#ecstatic electronica

[splendontcore]

drawing them as kids is so fun to me because just look that stupid glue-eating faces

#happy tree friends #htf #happy tree town nightlife #cryptid catacombs #anarchy alley #ecstatic electronica #street symphony #petunia #handy #the mole #russell #flaky #splendid #giggles #nutty #ufo #splendont #cuddles #lifty #shifty #lifty and shifty #cro-marmot

[luuurien]

Young Fathers - Heavy Heavy

(Neo-Psychedelia, Art Pop, Neo-Soul)

Short and euphoric bursts of neo-psych combined with African spirituals and the communal power of gospel, Heavy Heavy is both Young Father’s densest album to date and their most agile. These explosive pop songs bring a life to their music like never before.

☆☆☆☆

Young Fathers’ music has always been steeped in the power of connection, but never quite like Heavy Heavy. The trio’s multiracial makeup and embrace of both African musical tradition and their own futuristic blend of soul, hip-hop, glossy electronica and bombastic pop has made them one of the United Kingdom’s most compelling groups, willing to be a bit abrasive in order for their ideas to come across as vibrant as possible (see their sophomore release White Men Are Black Men Too or cuts from Cocoa Sugar like Turn or Picking You as examples), but Heavy Heavy rejects that angst in favor of an album that embraces spontaneity and joy, expanding on those elements of spirituals and gospel for a potent 30-minute album of absolute energy and emotional release. In places, Heavy Heavy is pointed in its politics, but it’s always in service of the communal heart of the album, about how people come together to celebrate one another and transcend that pain, thickly laid on the ears but delicate in its goals. The album is overwhelming with momentum, Young Fathers offering simple affirmations in their lyrics that grow into magnificent, transformative moments of pure feeling be it joyous or sad or furious, Heavy Heavy built to “...expel all {they} needed to expel.” By turning away from the slow-burn songcraft and linear R&B of their previous projects and towards short bursts of energy that convey so much in the span of just three minutes, Heavy Heavy makes its half hour of music some of the most transcendent of the year. Unburdened by the tension Cocoa Sugar used to make its statements on diasporic life and political discord within the U.K., Heavy Heavy manages its bigger ideas without having to be as direct in their delivery. Album single and opener Rice touches upon the exploitation of African land and resources (“We are mining / I am golden / You're not finding what we're holding”) without losing sight of the power solidarity with others holds, the explosive chanting of “These hands can heal” halfway through trading struggle for ecstatic resistance, and later highlights I Saw and Sink or Swim contrasting their own social commentary - Brexit for the former and drug dependence for the latter - with bombastic choruses and euphoric mantras. It’s often about the atmosphere of the songs more than anything else, but it works for Heavy Heavy because of how alive everything Young Fathers’ is doing is: the way Drum so vividly conjures the experience of sharing space with others through its playful songwriting and Kayus Bankole’s beautiful verse in Yoruba, or how Ululation hands vocal duties over to close friend Tapiwa Mambo for a heavenly embrace of everything a voice can do, with lush pianos and noisy synth pads sitting under her sturdy Shona singing of gratitude and hope. They don’t need to say much because the music connects with you in ways that language can’t do on its own, Tell Somebody’s gentle ambient pop swelling into a gargantuan finish where the band’s simple ask for honesty lands with desperation and heartache while the hefty groove and soft piano leads in Holy Moly embody the spontaneity and tension in its writing, Heavy Heavy as much about what Young Fathers are saying as it is how important the compositions are in making their intentions clear. Without the power and rich colors behind their writing, these songs wouldn’t be able to immerse you so deeply. The constant intensity of Heavy Heavy does lead the album to be a bit inconclusive, never quite finding stability by the time Be Your Lady comes to close things out, but more often than not the maddening pace of Heavy Heavy prevents it from coming undone. A few select tracks, Geronimo and Shoot Me Down try opening up the music to create a tender midsection, but they’re unable to resolve because of it, coming to life and fading away without grabbing your attention quite as swiftly as the rest of the songs, but the compromise between the ebb and flow of the songs is something Young Fathers generally balance quite well, Tell Somebody able to act as a comedown between the buoyant Drum and dreamy centerpiece Geronimo while the trilogy of Ululation, Sink or Swim and Holy Moly work together to give the final half of the album one more peak before it comes to a close. Young Fathers have never been afraid to experiment with their form, and Heavy Heavy reaps mighty rewards from their willingness to let the music guide itself, letting Rice wander about its handclap rhythms and plucky electronics before rushing into one final chorus that ensures the album kicks off on a delightful note. Though its restlessness can occasionally be a disadvantage, so much of Heavy Heavy’s power comes from always letting their creativity guide them without trying to direct it in only one direction. Heavy Heavy is about feeling, and not once is there a moment where the light of Young Fathers’ music is dimmed. Every song is glowing and expertly crafted, designed to move along with and sweep you into the band’s world of dizzying emotion. Without one specific goal in mind, Heavy Heavy touches on all sorts of ideas while cradling them in the ideals of communal warmth and connection letting you dance to the band’s volcanic pop and feel whatever it makes you feel - excitement, nervousness, sadness - anything goes here, and it makes Heavy Heavy one of the easiest to love albums in recent memory.  It ends quickly, but that means their offer to be fearless in expressing your deepest desires is always open. There’s always the opportunity to come to Heavy Heavy and let all your energy out in one fell swoop, Young Fathers achieving the universal understanding of one another their music has always strived for in one tightly-packed, always delightful listen. The transcendence of Young Fathers has never been so powerful and liberating.

#young fathers #heavy heavy #ninja tune #art pop #experimental hip hop #hip hop #gospel #neo-psychedelia #neo-soul #pop #post-industrial #psychedelic pop #soul #spirituals #2023 #8/10 #album review #album reviews #music review #2023 albums #luuurien

[minourakentaro]

#Repost@recordsbeer@kazuyasuwa ・・・ NEW RELEASE!! BRB-08

suwaWander CD "weapon" 15th March 2024 out

1. not I me 2. kuramanta 3. zeno 4. tal 5. koyori 6. fubtada 7. dhāra

Original Artwork : Kentaro Minoura Design : pootee Mastering : mermaid

Here comes a collection of strangely pop -flavored new electronica recordings by the dark horse of the Tokyo DIY world!

suwaWander, formally known as suwakazuya, is an electronic music composer based in Tokyo, Japan.

