=true/" style="border: 0; height: 120px; width: 95%;"><a href="http://shardsvoices.bandcamp.com/album/find-sound">Find Sound by Shards</a></iframe><div class="blogger-post-footer">http://blogname.blogspot.com/feeds/posts/default?alt=rss</div>noisedarthttp://www.blogger.com/profile/06745374993976062054noreply@blogger.com0tag:blogger.com,1999:blog-8881745752817602756.post-68359640955120537192019-09-07T17:08:00.000-07:002019-09-07T17:08:38.432-07:00AMAZONDOTCOM - Leopard’s Dream<div style="background-color: white; font-stretch: normal; line-height: normal;">
<span style="font-family: inherit;">There are a lot of weird DJ/producer names floating around these days (I’m looking at you, DJ fart in the club). However, in my mind, the king of them all is AMAZONDOTCOM. That being said, I don’t want their name to get all the attention. Their most recent EP,</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Mirror River</i><span style="font-family: inherit;">, is excellent. It has everything you want out of contemporary electronic music: blips, bloops, blops, squeaks, bird calls and water droplets. Nevertheless, at its core, I think “Leopard’s Dream” has the same appeal as an old school house track. It’s got one interesting, juicy little riff that massages your brain for four minutes as the producer plays with filters and other effects. It’s got a pounding rhythm, but a simple premise that makes it a real joyride of a listen.</span></div>
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<i>Contributed by K. M.</i></div>
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<div class="blogger-post-footer">http://blogname.blogspot.com/feeds/posts/default?alt=rss</div>noisedarthttp://www.blogger.com/profile/06745374993976062054noreply@blogger.com0tag:blogger.com,1999:blog-8881745752817602756.post-74753663050504664022019-09-07T16:59:00.002-07:002019-09-07T17:00:55.830-07:00Tomás Novoa - Arrecife<br />
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<span style="font-family: inherit;">In his latest release “Arrecife” Tomás Novoa bops us steadily, patiently through a blissful soundscape of his own unique construction. If you had to paint that landscape, it would most definitely look like the artwork above. The effect is blissfully estranging – not dissimilar to the experience of listening to Jon Hopkins or Nicolas Jaar. We are treated to intimate textures; at times the beat rests on a bedrock of intimate crackling, elsewhere subtle peripheral whispers paint space. The breathy primary vocal sample seems to beckon us, as a soft heartbeat-like thud underpinning the track gradually feels like our own. Maybe most remarkable is Novoa’s ability to transition dynamically between sections of the track, collapsing it all to a minimum, and then sweeping us back in, again and again, gracefully, like we are witnessing a tide moving in and out.</span><br />
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<span style="font-family: inherit;"><iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/660764330&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="95%"></iframe></span><div class="blogger-post-footer">http://blogname.blogspot.com/feeds/posts/default?alt=rss</div>noisedarthttp://www.blogger.com/profile/06745374993976062054noreply@blogger.com0tag:blogger.com,1999:blog-8881745752817602756.post-16811771842982855412019-09-03T17:09:00.001-07:002019-09-03T20:15:41.771-07:00Sgrow - ExtremesSgrow is an electronic duo consisting of Vilde Nupen and Kristoffer Lislegaard. They hail from Oslo. And they have hailed down upon us a new piece of electronica: a manic, galloping track that rushes past your ears like you are racing through a freaky sci-fi landscape in a convertible with the roof down.<br />
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It’s a soundscape that is hard to tie down; they seem to have the same problem, because on their website they cite as musical inspirations "Tim Hecker, Vince Staples, Kelela, Holy Other, Little Dragon and Aphex Twin.” On facebook they add to that list "Four Tet, FKA Twigs, Björk" … and many others. Bjork’s influence certainly comes across in Vilde Nupen's compelling spoken vocal part in the chorus that seems to simultaneously disclose and shield some critical information. Abundant details successfully draw and hold our attention, from the intricate opening synth pattern, to creaky, glitchy textures and tangled vocal samples.<br />
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<iframe allow="autoplay" frameborder="no" height="300" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/642835122&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true" width="95%"></iframe><br />
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<br /><div class="blogger-post-footer">http://blogname.blogspot.com/feeds/posts/default?alt=rss</div>noisedarthttp://www.blogger.com/profile/06745374993976062054noreply@blogger.com0tag:blogger.com,1999:blog-8881745752817602756.post-63776180945606588822019-09-02T18:08:00.004-07:002019-09-02T18:08:49.948-07:00Florentino - Latigo <div style="font-stretch: normal; line-height: normal;">
<span style="font-family: inherit;">After his debut EP <i>Fragmentos</i> (where he worked with the likes of rising star Bad Gyal), <i>Ilimitado</i> finds British-Columbian producer Florentino continuing to develop his hybrid sound and working with a new cadre of up and coming artists, like Brazil’s MC Bin Laden. The sounds are</span><span style="font-family: inherit;"> eclectic and reference reggaeton, cumbia and baile funk as much as they do UK bass and grime. </span></div>
