Find You is the latest track from Maymind – the moniker of LA based producer and DJ Leo Maymind – and is taken from his forthcoming album June due for release in November. Fusing elements of left-field electronics late night grooves and washed out, reverb-heavy vocals, it juxtaposes subdued beats with startlingly bright synths that give the impression of sunbeams puncturing the early morning haze.
Galcher… Lustwerk! Every time I see this guy’s name written down I suffer from an uncontrollable compulsion to say it out loud, mimicking that robotic French tag from his breakthrough Blowing Up The Workshop mix. Try it! It’s fun! Anyway, this is taken from a new Explorations in Analog Synthesis collection (Volume II, funnily enough) where Moog have asked a load of Very Good Producers to demonstrate the “powerful analog sound and sonic possibilities Moog Sound Studio offers”. Each track was built around the Moog Mother-32, DFAM, and Subharmonicon included in each artist’s Moog Sound Studio, and the full seven track EP includes music from Boy Harsher, Hannah Peel and others and is well worth checking out.
Blending pop, R&B, soul and at times some fairly experimental electronica on her latest album 3, Sydney-based artist Ngaiire certainly can’t be accused of playing it safe, and the album is a constantly shifting joy that seems to delight in playing with your expectations of how a polished ‘pop’ album should sound, then gleefully doing something else entirely. Unapologetically sincere and packed full of infectious rhythms, highlights are many – the awesome Shiver also deserves a mention – but Glitter gets the nod from me for being an absolute banger.
Poulson Sq. are Anthony Fiumara and Mathijs Leeuwis – a duo formed as a mutual love of ambient music; specifically creating rich sonic tapestries packed full of the kind of repeating patterns often found in nature. Their latest single is Kosmic Headroom which was created from a combination of pedal steel guitar, Buchla Music Easel, tapedecks, analog effects and field recordings, the resulting track being effortlessly beautiful, with subtle manipulations and variations echoing the fractal shifting of a twilight landscape.
As someone who loved Low’s last album but is only vaguely familiar with their extensive back catalogue, I’ve spent the week trying to play catch up as much as possible in anticipation of their new LP HEY WHAT which arrived today in all its melancholy, distorted glory. It’s been quite a week, and while I wouldn’t necessarily recommend piling through that much Low at once (the darkness! the depths!), it’s been interesting to trace the developments of their 20+ year career in just a few sittings. As a fairly new fan, I certainly don’t have any authority in ranking these things, but also: HEY WHAT is categorically their best album, and Hey is its emotional zenith.
The title track from French producer Franck Zaragoza aka Ocoeur’s forthcoming album, Connections is warm, compelling and packs a real emotional wallop: a gorgeous slice of ambient IDM with shifting, skeletal beats and encompassing pads that slowly give way to a softly triumphant piano line. Ocoeur is a completely new artist to me, but I’ll be diving headlong into the LP when it drops tomorrow.
Arriving sandwiched between the two of the most hyped rap releases of the year, Little Simz’s new LP Sometimes I Might Be Introvert completely and utterly blows both Kanye and Drake out of the water. Packed full of joy, creativity, energy and a genuine and unashamed passion for what she’s doing, it’s everything they failed to deliver, and shows that it’s completely possible to be reflective, but not morose, bombastic but not overblown, and to deliver an album which pushes above the hour mark without collapsing under the weight of its own self-importance. Speed isn’t one of the singles but it easily could be, like pretty much every other track on here. An absolute pleasure from start to finish and a towering achievement.
The latest single from NYC alternative pop craftsman Ian Abel sees him indulging a “Wild Queer Stalker” fantasy, casually tossing off lines like “Well you’ve got a hunger / and I’m serving you dessert” over a dark synthy backdrop which squelches and squirms in a thoroughly enjoyable fashion before building to a noisy, overdriven climax. In short: exactly the kind of joyous pulp you needed to kick start your week.
The latest from rising Memphis artist Don Lifted is a moody rap cut based around themes of sexual and gender multiplicity, desire and vulnerability, and according to the artist written from “a moment of extreme longing for something that didn’t exist and I feared never would and what it would be like if the moment was presented to me.” That’s a whole lot of double (triple?) negatives that I haven’t quite got my head around, but suffice to say it’s a very fine, evocative piece of work.
Covers usually get a hard pass from me, especially if they’re of songs I really like, but Puma Blue’s All I Need gets a pass for a couple of reasons. First: it reminded me how much I love Radiohead’s original, and as In Rainbows is the album I probably go back to least frequently from their catalogue it’s been a very long time since I listened to it. Secondly, it’s fucking great, capturing and expanding on the yearning sadness of the original, and pulling back just a touch on the paranoid sketchiness. Not that I’m averse to a bit of mental wrangling, but it’s Friday and the sun’s out.