Known for his recent live performances using smart phones and effectors, he has gone back to his roots - this seven-piece composition, created with his beloved Roland MC-505, presents a parallel vision where the mysterious and the primitive intermingle.

The album opens with the music concrete 'not I me,' followed by 'kuramanta,' which could be described as a suwawa version of Gorje, 'zeno,' a forest-bathing ambient-tech track, 'tal,' a bare-bottomed diving track, 'koyori,' a high-speed trance boogie, 'fubtada,' a breakbeats that is both relaxing and ecstatic, and the nail-biting chill-out 'dhāra'.

[cruel-nature-records]

PRE-ORDERS COMING FRIDAY

Hello

Hope all is well. We have some exciting new releases available to Pre-Order from Friday (which also happens to be a Bandcamp Friday).

They are:

1) AVI C. ENGEL “Too Many Souls” - the eagerly awaited new album. Genre-agnostic, handmade music that is playful, sorrowful, and ecstatic. Essential

2) AIDAN BAKER “Everything Is Like Always Until It Is Not” - Baker’s latest solo work sees him still heavy with the low end but with added shoegazey ambient ethereal atmospherics.

3) NNJA RIOT “Violet Fields” - Multi-disciplined London-based Lisa McKendrick’s solo project makes it’s CN debut. Interweaving the raw energy of noise with melodic layers and pulsating beats to create shamanic experimental songscapes.

4) H.R. GIGER COUNTER “What Do The Atoms Hold For Us?” - Wonky electronica/ambient from Andrew Gladstone-Heighton (waheela, Radio Free Ul-quoma) and Jeremy Hunt (QOHELETH, Aint Pancakes).

5) THE LAST SOUND “Veered” - Started in 2006, finished in 2023. To say this album has been a journey is an understatement. Whirling Hall Of Knives Barry M’s hidden opus finally sees the light.

6) POUND LAND “Mugged” - With their first full band studio album, Pound Land are back dishing out a 48-minute whirl of raw frustration, kitchen-sink surrealism and filthy noise-punk sludge, soundtracking vitriolic stream of consciousness societal observations.

Our January tapes are also out Friday, although copies have / are nearly gone through pre-order:

1) CHARLIE BUTLER “Wild Fictions” - 3 copies left

2) EXSANGUINATED ROOMMATE “Lurking” - 5 copies left

3) POPPY H “Grave Era” - Sold Out, copies will be available from https://poppyh.bandcamp.com from Friday

4) ORCHARD “’Til You Fall Down” - 9 copies left

All over at https://cruelnaturerecordings.bandcamp.com

Steve xx

#cassette #music #cruelnaturerecords #tape #limited edition #new music #bandcamp #preorder

[plungermusic]

A thrill-ride across the border into Terra Incognita ...

Phenomenal Canadian singer/songwriter/guitarist Terra Lightfoot is probably best known for her blend of bobbysox-drugstore-chocolate-malt pop and freeway-cruising rock but her new single Cross Border Lovers (from her upcoming album Healing Power) takes her material into new territories, while still delivering the classic ‘Terra tingle’. 

The high chanting and hefty syn-drum kick-and-snare stamp-and-clap intro (sounding like a tribal elder conclave making free with the nitrous) tells us "We’re not in Ontario anymore, Toto", underscored by the entrance of Old Skool synths churning out a relentless throbbing New Wave electronica riff (think Human League/Depeche Mode/OMD) that somehow still bears a whiff of top-down-sundown-Sunset-Strip-cruising with Pat Benatar at the wheel, and that West Coast undercurrent bubbles to the surface in the chugging, muted plucking of the chorus (seemingly the only deployment of Terra’s fabulous guitar throughout). 

One constant though is Terra’s fabulous champagne-fizz voice: liquid velvet at lower registers, seductive and warm (but still with enough oomph to punch through sheet steel), with thrilling higher peaks and ecstatic sinuous line extensions, combining in gooseflesh-raising multi-part harmonies in the closing bars before a crisp dead-stop.

There’s a real 80s polished positive vibe to Cross Border Lovers (we found ourselves mysteriously drawn to Don Henley’s solo works shortly after) as well as Terra’s usual vibrancy and joie de vivre among its genre-hopping eclecticism. So for Plunger it’s still “like being fire-hosed with ice cold Dom Pérignon while flying at zero feet over sunflower fields strapped to the front of a Lockheed Starfighter…” only this time with our jacket sleeves pushed up.

Cross Border Lovers is available to stream now on Spotify, Deezer, YouTube Music, Apple Music and other sites.

Watch the video for the single (co-directed by Lyle Bell and Terra) here: https://www.youtube.com/watch?v=nn-gX3C3huA

The new album Healing Power will released 13th October on Sonic Unyon Records - pre-save your copy here: https://orcd.co/terralightfoot-healingpower

#terra lightfoot #cross border lovers #sonic unyon records #evans above PR #healing power #canadas finest

[nwdsc]

(▶︎ the joker | more eazeから)

the joker by more eaze

mari maurice aka more eaze returns to Ecstatic with a tenderly gorgeous solo side after her standout claire rousay collaboration last year for the same label - a big recommendation if yr into Elysia Crampton, Mica Levi, MBV, Vegyn, Organ Tapes, Grouper, Dntel, Nozomu Matsumoto, Rainy Miller. Nestling in the space between ambient, indie-/synth-, and what’s now termed hyper-pop, more eaze specialises in lower case songcraft that effortlessly gets under the skin. Featuring notable guest input by Spivak, Dialect, and Pam3, ‘The Joker’ is perhaps more eaze’s most significant long player, forming a filigree distillation of soft-touch, emo-core pop styles wreathed in fractal electronics and blessed by a gentle sensitivity that feels like micro-dosing with mates on a sunny day. ’The Joker’ was inspired by more eaze’s experiences travelling extensively during 2021-22, absorbing and transmuting time spent meeting new people, seeing new places, and watching established relationships change. Like regular spar claire rousay, ‘The Joker’ finds micro-insights crystallised to odd-pop imperfection, merging ohrwurm hooks with field recordings and traces of electronica, R&B, reggaeton, and classic indie-rock chops to divine a personal truth that should resonate with lovers of low key ambient as much as hi-key poptimism. Through nine subtly effected snapshots of daily life, mari somehow encapsulates the feeling of trying to endear yourself to someone new, the tactility of another’s touch, chuckling at misfired jokes. Beginning with fractured toytronics and autotune vox in ‘yours’, melodies spill over from the Dntel-like licks of ‘fall apart’, to the mutant shoegaze bliss of ‘vindictive’ (it properly sounds like an autotuned version of MBV’s ‘to here knows when’), plus E+E-via-Palmistry reggaeton of ‘hablar contagion', with Spivak lending featherlight vox to ‘a chat’, while ‘comedy’ dials up a sense of outsider irony with a wry shrug. Liverpool-via-Brooklyn’s Dialect helps seal the deal with the burbling touch of ‘eyeliner’, a fittingly hypnagogic ending to a dreamlike album whose effect lingers like latent fractals of a therapeutic psilocybin session. クレジット2022年9月30日リリース