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<span style="font-family: inherit;">Although every track on this EP deserves a mention, I want to draw particular attention to Latigo, the only track without a listed vocalist. Over the course of four minutes, a looming, atmospheric melody trades places with a charging soca beat. There are squeaky blips and synth effects more reminiscent of the UK’s club sound, but the main rhythm of the track is sure to get your hips shaking. </span></div>
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<i style="background-color: white;"><span style="font-family: inherit;">Contributed by K. M.</span></i></div>
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<i style="background-color: white;"><iframe allow="autoplay" frameborder="no" height="300" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/662136827&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true" width="95%"></iframe></i></div>
<div class="blogger-post-footer">http://blogname.blogspot.com/feeds/posts/default?alt=rss</div>noisedarthttp://www.blogger.com/profile/06745374993976062054noreply@blogger.com0tag:blogger.com,1999:blog-8881745752817602756.post-7324512469803422302019-08-30T09:15:00.001-07:002019-08-31T22:20:57.990-07:00Arran George - Man in the MoonWith simple instrumentation – a reverberating, uncluttered guitar pattern – and a minimal rhythmic scaffold – a muted strum on 3 – Arran George is not trying to hide behind effects here. This track is an exercise in control and sparsity, but not for sparsity’s sake; at one point he even briefly backs up his vocals with sweet layered vocals, a frictionless unearthly choir – blink and you’ll miss it.<br />
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I bet Arran George is tired of being compared to Bon Iver. Here we go again. The airy vocals sit in a similar range, and the melody feels decidedly Iver-eque. His lyrics feel somehow grandiose and relatable, like a melancholic giant is crying; like an angel has fallen and is trying to win our sympathy. That is perhaps what makes this song so compelling to me: the sense of a larger purpose bursting out of the sparse framework of a track that can hardly contain sustain the pressure.<br />
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<iframe allow="autoplay" frameborder="no" height="300" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/651834266&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true" width="95%"></iframe><div class="blogger-post-footer">http://blogname.blogspot.com/feeds/posts/default?alt=rss</div>noisedarthttp://www.blogger.com/profile/06745374993976062054noreply@blogger.com0tag:blogger.com,1999:blog-8881745752817602756.post-49478346415195581702019-08-26T19:23:00.001-07:002019-08-26T19:24:46.574-07:008ulentina & Foozool - Crazy Kiya Re<span style="font-family: inherit;"><span style="background-color: white;">I’m sure that at some point I’ll post more about Oakland-based party/label Club Chai and their founders, </span><a data-saferedirecturl="https://www.google.com/url?q=https://soundcloud.com/tobago-tracks/sets/8ulentina-bodyguard&source=gmail&ust=1566958654898000&usg=AFQjCNGAA2Xe0OQmF0fPzSHuu0dozzbR7Q" href="https://soundcloud.com/tobago-tracks/sets/8ulentina-bodyguard" style="background-color: white; color: #1155cc;" target="_blank">8ulentina</a><span style="background-color: white;"> & </span><a data-saferedirecturl="https://www.google.com/url?q=https://soundcloud.com/foozool/sets/lara-sarkissian-peninsula-ep&source=gmail&ust=1566958654898000&usg=AFQjCNFIxBvOE_J7FS4-Ab9iUCmhGobDKg" href="https://soundcloud.com/foozool/sets/lara-sarkissian-peninsula-ep" style="background-color: white; color: #1155cc;" target="_blank">Foozool</a><span style="background-color: white;"> (who have some very noteworthy recent releases). Recently, however, they put together a remix of one of the most iconic songs from Bollywood blockbuster Dhoom 2 for London DJ Manara’s </span><a data-saferedirecturl="https://www.google.com/url?q=https://ultimatespicemix.bandcamp.com/album/manara-international-presents-the-ultimate-spice-mix&source=gmail&ust=1566958654898000&usg=AFQjCNHbMMZdMn3xP2SUFFUmYglvvxfm5g" href="https://ultimatespicemix.bandcamp.com/album/manara-international-presents-the-ultimate-spice-mix" style="background-color: white; color: #1155cc;" target="_blank">Ultimate Spice Mix</a><span style="background-color: white;"> </span><i style="background-color: white;"></i><span style="background-color: white;">charity compilation for </span><a data-saferedirecturl="https://www.google.com/url?q=https://www.restlessbeings.org&source=gmail&ust=1566958654898000&usg=AFQjCNGDvJJcUjD2PgPqx9TunADwVu-DWg" href="https://www.restlessbeings.org/" style="background-color: white; color: #1155cc;" target="_blank">Restless Beings</a><span style="background-color: white;">, an international human rights organization. </span></span><br />
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<span style="font-family: inherit;"><span style="background-color: white;">As a person of Indian origin who spent innumerable hours watching Dhoom VHS’s in his grandmother’s house, I can’t help but lose my mind when I hear a remix of “Crazy Kiya Re” that’s filled with the stuttering kicks and rolling breaks of contemporary electronic music. It’s a simple remix that keeps the spirit of the original alive, but gives it a place on today’s dancefloors. I’m looking forward to seeing how diasporic artists will continue to not only negotiate their relationship to traditional forms of music, but also other popular non-Western arenas like Bollywood. </span></span><br />