#2209 #EL #***

[dustedmagazine]

Dan Friel — Factoryland (Thrill Jockey)

Factoryland by Dan Friel

Photo by Mike Boyd

Dan Friel’s pandemic-era record was inspired by, among other things, the construction sounds that drifted in through the walls and windows of his NYC home during quarantine. As in every other major city, overpriced condos persisted against a backdrop of social collapse.

 Formerly of Brooklyn-based melodic noise band Parts & Labor, Friel’s solo work is — not unlike some of P&L’s contemporaries: Wolf Eyes, Lightning Bolt, Hella, etc. — frenetic, tense, heavy, and always in touch with some kind of groove.

Using a drum machine, a small Yamaha keyboard, harsh urban field recordings and his own innate songwriter sensibility, Friel builds fizzy, anthemic electronica. Even at its most ear-splitting, at the heart of this chaos, you’ll find honest-to-goodness, melody-based pop songs.

Friel has been toiling solo for some time, but Factoryland arrives just in time for the (alleged) reemergence of “indie-sleaze,” the mid-2000s genre marked by jubilant, sweaty, day-glow abrasion.  

There are parallels between the sociopolitical conditions of that era and now, “indie sleaze” being a semi-optimistic, hedonistic reaction to the Great Recession. Factoryland would probably sound pretty good at a warehouse party in 2008. These days, though, people aren’t feeling so loose, and our current economic anxieties are compounded by new levels of loneliness.  

At times Factoryland feels anachronistic, but its ecstatic, hyperactive mix of optimism and dread is right on the money. Some will find it cold and alienating, like the construction that inspired it. But at its heart, if the listener can surrender, there is buoyant joy. Through it all the beat goes on.

Margaret Welsh

#dan friel #factoryland #thrill jockey #margaret welsh #albumreview #dusted magazine #noise #pop #parts and labor #upper wilds #electronics

[wyattvsmusic]

Black Star - No Fear Of Time ALBUM REVIEW

There have been many mythical albums in hip hop that have been teased for so long that fans realized they were never actually coming out—until they did. Among these albums are the third Dr. Dre album that came out in 2015, Jay Electronica’s debut album which eventually came out in 2020, and then there was the second Black Star album. In 1998, Yasiin Bey (fka Mos Def) and Talib Kweli released their album as Black Star together at a time where hip hop was changing drastically. It was increasingly becoming more commercialized and profitable (not to the level it is now obviously) and although I was not born at the time of that album, I am aware that the first Black Star album was a breath of fresh air for rap fans. It is now highly regarded as a classic and is personally one of my favorite hip hop albums ever. Since the release of that album, Yasiin and Kweli obviously went on to do their very successful solo careers and did all sorts of different things along the way. They would sometimes link up for a collaboration here and there but there wasn’t even a real possibility of a second album coming out for a while. When Madlib first announced that he was producing the entire second Black Star album, I never thought that it would actually come out as he and Yasiin Bey have a history of not putting out the music they announce. I even didn’t believe it when Talib announced it was finished. After 24 years, the album is finally out and they released the album through Luminary, a podcasting platform that is also home to their Midnight Miracle podcast. I understand why they went this route instead of releasing it through standard streaming platforms as they don’t properly compensate their artists and therefore undervalue them for the art they create. I still think a podcasting platform is kind of odd because it is still subscription-based for one album. I feel like releasing it directly through their website similar to how Kweli released Fuck The Money would have maybe been more effective. Aside from that, I am very excited that this album came out and is produced entirely by Madlib. However, it is only a brief 9 songs long. I am all for short albums and I think this album is really good but 9 songs after a 24-year-long gap is a bit of a head-scratcher. In terms of the actual music which is really all I care about, I think the music is great. Madlib’s production is fantastic and very fitting for the direction that Yasiin and Kweli chose to go in. It sounds completely different from their debut but that was expected as they have moved in separate directions in their solo careers. If you are a fan of Yasiin’s The Ecstatic album which Madlib produced on, you will like this album a lot. It is great to hear Yasiin really rap again because his last full-length project was this weird singing album that I hated aside from his museum-only album. He is back to rapping and doing it extremely well on this album. On some songs, he sounds more energized and that is when he really shines. He also sings a bit like on the opening song which I actually think he sounds good on. Talib Kweli has been more consistent over the years in terms of quality but this album is also some of his best rapping in years, probably since Radio Silence as he wasn’t rapping like this on Gotham. Talib is very consistent and never raps badly but he really took his rapping to a level he hasn’t taken it to in a while. Some of the best verses on this album are Talib verses. What I think the great thing about Black Star is that they bring the best out of each other. Talib’s rapping pushes Yasiin to actually rap and not do any weird Dec 99th music as he sounds very focused and Yasiin’s exceptional verses push Talib to bring his A game. I think Madlib is the perfect producer for this album because not only is he my favorite, but he brings a mix of weird and classic which compliment each member perfectly as both have a history of working with him. I did find it interesting that the song My Favorite Band uses the exact same Madlib beat as Westside Gunn’s Ferragamo Funeral because it would’ve been nice to hear all new Madlib beats but I probably wouldn’t have brought it up if the album was longer. The opening song,  o.G. is fresh Black Star and I love how Yasiin sets it off with his verse and goes right into the hook which he sings. Kweli attacks the beat very differently which is something I always appreciate about Black Star songs. So be it sounds like vintage Madlib and Yasiin sounds more energized than usual on the song which I like because his flows in his recent music are usually super laidback as you can hear on other songs. I liked Kweli’s scheme where he used the months in order, reminiscent of Yasiin’s number scheme on Mathematics. I love the song but what would have made it better is if it was mastered better. I think the sound quality would have made the album a bit more enjoyable but Madlib and Yasiin Bey have a history with unmastered/lo-fi music. The mixing and mastering choices are definitely artistic ones but I think I would have preferred the music turned up a bit but the music is so good that it is barely a problem. The only other thing I disliked about this album was the hook on The main thing is to keep the main thing the main thing. The slower and soulful Sweetheart. Sweethard. Sweetodd. shows Kweli and Yasiin effortless floating over the beat, rhyming about women, which is something both rappers are very good at. The album finishes incredibly strong with its two final songs. Freequency is a masterclass in excellent lyricism as Black Star recruit Black Thought for a historic collaboration. Black Thought sets it off with a verse that blends perfectly with the Black Star style of rapping and kills it like he always does. Talib follows up with a killer verse that I think might be the best on the album. His rhyme schemes are incredible and manages to fit in multiple slight changes in his flow over such a minimal loop. Yasiin provides his best verse on the album quickly after. You can tell that steel sharpened steel on this album as you cannot slack on a song with Black Thought, Talib Kweli, and Yasiin Bey. The final song No Fear Of Time is simply a beautiful closer as it features a beat with a bit more musicality and vocals from Yummy Bingham that tie the album together as they are the same as the hook on o.G. The beat uses the same loop to Royce Da 5’9”’s Young World but this song makes a completely different song with it even though it is the exact same loop. This album is definitely worth the wait as there was so much hype behind it and even though I wish it was longer because of that wait, I still enjoyed what I got and the short length of the album enhances the replay ability for me. 

Fav Tracks: o.G., So be it, Sweetheart. Sweethard. Sweetodd., Freequency, No fear of time

#Black Star #No Fear Of Time #Yasiin Bey #Mos Def #Talib Kweli #Madlib #Luminary #The Midnight Miracle #Black Thought

[splendontcore]

After two days of hard work....Going to be honest with yall, i feel so happy drawing this AU :)

Since i have college bills to pay, consider support me on Ko-fi, rewards such as linearts or full colour art will be given 💕💕💕

#happy tree friends #htf #happy tree town nightlife #street symphony #ecstatic electronica #cuddles #giggles #toothy #lumpy

[luuurien]

Kelela - Raven

(Alternative R&B, Breakbeat, Ambient Pop)

In her long-awaited sophomore album, Kelela finds herself effortlessly shifting between sensual dance bliss and ethereal, healing ambient music, Raven a harmonious and fluid album whose unique vantage point on R&B lends Kelela’s breathtaking electronica with an incredible amount of humanity behind it all.

☆☆☆☆☆

By stepping into the shadows, Kelela found herself an incredible new energy. In the years that have passed since her innovative 2017 debut Take Me Apart, Kelela’s minimalist, sensual R&B with unconventional textures and command of both the dancefloor and the bedroom has only become all the more alluring, Kelela careful in her presentation to perfect every element of her music and leave no spot of her world untouched. But with that came both new personal stressors and the terror of the outside world weighing on her: writer’s block and reestablishing personal boundaries in her relationships compounded by the global pandemic and Black Lives Matter uprisings around the United States turning her inward to better understand herself and what she wants from the world, her sophomore album Raven the result of six years of contemplation, reinvention and emotional restoration whose expansive soundscaping achieve the same effect as the heaviest dance music she’s put out to date. Across its more than an hour runtime, Kelela creates an oasis for herself through breathtaking electronica with an incredible amount of humanity behind it all, the album’s pitch black atmospheres lit up by neon synths and breakbeats but calmed by luxurious dancehall and ambient cooldowns, Kelela’s emphasis on fluidity letting her seamlessly slip from song to song with her own needs and growth always at the forefront. It’s cathartic through subtlety rather than explosivity, Raven rewarding deep listening with an endless ocean of Kelela’s R&B magic situated between new styles and an embrace of boundlessness.

With a handful of left-field electronic producers working alongside her, Kelela pushes Raven forward through a perfect balance of downtempo R&B jams and dancefloor bliss, meditation and euphoria both essential for her to leave the strongest impression. The most immediate parts of Raven are the latter kind of tracks: the futuristic breakbeats of Happy Ending and Contact spurred on by ballroom master LSDXOXO; Acemo and FAUZIA come together on the title track as it shifts from hypnotic synth ambiance to a rapturous dance breakdown, freeing and ecstatic as Kelela harnesses herself as her own source of energy and sheds the weight of the past; German ambient dub artist Florian T M Zeisig brings thoughtful tides of energy to the album’s slower sections, Let It Go propelled largely by a bassline and soft keyboard layers and second half highlights Holier, Divorce and Enough for Love some of Kelela’s most brilliant tracks despite how slow stormy they are. Her sound is rooted in electronica staple sounds - ambient, jungle, dub - but Kelela’s divine visions of Raven as an album of protection and rebirth keep the album remarkably refreshing and fantastically luminous. For her, Raven is a renaissance of her own resolve, dance music as both a personal salve and her way to nurture the world and those around her as Closure leans on Rahrah Gabor for an unexpected but electrifying rap verse that brings out a rawer, heavier sexuality Kelela tends to avoid with her hazier lyricism, Gabor riding LSDXOXO and Bambii’s decelerated beat with clever wordplay and loads of charisma (“Uh, what the lick read? / I'm waiting for you to pull up and come lick me / It's been a minute since I let you come and stick me / You know I always leave the situation sticky”). As Kelela works to nourish her own soul, the limitless reach of her music allows her to fill your own body up with her presence and make Raven a marvelous, transformative experience.