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<span style="font-family: inherit;"><span style="background-color: white;"><i>Contributed by K. M.</i></span></span><br />
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<span style="background-color: white;"><iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/LEfBl5UCO5g" width="530"></iframe></span><br />
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<span style="background-color: white;"><a href="https://open.spotify.com/track/0vOmTDUF4uUCTNx3vzL8VF">SPOTIFY</a></span><div class="blogger-post-footer">http://blogname.blogspot.com/feeds/posts/default?alt=rss</div>noisedarthttp://www.blogger.com/profile/06745374993976062054noreply@blogger.com0tag:blogger.com,1999:blog-8881745752817602756.post-46682651166225749522019-08-25T09:17:00.005-07:002019-08-25T09:24:16.712-07:00Dyllan - One of UsSince I first heard this song, I haven’t been able to get the infectiously catchy chorus out of my head. I find myself singing it over and over again. My neighbors probably think I’m going through a difficult breakup. I half expect one of them to come knocking on my door, proffering a cookie: “it’s okay honey, sometimes people just aren’t compatible”.<br />
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For context, the lyrics in the chorus are, “One of us wants what the other can’t give”.<br />
Actually, the lyrics are,<br />
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“One of us, one of us wants<br />
One of us, one of us wants<br />
One of us, one of us wants what the other can’t give.”<br />
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Like an effective astrology column, a mark of good melancholic lyricism is to transform general themes into personalized messages. Repetition in the chorus gives the impression that Dyllan is getting to grips with a sad predicament as she sings, realizing in-real-time that her wants are incompatible with the wants of another. This is fully realized, unapologetically sensitive pop.<br />
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And listen to <a href="https://soundcloud.com/dyllanmusic/walk-sideways">“Walk Sideways”</a> too.<br />
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<iframe allow="autoplay" frameborder="no" height="300" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/670160807&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true" width="95%"></iframe><div class="blogger-post-footer">http://blogname.blogspot.com/feeds/posts/default?alt=rss</div>noisedarthttp://www.blogger.com/profile/06745374993976062054noreply@blogger.com0tag:blogger.com,1999:blog-8881745752817602756.post-5265879786575777302019-08-24T09:34:00.003-07:002019-08-24T11:10:40.791-07:00Lensk - StrainedAndrzej Frelek is the co-founder of METICO nightclub in
Warsaw, turned electronic producer of inventive electronica under the name Lensk.
Recently he released his second EP, Apophenia (Lost Time) via <a href="https://www.jeromeworldwide.com/">JEROME</a>. His sounds
are eclectic - sometimes glitchy and ambient, elsewhere rooted in the club. Apophenia
opens on a track called “Interlude”. (I can’t remember the last time I enjoyed a
track called “Interlude” so much.) Found sounds and intimate textures create
a surreal spaciousness, as regular percussive clicks intermingle with blasts of
white noise like jets of steam from an exhaust. Meanwhile, spectral voices
bounce around, as if they are ushering you through a damp cavern, the consonants
in their whispers boosted into static ASMR-esque clicks and pops.<br />
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In “Strained” we are treated to similar whispers and astral tones, but above all this track is a celebration of
percussion. Even the clubbier, ulta-synthetic drum tones resonate and are interlocked
with such deliberateness and technique they sound like a skilled percussionist is playing an electronic Kendang. <o:p></o:p></div>
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With this EP, Lensk’s second, he promotes himself out of the ‘ones to
watch’ category. There is no question of his spellbinding talent.<o:p></o:p><br />
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<iframe allow="autoplay" frameborder="no" height="300" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/665939192&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true" width="95%"></iframe></div>
<br /><div class="blogger-post-footer">http://blogname.blogspot.com/feeds/posts/default?alt=rss</div>noisedarthttp://www.blogger.com/profile/06745374993976062054noreply@blogger.com0tag:blogger.com,1999:blog-8881745752817602756.post-86443294433559667322019-08-23T13:49:00.000-07:002019-08-24T11:10:31.571-07:00Miette Hope - Alone<span style="font-family: inherit;">22-year-old Brooklynite artist Miette Hope is on the rise. Over
the past couple of years she has released just a handful of singles, but with each
she has shown herself to be versatile, capable of soulful, jazzier deliveries, as
well as electro-pop tracks.</span><br />
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<span style="font-family: inherit;">Her newest track, “Alone”, starts with a subdued verse, featuring