It’s an album that moves slowly and methodically, its fifteen songs spread across 62 minutes to make her dance songs deeply layered and the ambient tracks rich and expansive. Washed Away and Far Away open and close the album, hypnotic synth pads and her serpentine vocal improvisation expressing similar but distinct expressions of change, the former Kelela drifting away from the world and the latter the result of her fully immersed in her own mind for the previous hour, all the tension inside her released as the same sounds embody a new and rejuvenated Kelela. Despite much of the album being that sort of ambient electronica, many of the songs can easily be imaged as glorious ballads, Holier’s gentle pads careening around the gentle throb of a bassline that doesn’t ever establish a tempo for the song, instead soft pulses of low end that play against Kelela’s angelic vocals, while the melting delight of Sorbet runs with its fluttering synth arpeggios and reverb-soaked everything as Kelela loses herself in the moment-to-moment slow rush of physical contact (“Waves when we touch, rippling in / Soft on my mouth, sweeter than / I wanna lay out, sun on my face”). The calmness across all of Raven makes it endlessly relistenable, where the transitions between Closure and Contact and Fooley are so seamless you have to go through the entire thing again just to experience it in context another time, where drowning yourself in Kelela’s expansive ambient pieces makes those rushes of club intensity in Happy Ending and Bruises that much more incredible. By working for emotional cohesion as much as she does musical and tonal cohesion, Raven ascends to a level of mastery her debut gave dozens of glimpses of, Kelela entirely in her own element with a control over her sound she refuses to fully restrict, always assured in her ability to go off course for a moment and captivate you nonetheless.

Raven’s seamlessness and innovative take on atmospheric, imaginative R&B lifts it far beyond anywhere people expected Kelela to go, ditching the heaviness and deconstruction of her debut for a weightless and emotionally resonant album where putting herself back together is an act of patience and dedication rather than the jolts of energy Take Me Apart’s stories drew from. It’s a relaxed album whose creator is still fully aware of what she’s cleansing from her mind, every breakbeat groove and rumbling ambient piece so lush and layered to wash those negative feelings out of her. Raven pulls you in like nothing else will this year, Kelela’s quiet return to the world a tranquil and multilayered listen with more magic to discover every time.

#kelela #raven #warp #alternative r&b #ambient #ambient pop #breakbeat #dance #downtempo #electronic #garage #drum and bass #jungle #pop #avant-pop #r&b #uk bass #2023 #10/10 #album review #album reviews #2023 albums #new music #2023 music #luuurien

[burlveneer-music]

Caterina Barbieri - Ecstatic Computation (Editions Mego)

Caterina Barbieri is an Italian composer who explores themes related to machine intelligence and object oriented perception in sound through a focus on minimalism. Following 2017’s acclaimed 2LP “Patterns of Consciousness”, “Ecstatic Computation” is the new full-length LP by Caterina Barbieri. The album revolves around the creative use of complex sequencing techniques and pattern-based operations to explore the artefacts of human perception and memory processes by ultimately inducing a sense of ecstasy and contemplation. Computation is turned from being a formal, automatic writing technique into a creative, psychedelic practice to generate temporal hallucinations. A state of trance and wonder where the perception of time is distorted and challenged. Equally nervous and ecstatic, the fast permutation of patterns can create a state where time stands still whilst simultaneously being in motion. Is this propulsive music moving forward or backward? As long as the perception of the present is constantly enhanced and refreshed in an endless sense of loss, re-discovery and the search for self-orientation this question lies mute aside the thrilling and perplexing moment of the matter at hand.

Music composed and produced by Caterina Barbieri. Vocals in track 4 are performed by Annie Gårlid and Evelyn Saylor and recorded by Stefano Tucci at Failsafe Studio. Mastered by Rashad Becker at D&M. Artwork by Ruben Spini

#Caterina Barbieri #Ecstatic Computation #electronica #experemental #italy #2019 #editions mego

[homagecollage]

Four Tet: “Everything Ecstatic” 🔊💜Today, May 23, 2005, Four Tet released his fourth studio album “Everything Ecstatic.” This album did not chart, but on Apple Music, there are three songs starred as fan favorites: ‘Smile Around the Face,’ ‘Clouding,’ and ‘And Then Patterns.’ In August 2005, a track from “Everything Ecstatic” called ‘Sun Drums and Soil’ peaked at no. 24 on the US Billboard Dance Singles Sales Chart.

#Dance #EDM #Electronica #Everything Ecstatic #History #Homage #HomageCollage #Music Lovers #Rhythm and Blues

[ringo412]

four-tet / everything ecstatic(2005)

イギリス / CD・自宅オーディオ / 輸入盤(Domino、UK & Europe)・2005年盤  購入 : Linus Record(高円寺)

RCAケーブル交換・聴き直しの5枚目。 00年代はフォー・テット。これもあえてジャンルを変えて、この頃に聞き出したエレクトロニカ。仕事帰りに良く新宿のタワレコよって、いろんなジャンルを視聴してた。でもCD自体はタワレコじゃあんまり買わずに、それぞれのジャンルの専門店みたいなレコ屋で買ってたから、多分これは高円寺のライナスレコードで買ったはず。

当時は中野の弥生町ってとこに住んでたけど、新宿駅からビール飲みながらよく歩いて帰ったなー。その時のBGMにエレクトロニカ聴いてた。20代はハードコアやらオルタナが中心だったけど、30代になってから、こういった音の方が聴きやすくなっていった。そしてこの頃からO-nestとかでも、ラップトップミュージシャンを見かけるようになった気がするなー。大きなレコ屋でも特集コーナーできたりで、エレクトロニカ自体がすごく盛り上がっていた時期だったかも。

よくこれを聴いていたのがイヤフォンだったり、小さなコンポだったりで、今とはかなり違っていることもあるんだろうけど、記憶よりずっとヘヴィーなサウンド。1曲目なんかエレクトロニカってより、ビッグ・ビートっぽいし。2曲目からはもう少し浮遊感のあるサウンドになってくけど、ドラム・パーカッションが結構アフロビートっぽくてダンサブル。ちょいサイケっぽい曲があったり、ドリーミーな曲があったりで、すごく楽しめた。