scattered percussive flourishes. Then a synth lead upper-cuts you, throwing you into
an swaggering electro-pop chorus reminiscent of <a href="https://www.youtube.com/watch?v=OUkkaqSNduU">Flume’s “You and Me” remix</a>. The tonal shift is unexpected and enjoyable. And the contrast between the morose
lyrics and the bright, confident instrumentals in the chorus injects a puzzling tension. Miette Hope juxtaposes recognizable ingredients uniquely enough to make this track stand out. <o:p></o:p></span></div>
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<span style="font-family: inherit;"><iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/JziaIH1wx70" width="530"></iframe></span><div class="blogger-post-footer">http://blogname.blogspot.com/feeds/posts/default?alt=rss</div>noisedarthttp://www.blogger.com/profile/06745374993976062054noreply@blogger.com0tag:blogger.com,1999:blog-8881745752817602756.post-33447231632006713122019-08-22T14:53:00.003-07:002019-08-22T14:53:57.004-07:00CITYTRONIX - IRAMA FOYER<div style="font-stretch: normal; line-height: normal;">
<span style="font-family: inherit;">A few months ago, the Venezuelan musician and riotous performer Arca posted an Instagram story in which they were gesturing both furiously and seductively at their computer screen. As they moved, a jittering but ethereal sound moved with them, opening and closing in time with their body.</span></div>
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<span style="font-family: inherit;">This is how I stumbled upon CITYTRONIX, the artist tagged in Arca’s post and the creator of the Max/MSP instrument they were triggering with their hands. I know little of this CITYTRONIX other than that they have associations with the WARE collective out of Bristol in the UK. Nevertheless, they have a substantial body of work online whether in the form of their intricate, abrasive and beautiful electronic music, or the visual/text pieces they post on Instagram. </span></div>
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<span style="font-family: inherit;">The complex layers of interesting details, found noises and sound design that form CITYTRONIX’s music make it both distinctive, yet hard to describe. Ultimately, in listening to and writing about their music, I feel as though there is something out of my grasp. If I can say anything about their latest mixtape, <i>IRAMA FOYER</i>, however, it would simply be that it seems to fulfill a promise that a lot of electronic music has been trying to make over the past few years. There is so much art that bills itself as “hyperrealist” or “deconstructionist” in the way that it takes pop tropes, digests them, and vomits them up in some sort of glossy, tech-maximalist explosion. My question, however, is whether in this accelerationism, much of this music actually just reifies the capitalist, tech-supported hierarchies that it claims to investigate. In CITYTRONIX’s work, I feel the radical potential of electronic music sincerely realized. I hear something that navigates what it means to exist in a world in which so much of our cultural memory and experience is sentimentally tied to things that are in many senses problematic. I hear something that asks not just what it means to exist in the space between our physical bodies and the internet, but what it means for so many bodies to be feeling and existing at the same time. Whether I can articulate how the exhilarating twelve minutes of <i>IRAMA FOYER</i> exactly do this is beyond me at the moment. I do believe that CITYTRONIX’s music does its best to open up a space of potential in between all of these overwhelming concerns and yet, at the same time, seems perfectly willing to collapse itself, as it must do over and over again. </span></div>
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<i>Contributed by K. M. </i></div>
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<div class="blogger-post-footer">http://blogname.blogspot.com/feeds/posts/default?alt=rss</div>noisedarthttp://www.blogger.com/profile/06745374993976062054noreply@blogger.com0tag:blogger.com,1999:blog-8881745752817602756.post-89324501975280342672019-08-21T20:30:00.001-07:002019-08-22T08:17:36.243-07:00Havelock - Pheromones<a href="https://www.noisedart.com/2019/07/havelock-real.html">I posted about Havelock a month ago</a>, after he released his third single, "Real". His newly released fourth single "Pheromones" continues the streak of ultra-catchy jams. The instrumentals are more pared back here, kept to a funky minimum. Over clipped guitar strums and a 4 on the floor kick, Havelock smoothly delivers <i>sexy </i>lyrics about <i>pheromones</i>: "look what you started//moving your body close//baby i'm drowning//lost in your pheromones". If the lyrics sound shallow, somehow the music does not. In these early singles, Havelock displays depth and avoids becoming formulaic, in a genre that (too easily) gets branded shallow and conventional.<br />
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<iframe allow="autoplay" frameborder="no" height="300" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/668905298&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true" width="95%"></iframe><div class="blogger-post-footer">http://blogname.blogspot.com/feeds/posts/default?alt=rss</div>noisedarthttp://www.blogger.com/profile/06745374993976062054noreply@blogger.com0tag:blogger.com,1999:blog-8881745752817602756.post-27794802295840662402019-08-20T20:03:00.000-07:002019-08-21T09:15:14.182-07:00Blanck Mass - House vs. House<br />
The new Blanck Mass album is all over the place. In a good way. It’s an album that reminds you there’s a difference between being scatterbrained and being conflicted. There’s a difference between being disordered and being tumultuous. Benjamin John Power channels conflict and chaos, but, like St. George taming the dragon, he has the chaos under his command. The name of the album: <i>Animated Violence Mild</i>. Oh, now I get it.<br />
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“Death Drop” is like being fired out of a cannon over a Mad Max landscape – a landscape that sees a lot of death metal screaming. The end of “Death Drop” is tethered to the beginning of “House vs. House” by a final morbid shriek, which echoes at the opening of the latter. But immediately the scream is overtaken by a regular, if somewhat aggressive, series of kick drum punches. As the drum pounds on, you are left unsure where Power is taking you. Are you still flying through the wasteland? Are you suspended in midair? As the melodic elements grow brighter and more prominent, you realize that you are being pulled upwards, that you are being lifted somewhere better, somewhere less furious. The bass beats right into a trance-y chorus, with a glittery synth hook, and you may as well be at a festival, under the stars, or surrounded by them.<br />
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The rest of the album extends the surprising journey. From the industrial whirlwind of “Love is a Parasite” to the unexpected celestial harp reprieve on “Creature/West Fuqua”, Power keeps you guessing. But I’ll cut the exegesis here. It's worth launching out of this particular cannon and seeing where you land – listen already!<br />
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<iframe allow="autoplay" frameborder="no" height="300" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/618795540&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true" width="95%"></iframe><div class="blogger-post-footer">http://blogname.blogspot.com/feeds/posts/default?alt=rss</div>noisedarthttp://www.blogger.com/profile/06745374993976062054noreply@blogger.com0tag:blogger.com,1999:blog-8881745752817602756.post-69538489398734080992019-08-18T18:32:00.003-07:002019-08-18T18:33:54.298-07:00Junior XL - It felt like moving forward, but you've been going round in circles<div style="background-color: white; font-stretch: normal; line-height: normal;">
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<span style="font-family: inherit;">There’s a lonely, reverb-soaked knock on the second track of Junior XL’s debut solo release, <i>Fervour Wharf,</i> that slowly drifts in and out of time. In fact, it was only by the third or fourth listen that I realized how much this wandering snare occasionally strays from the beat grid. This meandering feel characterizes the whole of “It felt like moving forward, but you've been going round in circles,” a piece with sounds that allude to the club, but together feel more like a carefree walk home. These offbeat moments, however, don’t seem interested in mimicking a more “human” style, nor do they appear invested in some sort of defamiliarizing, experimental gesture. Rather, it simply feels like the track has a mind of its own—giving and taking away the satisfying knock, as well as the addictive melody that drives the piece forward, as it sees fit. </span></div>
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<span style="font-family: inherit;"><i>Fervour Wharf</i> as a whole is rife with sonic and rhythmic allusions to older UK styles that continue to have relevance in 2019, like garage and two-step. I’m curious, however, in thinking about “It felt like moving forward…” as a kind of bedroom track; a subdued and atmospheric piece that feels more interested in its own interiority than in moving bodies. Regardless, <i>Fervour Wharf</i> marks another exciting and intriguing dancefloor-adjacent release from UK-based label <a href="https://tobagotracks.bandcamp.com/">TT</a> (formerly know as Tobago Tracks). </span><br />
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<span style="font-family: inherit;"><i>Contributed by K. M.</i></span></div>
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<div class="blogger-post-footer">http://blogname.blogspot.com/feeds/posts/default?alt=rss</div>noisedarthttp://www.blogger.com/profile/06745374993976062054noreply@blogger.com0tag:blogger.com,1999:blog-8881745752817602756.post-32654325120974699632019-08-18T18:24:00.000-07:002019-08-21T10:52:47.319-07:00SGJAZZ - Make Me Feel<br />
<a href="https://drdundiff.bandcamp.com/album/sgjazz">SGJAZZ</a> are a neo-soul/jazz group from Louisville. They are now out with their <i>third ever</i> single, “Make me Feel”, from their eponymous debut album. And it's so groovy, you’d think they were veterans of the genre.<br />
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According to their press release, the album was recorded in drummer Dr. Dundiff’s studio. I can’t help but sense that being on home-turf imbues his playing with a natural ease and is partially the reason his 16th note hip-hop pattern sounds so sleek and <i>in the pocket</i> (any drummers out here?). J. Lamotta - featured singer on this track - kills it. Even though in reality she sent in her contribution from her home studio in Berlin, it sounds like she is fully present, rocking with the band.<br />