個人的に音楽を聴く環境ってすごく大事。それによってこんなに印象が変わるんだなって実感したよ。そして00年代になってPCで音を編集することが当たり前になったら、90年代前半までのスタジオ録音とは考え方・やり方が全く違うんだろうね。ジャンルによって聞こえ方や音の配置の違いはあるんだろうけど、この作品は音それぞれがくっきりと離れて聞こえる。スピーカーが発する音の空間を広げていくような意図があるのかはわかんないけど、低音から高音までの幅とか左右の位置関係ではなく、3D的ってな感じ。ドンシャリ感ってのか、コントラスト強めな色付けもちょっとだけ感じる。

Four-tet Official : http://www.fourtet.net Linus records : https://www.linusrecords.jp フルテック株式会社 : http://www.furutech.com/ja/

#Four-tet #Electronica #everything ecstatic #Linus records #フルテック #Music #洋楽

[dendre]

A mai nap ugyanúgy megfelelő arra, mint bármelyik másik az eddigi 2020-asokból, hogy megosszam kedvenc 2019-es lemezeim listáját. Az elmúlt két évtizedben ezt mindig megtettem év végén, tavaly valahogyan elmaradt (leginkább mert nem törődtem vele és csak valamikor januárban csináltam meg) és most, hogy Loraine James bejelentett egy új EP-t (https://pitchfork.com/news/loraine-james-announces-nothing-ep-shares-new-song-listen/), eszembe jutott ez a lista, mert hogy Loraine James tavalyi LP-je a 2. rajta. Szóval teljes relevanciával, íme a kedvenc 2019-es lemezeim. Tényleg csak annak reményében, hogy hátha talál rajta valaki valami olyant, amit nem ismer és majd boldoggá teszi a meghallgatása.

01. FKA twigs: Magdalene 9.5 (r&b) 02. Loraine James: For You And I  9.0 (idm) 03. Default Genders: Main Pop Girl 2019   9.0 (future pop) 04. Tyler, The Creator: Igor   9.0 (experihip-neosoulhop) 05. Mattiel: Satis Factory   9.0 (garázsyéyé-lofisoul) 06. Murlo: Dolos 9.0 (UK bass) 07. Yin Yin: The Rabbit That Hunts Tigers 9.0 (world funk) 08. The Sonic Dawn: Eclipse   9.0 (pszichpop) 09. Special Request: Vortex   9.0 (hardcore breaks techno) 10. Barker: Utility 9.0 (deconstructed house)

11. Holly Herndon: Proto   9.0 (kísérleti elektronika) 12. Ot to, Not To: It Loved To Happened   9.0 (mark hollis of experimental r&b) 13. Hand Habits: Placeholder   9.0 (slowfolk-dreamtweepop) 14. Purple Mountains: Purple Mountains  9.0 (indiefolkrock) 15. Sault: 5 9.0 (soul-afrobeat) 16. Michael Kiwanuka: Kiwanuka 9.0 (soul) 17. Kokoko!: Fongola   9.0 (kongói afrohouse) 18. The Caretaker: Everywhere At The End Of Time - Stage 6   9.0 (dark ambient) 19. Girl Band: The Talkies    9.0 (noise-art-posztpunk-rock) 20. Erika de Casier: Essentials 9.0 (r&b)

21. Special Request: Zero Fucks 9.0 (jungle) 22. Klein: Lifetime 9.0 (glitch) 23. PJ Harvey: All About Eve   9.0 (színpadi zene, de úúdeszép) 24. Nilüfer Yanya: Miss Universe   9.0 (gitárpop-pop) 25. Rosalie Cunningham: Rosalie Cunningham 9.0 (pszichrock, kabarépop, artpop) 26. Ari Lennox: Shea Butter Baby 9.0 (neosoul) 27. Anderson.Paak: Ventura 9.0 (neosoul) 28. Kaytranada: Bubba  9.0 (zsánertelen pop) 29. Bon Iver: i,i  9.0 (glitch-ambient-r&b-pop) 30. Andrew Wasylyk: The Paralian   9.0 (instrumentális pasztorál)

31. Minor Poet: The Good News   9.0 (00’s indierock) 32. Little Simz: Grey Area   9.0 (uk hiphop) 33. Kano: Hoodies All Summer 9.0 (grime) 34. slowthai: Nothing Great About Britain   9.0 (uk rap, grime) 35. Rapsody: Eve   9.0 (hiphop) 36. Rina Mushonga: Into A Galaxy   9.0 (pop) 37. Angel Olsen: All Mirrors   9.0 (art-barokk-kamarapop) 38. Hayden Thorpe: Diviner   9.0 (szofiszti-artpop) 39. Nick Cave And The Bad Seeds: Ghosteen  9.0 (ambinet-crooner) 40. Billie Eilish: When We All Fall Asleep, Where Do We Go?   9.0 (pop)

41. Kornél Kovács: Stockholm Marathon   8.5 (housepopdeepoutside) 42. Lana Del Rey: Norman Fucking Rockwell!!   8.5 (pianopop) 43. Y La Bamba: Mujeres   8.5 (latin alt, indiefolk) 44. Yves Jarvis: The Same But By Different Means   8.5 (neopsych-folksoul) 45. Helado Negro: This Is How You Smile   8.5 (bossa-indiefolkronica) 46. Rev Magnetic: Verses Universe   8.5 (electro shoegaze) 47. Woolfy vs Projections: Destinations   8.5 (diszkó) 48. Clairo: Immunity 8.5 (pop) 49. Brittany Howard: Jaime   8.5 (pszich-jazz-hop-funk) 50. Jpegmafia: All My Heroes Are Cornballs   8.5 (expri-hiphop)

És innentől már tényleg csak akit nagyon-nagyon érdekel :)

Szóval tavaly ugye januártól elkezdtem pontosan dokumentálni, hogy miket hallgattam meg az új termésből, mi mennyire tetszett. Hozzávetőleges, sokszor csak félig hallgatott lemezek értékelése volt, de aztán valamikor június-júliusban ráuntam, mert nem úgy haladt, ahogyan terveztem, sok tervezett meghallgatás felhalmozódott, nehéz projekt ez, mert hát egyre több jó, de nem kiemelkedő lemez van, masszív túltermelés zajlik. De hát ki mondja meg bárkinek, aki hangszerhez nyúl, hogy ne tegye. Vagy legalábbis ne adja közre, ami kijön belőle. De ha nem mondjuk senkinek ezt, akkor ki értékeli ezt a mérhetetlen mennyiséget, tényleg csak tipp: évente sokszázezer lemez jelenik meg. És hát hogyan lehet objektíven értékelni, ha nem úgy, hogy a lehető legtöbbet megpróbáljuk hallani? Nem csak, azt a pár tucatot, amit a hype, meg a haverok elénk hoznak. 