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I hope they tour beyond Louisville.<br />
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A quick shout-out to Berlin label <a href="https://jakartarecords-label.bandcamp.com/music">Jakarta Records</a>, who can't stop tenaciously putting out superb records (Exhibit A: J. Lamotta's <a href="https://jakartarecords-label.bandcamp.com/album/suzume">recent album</a>).<br />
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<iframe allow="autoplay" frameborder="no" height="300" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/665807255&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true" width="95%"></iframe><div class="blogger-post-footer">http://blogname.blogspot.com/feeds/posts/default?alt=rss</div>noisedarthttp://www.blogger.com/profile/06745374993976062054noreply@blogger.com0tag:blogger.com,1999:blog-8881745752817602756.post-38945447130206618062019-08-18T18:04:00.001-07:002019-08-18T18:42:22.631-07:00Moss Kena - You and Me<br />
Moss Kena describes his new single as “a fun, flirtatious bop about a summer love” – a spot-on synopsis. The lyrics are playful and seductive, telling the story of two people in a passionate summer romance. Tottenham-based (UK) artist Miraa May and Compton-based Buddy stand in for the couple, delivering in turn silky, sexual, bravado-packed verses. As usual, Moss Kena’s strong falsetto shines, easily distinguishing him among a busy field of R&B vocalists.<br />
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Have a listen to this <i>crisp, energetic piece of seductive electro R&B</i> – another spot-on synopsis.<br />
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<iframe allow="autoplay" frameborder="no" height="300" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/659681462&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true" width="95%"></iframe><div class="blogger-post-footer">http://blogname.blogspot.com/feeds/posts/default?alt=rss</div>noisedarthttp://www.blogger.com/profile/06745374993976062054noreply@blogger.com0tag:blogger.com,1999:blog-8881745752817602756.post-39493785415230702972019-08-15T20:07:00.002-07:002019-08-15T20:07:20.705-07:00Anna of the North - Playing Games<iframe allow="autoplay" frameborder="no" height="300" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/653024222&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true" width="95%"></iframe><div class="blogger-post-footer">http://blogname.blogspot.com/feeds/posts/default?alt=rss</div>noisedarthttp://www.blogger.com/profile/06745374993976062054noreply@blogger.com0tag:blogger.com,1999:blog-8881745752817602756.post-18464545153471302302019-08-15T18:44:00.000-07:002019-08-15T18:59:12.001-07:00ODD OKODDO - Okitwoye<br />
Typically, I refrain from extensively reposting a band’s self-commentary. It seems lazy. Plus, I want to re-interpret the music, to elucidate, to critically examine – for my own benefit if not for anyone else’s. I have to make an exception here, because ODD OKODDO explains their unique origin better than I possibly could:'<br />
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<i>“ODD OKODDO is a Kenyan/German duo formed by Olith Ratego and Sven Kacirek. This vinyl single marks their first outing, announcing the album "Auma" which will be ripe and ready in autumn 2019. </i><br />
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<i>Olith Ratego performs his immaculate vocals in the musical style called "dodo", which originates from the shores of Lake Victoria in Kenya, high in pitch and soulfully expressive. He himself refers to his music as "dodo blues". As a skilled luthier, Olith Ratego designs and builds his string instruments himself, first of all the five-stringed Okodo which lends its name to the project. </i><br />
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<i>Sven Kacirek is a multi-instrumentalist commuting between Germany and Kenya for many years now. He plays the marimba, percussions and piano, next to producing this project. He has closely collaborated with various international musicians, among them Nils Frahm, Shabaka Hutchings, F.S. Blumm and Marc Ribot.”</i><br />
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I am struck by the ambitious and convincing marriage of Ratego and Kacirek’s musical traditions. Ratego’s emphatic vocals take center stage from the beginning; you get the impression that the vocals came first. The electronic landscape seems to have been written expressly for and built up around Ratego’s singing, rather than superimposed on top like some McMansion roof. This sensitivity speaks to Karicek’s experience producing for and collaborating with international artists coming out of a range of traditions.<br />
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You start the track in a slow-paced, more balladic section, and you end up in a much faster, clubbier place - you also switch time signatures, moving from 3 beats to 4. You find yourself dancing at some point, and you don't know when or how it happened. That this feels perfectly natural, that it is at no point jarring, is in itself a major accomplishment. Several elements guarantee continuity in the track, including the marimba texture which is just <i>perfect </i>and helps gulf the divide, and (of course) the vocal part, which speeds up but which (again) seems to be in charge, guiding and leading the movement without being subsumed by it.<br />
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It’s an exciting debut from the duo; they are doing something brand-new and it really, really works. <br />
<iframe allow="autoplay" frameborder="no" height="300" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/846256520&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true" width="95%"></iframe> <div class="blogger-post-footer">http://blogname.blogspot.com/feeds/posts/default?alt=rss</div>noisedarthttp://www.blogger.com/profile/06745374993976062054noreply@blogger.com0tag:blogger.com,1999:blog-8881745752817602756.post-11354339644939630622019-08-14T11:34:00.000-07:002019-08-14T11:42:44.737-07:00Gabber Modus Operandi - Hey Nafsu<div style="font-stretch: normal; line-height: normal;">
<span style="font-family: inherit;">Several weeks back, a grainy cellphone video of a staged fight that seemed like it had come straight out of a martial arts film appeared on my Instagram timeline. After watching the exaggerated and comic stunts for a few seconds, I checked if there was any sound only to be greeted by the screams and dissonant feedback of a punk show. This was my first exposure to Gabber Modus Operandi, an Indonesian duo from Bali who, in addition to making fantastic dance music, also catalog media from various Indonesian subcultures on their Instagram. </span></div>
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<span style="font-family: inherit;">Their own music is unique and eclectic. It draws on each member’s roots in local punk/noise scenes, their love for Chicago footwork, and their investigations into traditional Indonesian styles of music, like dangdut. I loved their <a data-saferedirecturl="https://www.google.com/url?q=https://www.youtube.com/watch?v%3DXy8IntexGO8&source=gmail&ust=1565893557116000&usg=AFQjCNEWpKTU4m2dDsHDqyhpERf6GLcM1Q" href="https://www.youtube.com/watch?v=Xy8IntexGO8" style="color: #1155cc;" target="_blank">track</a> on the SVBKVLT compilation <i>Cache 01, </i>and I’m very excited for their soon-to-be released album, <i><a data-saferedirecturl="https://www.google.com/url?q=https://svbkvlt.bandcamp.com/album/hoxxxya&source=gmail&ust=1565893557116000&usg=AFQjCNGIWssDPBqIhC0EUqwbIkTY15Ds8g" href="https://svbkvlt.bandcamp.com/album/hoxxxya" style="color: #1155cc;" target="_blank">HOXXXYA</a></i>, but today I wanted to share an older piece: “Hey Nafsu” off 2018’s <i>Puxxximaxxx.</i> The vocal chant of children is met with thundering drums, but what really gets me is the sub-bass. It’s rhythmically offset in a way that feels like an stray shot of adrenaline straight to the heart. Take a listen.</span></div>
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<i><span style="font-family: inherit;">Contributed by K. M. </span></i></div>
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<div class="blogger-post-footer">http://blogname.blogspot.com/feeds/posts/default?alt=rss</div>noisedarthttp://www.blogger.com/profile/06745374993976062054noreply@blogger.com0tag:blogger.com,1999:blog-8881745752817602756.post-71198612993238585392019-08-13T20:43:00.004-07:002019-08-15T18:46:07.845-07:00Jenny Hval - High Alice<a href="https://www.noisedart.com/2019/07/jenny-hval-ashes-to-ashes.html">Last month I posted commentary</a> on "Ashes to Ashes", the first single from Jenny Hval's upcoming album, <i>The Practice of Love</i>. In her latest single, "High Alice", Hval continues to wade into gentler pop territory, and she continues to explore 90's-nostalgia-inducing sound design. A soft synth reverberates throughout the track as Hval wispily recounts an <i>Alice in Wonderland</i> inspired tale. A looped Massive Attack type beat glues together the various strands.<br />
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Hval attaches special significance to this song for setting the tone of the album:<br />
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<i>“For a while, this song felt like my entire album. I had no idea what the rest of it would be, just a feeling like this song and the title, the two words ‘High Alice,’ would get me there. My guiding stars at the time were Clarice Lispector’s The Hour of the Star and Kylie Minogue’s ‘Confide in Me.’ Maybe High Alice is the narrator of this album. I don’t know how I wrote it, it was automatic. But I found it really funny that I mentioned the sea three times. High Alice goes to all the places I have taught myself to avoid, like the four Big Themes: Love, death, life, the ocean. The ocean. The ocean.”</i><br />
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<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/5ZlJCkSHc5o" width="530"></iframe><br />
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<iframe allow="autoplay" frameborder="no" height="300" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/636332592&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true" width="95%"></iframe><div class="blogger-post-footer">http://blogname.blogspot.com/feeds/posts/default?alt=rss</div>noisedarthttp://www.blogger.com/profile/06745374993976062054noreply@blogger.com0tag:blogger.com,1999:blog-8881745752817602756.post-61968824892582057822019-08-13T18:11:00.001-07:002019-08-13T18:14:15.817-07:00Audrey - TimeThis track grabs you from the very first bar: with a fat ultra-funky bass line, and with punchy, even kick drum/snare jabs, as a nonchalant Audrey hums up and down the scale like she's sampling each note to see how it tastes.<br />