Én ezt továbbra sem unom csinálni, továbbra is érdekel, hogy mi történik, kíváncsi vagyok, örömet okoz. De néha ráunok. Vagy elsodor. Azért az év második felét is behúztam úgy-ahogy, de év vége helyett valamikor 2020 januárban lett ez a lista, amire még később is rátettem tán két lemezt. Nincs vége ötvennél, amikor abbahagytam a szöszölést vele, akkor ennyi volt (138), amire úgy gondoltam, hogy ha évek múlva ránézek erre a listára, nem baj, ha a 112. helyen lévőről is beugrik majd valami. 

Nem tudom mennyi 2019-es lemezt hallottam összesen, tippre ezerpárszázat, abból ez a java, van jó pár tucat, amit felírtam, hogy még mindenképp meghallgatni, de nem került rá sor. És én sem felejtem el, hogy simán lehetne még egyszer ennyi olyanból, amiről alig pár ember hallott, de ott van Bandcampen, mint 2019-es lemez.

Nem szigorú, nyilván. A lista mindig csak játék!

1.      FKA twigs: Magdalene 9.5 (r&b)

Loraine James: For You And I  9.0 (idm)

Default Genders: Main Pop Girl 2019   9.0 (future pop)

Tyler, The Creator: Igor   9.0 (experihip-neosoulhop)

Mattiel: Satis Factory   9.0 (garázsyéyé-lofisoul)

Murlo: Dolos 9.0 (UK bass)

Yin Yin: The Rabbit That Hunts Tigers 9.0 (world funk)

The Sonic Dawn: Eclipse   9.0 (pszichpop)

Special Request: Vortex   9.0 (hardcore breaks techno)

Barker: Utility 9.0 (deconstructed house)

Holly Herndon: Proto   9.0 (kísérleti elektronika)

Ot to, Not To: It Loved To Happened   9.0 (mark hollis of experimental r&b)

Hand Habits: Placeholder   9.0 (slowfolk-dreamtweepop)

Purple Mountains: Purple Mountains  9.0 (indiefolkrock)

Sault: 5 9.0 (soul-afrobeat)

Michael Kiwanuka: Kiwanuka 9.0 (soul)

Kokoko!: Fongola   9.0 (kongói afrohouse)

The Caretaker: Everywhere At The End Of Time - Stage 6   9.0 (dark ambient)

Girl Band: The Talkies    9.0 (noise-art-posztpunk-rock)

Erika de Casier: Essentials 9.0 (r&b)

Special Request: Zero Fucks 9.0 (jungle)

Klein: Lifetime 9.0 (glitch)

PJ Harvey: All About Eve   9.0 (színpadi zene, de úúdeszép)

Nilüfer Yanya: Miss Universe   9.0 (gitárpop-pop)

Rosalie Cunningham: Rosalie Cunningham 9.0 (pszichrock, kabarépop, artpop)

Ari Lennox: Shea Butter Baby 9.0 (neosoul)

Anderson.Paak: Ventura 9.0 (neosoul)

Kaytranada: Bubba  9.0 (zsánertelen pop)

Bon Iver: i,i  9.0 (glitch-ambient-r&b-pop)

Andrew Wasylyk: The Paralian   9.0 (instrumentális pasztorál)

Minor Poet: The Good News   9.0 (00’s indierock)

Little Simz: Grey Area   9.0 (uk hiphop)

Kano: Hoodies All Summer 9.0 (grime)

slowthai: Nothing Great About Britain   9.0 (uk rap, grime)

Rapsody: Eve   9.0 (hiphop)

Rina Mushonga: Into A Galaxy   9.0 (pop)

Angel Olsen: All Mirrors   9.0 (art-barokk-kamarapop)

Hayden Thorpe: Diviner   9.0 (szofiszti-artpop)

Nick Cave And The Bad Seeds: Ghosteen  9.0 (ambinet-crooner)

Billie Eilish: When We All Fall Asleep, Where Do We Go?   9.0 (pop)

Kornél Kovács: Stockholm Marathon   8.5 (housepopdeepoutside)

Lana Del Rey: Norman Fucking Rockwell!!   8.5 (pianopop)

Y La Bamba: Mujeres   8.5 (latin alt, indiefolk)

Yves Jarvis: The Same But By Different Means   8.5 (neopsych-folksoul)

Helado Negro: This Is How You Smile   8.5 (bossa-indiefolkronica)

Rev Magnetic: Verses Universe   8.5 (electro shoegaze)

Woolfy vs Projections: Destinations   8.5 (diszkó)

Clairo: Immunity 8.5 (pop)

Brittany Howard: Jaime   8.5 (pszich-jazz-hop-funk)

Jpegmafia: All My Heroes Are Cornballs   8.5 (expri-hiphop)

Jamila Woods: Legacy! Legacy!   8.5 (neosoul, alt r&b)

Fontaines D.C.: Dogrel 8.5 (artpunk)

Special Request: Offworld 8.5 (ambient techno)

Caterina Barbieri: Ecstatic Comutation 8.5 (progelectro)

Sault: 7 8.5 (soul-afrobeat-dub)

O’Flynn: Aletheia 8.5 (nu-disco)

Yak: Pursuit Of Momentary Happiness   8.5 (pszichrock)

Rap: Export   8.5 (experi-elektronika)

Nivhek: After…   8.5 (ambient-dreampop)

Big Thief: Two Hands    8.5 (folkrock)

Flamingods: Levitation 8.5 (psychdisco)

Physical Therapy: It Takes A Village-The Sounds Of Physical Therapy 8.5 (posztmind

Thom Yorke: Anima   8.5 (elektroartpop)

Kali Malone: The Sacrificial Code 8.5 (drone)

Octo Octa: Resonant Body 8.5 (euro-house)

Danny Brown: U Know What I’m Sayin? 8.5 (boombaphiphop)

Joose Keskitalo: En lahde surussa   8.5 (finn psychfolkpop)

Freddie Gibbs & Madlib: Bandana   8.5 (gangsta/boombap hiphop)

Chromatics: Closer To Grey   8.5 (diszkódreampop)

Sharon Van Etten: Remind Me Tomorrow   8.5 (dalszerzőpop)

VC-118A: Inside   8.5 (elektro-techno)

Vampire Weekend: Father Of The Bride   8.5 (indiepop)

Ohtis: Curve Of Earth   8.5 (folkamericana)

Callum Easter: Here Or Nowhere   8.5 (szellemjárta, másvilági lofipop)

Durand Jones & The Indications: American Love Call   8.5 (chicago soul, retrosoul)

Black Pumas: Black Pumas   8.5 (psychsoulrock)

Ogawa & Tokoro: Planetary Exploration 8.5 (bedroom electronica)

Sessa: Grandeza   8.5 (brazilpop, mpb)

96 Back: Excitable, Girl   8.5 (nu-electro)

Georgia: Time   8.5 (absztrakt elektronika)

Galcher Lustwerk: Information 8.5 (deep house)

Angel Bat Dawid: The Oracle   8.5 (jazz)

Injury Reserve: Injury Reserve  8.5 (experihiphop)

75 Dollar Bill: I Was Real 8.5 (drone-jam, pszichrock)

Richard Dawson: 2020 8.5 (artrock, progfolk)

Rustin Man: Drift Code   8.5 (posztjazz-artrock)

Kali Malone: The Sacrificial Code 8.5 (drone)

Dave Harrington: Pure Imagination, No Country   8.5 (artrock-postjazz)

DJ Healer: Lost Lovesongs / Lostsongs Vol. 2   8.5 (ambient-broken beat)

Fire! Orchestra: Arrival   8.5 (experibigbandjazz)

Nkisi: 7 Directions   8.5 (future techno)

Special Request: Bedroom Tapes   8.5 (idm, ambient techno)

Denzel Curry: ZUU   8.5 (avanttrap)

Megan Thee Stallion: Fever   8.5 (traprap)

Rico Nasty & Kenny Beats: Anger Management   8.0 (hiphop)

Stats: Other People’s Lives   8.5 (gitáros groovepop)

Bassekou Kouyate & Ngoni Ba: Miri   8.5 (mande)

These New Puritans: Inside The Rose   8.5 (posztpop)

Tropical Fuck Storm: Braindrops 8.5 (artrock)

Fennesz: Agora   8.5 (ambient)

Agent blå: Morning Thoughts   8.5 (indie-dream-posztpunk)

Henning: Natter Utan Dagar   8.5 (softrock, “markknopflerwave”)

Blanck Mass: Animated Violence Mild   8.5 (noise-electro)

Bent Knee: You Know What They Mean 8.5 (artrock)

Flume: Hi This Is Flume 8.5 (wonky)

Feels: Post Earth   8.5 (lofi-posztpunk)

Fling: Fling Or Die   8.5 (indiepsychpop)

Isaac Birituro & The Rail Abandon: Kalba   8.5 (ghánai xylofon, folkronika)

Floating Points: Crush 8.5 (progelectronika)

Junior Brielle: Tampa   8.5 (80s electropopsvédesen)

Equiknoxx: Eternal Children 8.5 (idm-dancehall)

Pixx: Small Mercies   8.5 (artsynthpop)

Lafawndah: Ancestor Boy   8.5 (keleties altr&b, deconstruct tribal glitch bass)

The Comet Is Coming: Trust n The Lifeforce   8.5 (ambient-electrojazz)

Woman’s Hour: Ephyra   8.5 (dream-szintipop)

Lemonheads: Varshons 2   8.5 (feldolgozáslemez)

Emotional Oranges: The Juice Vol. 1   8.5 (nudisco, szofiszti r&b)

Bill Callahan: Shepherd In A Sheepskin Vest   8.5 (americana, altcountry)

Piroshka: Brickbat   8.5 (indierock)

Bigwave: Romantic   8.5 (japán future funk, disco)

Methyl Ethel: Triage   8.5 (indie-szinti-pop)

100 gecs: 1000 gecs 8.5 (bubblegum bass)

Lingua Ignota: Caligula 8.5 (neoclass darkwave)

Tree: We Grown Now   8.0 (hiphop)

Sun Runners: Lust For Life  8.0 (waporwave)

Giant Swan: Giant Swan 8.0 (industritechno)

Black Dresses: Love And Affection For Stupid Little Bitches   8.0 (noise pop)

Anthony Naples: Fog FM   8.0 (outsider house)

Weyes Blood: Titanic Rising 8.0 (softpop)

Sister John: Sister John   8.0 (szép gitárzene)

Moor Mother: Analog Fluids 8.0 (industrihiphop)

Wilco: Ode To Joy   8.0 (alt-rock)

Big Thief: U.F.O.F. 8.0 (folkrock)

Paula Temple: Edge Of Everything 8.0 (industri-techno)

Charli XCX: Charli   8.0 (electropop)

Sleater-Kinney: The Center Won’t Hold   8.0 (indierock)

Tayla Parx: We Need To Talk   8.0 (pop)

Teebs: Anicca 8.0 (downtempo)

#2019 #2019 évvége #2019 aoty #album of the year 2019 #fka twigs #loraine james

[aquariumdrunkard]

Transmissions :: William Basinski and Preston Wendel

This week on the show, we’re joined by ambient hero William Basinski and his collaborator and engineer Preston Wendel. They’ve got two wildly divergent projects out this year. In July, they released To Feel Embraced, a collection of saxophone-laden lounge and electronica under the name Sparkle Division. And on November 13th, they release William Basinski’s Lamentations, which assembles more than 40 years of archival tape loops and studies from his archives. The dual albums encompass the ecstatic highs and dread-soaked lows of this strange year. We spoke with the duo in September, when it was still warm out enough to take a dip in the pool about doom scrolling, iPhone recordings, cutting loose, and much more.

#william basinski

[splendontcore]

ecstatic electronica is prob the worst place to go if you just beated addictions

#happy tree friends #htf #nutty #giggles #splendid #u.f.o. #happy tree town nightlife #ecstatic electronica #hey have you noticef why i choose them??? hint: THE COLOURS LOOOK THE FUKINGNF COLOURS #tw: drugs #cw: drugs #Spotify