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And that's just the first 10 seconds. Then Audrey delivers a silky, soulful vocal performance that would make any compos mentis listener with a shred of soul close their eyes and bob their head along. </div>
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The video, shot by Grammy-nominated Director <a href="https://www.partizan.com/director/emma-westenberg/music-content">Emma Westenberg</a>, ushers you through an uncanny psychedelic LA, where time is malleable and the hazy horizon flits from fuchsia to orange to green. </div>
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It is no surprise <a href="https://www.aristarecordings.com/">Arista Records</a> wanted her on their roster. This is Audrey's first single under the label, and I am looking out for the next.</div>
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<div class="blogger-post-footer">http://blogname.blogspot.com/feeds/posts/default?alt=rss</div>noisedarthttp://www.blogger.com/profile/06745374993976062054noreply@blogger.com0tag:blogger.com,1999:blog-8881745752817602756.post-12988464119711871652019-08-12T21:16:00.000-07:002019-08-12T21:16:45.675-07:00 Antwood - Club Dread<div style="background-color: white; font-stretch: normal; line-height: normal;">
<span style="font-family: inherit;">The second track of Antwood’s fourth release on UK-based label Planet Mu begins with a vocal sample that stutters along over top of deep kicks and trappy stabs. On the higher end of the frequency spectrum, rollicking clicks and hits sprinkle themselves in among the atmosphere. Yet before long, a dark wave of noise collapses the beat in a slow and resigned exhale. When the track eventually regenerates, we move deeper into the club with harder kicks and a more driving rhythm, but as soon as we find our groove, we’re pulled back into ambient desolation as muffled booms anticipate silence. As we near the three minute mark, dread gives way once more to the clubby maximalism at the heart of the track. </span></div>
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<span style="font-family: inherit;">It’s this narrative movement that underlies the musical pleasure in “Club Dread.” And it’s this focus on story that sets Antwood (Tristan Douglas) apart from computer musicians who pursue sonic complexity to the point of gratuity. Quotes from Douglas that relate the conceptual underpinnings of his latest album abound online, but each track doesn’t need that foundation to stand. Give “Club Dread” a listen and be prepared to dive further into the world of <i>Delphi</i>.</span></div>
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- <i>Contributed by K. M.</i></div>
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<div class="blogger-post-footer">http://blogname.blogspot.com/feeds/posts/default?alt=rss</div>noisedarthttp://www.blogger.com/profile/06745374993976062054noreply@blogger.com0tag:blogger.com,1999:blog-8881745752817602756.post-54779889801285534292019-08-12T07:42:00.001-07:002019-08-12T08:56:11.773-07:00Grandpa Was a Lion - L.A.Grandpa Was a Lion is a great name for a band. It’s also the moniker of singer-songwriter Justin D’Onofrio, who lives in Connecticut and plays around Connecticut and New York.<br />
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He recently released a track called "L.A." via bandcamp and soundcloud. Unapologetically lo-fi and unpolished, this is a sweet, mournful acoustic song that will touch you - and how many songs can you truthfully say that about? This is well worth a few solitary minutes of your time.<br />
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<iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/664603355&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="95%"></iframe><br />
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<br /><div class="blogger-post-footer">http://blogname.blogspot.com/feeds/posts/default?alt=rss</div>noisedarthttp://www.blogger.com/profile/06745374993976062054noreply@blogger.com0tag:blogger.com,1999:blog-8881745752817602756.post-41462501589676296292019-08-11T12:04:00.003-07:002019-08-11T20:14:52.646-07:00Flèche Love - Festa TocandiraHands up if you missed the debut album from Flèche Love. ^^ When you first learn about Flèche Love (real name Amina Cadelli), it is impossible to be indifferent to the confounding songwriter. She is a Swiss woman of Algerian descent who sings in English and Spanish. She describes her singing as both “angry” and “crystalline”. The press release for her first album Naga Pt.1 (released in March) calls her “half witch 2.0, half Shaman woman”. Themes on said album include mathematician Gödel and an Amazonian male initiation ritual called the “Festa de Tocandira”, which entails boys proving their manhood by thrusting their hands into gloves full of biting ants.<br />
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The genre? Let's call it avant-garde R&B-tinged electro soul. Let's.<br />
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With such a distinctive and incomparable persona, I don’t expect this will be our last exposure to Flèche Love. More commentary from me is unlikely to help matters, so I recommend you watch this bewitching video.<br />
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<div class="blogger-post-footer">http://blogname.blogspot.com/feeds/posts/default?alt=rss</div>noisedarthttp://www.blogger.com/profile/06745374993976062054noreply@blogger.com0