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Kuvatud on postitused sildiga Basic_sounds. Kuva kõik postitused
Kuvatud on postitused sildiga Basic_sounds. Kuva kõik postitused

10/03/2021

Bartek Kawula – Glass (2011)



  • Electronic music 
  • Minimal house 
  • Deep house 
  • Tech-house 

Torontolase teine ja ühtlasi viimaseks jäänud üllitis pärast "Pressure"-nimelist reliisi; mõlemad on üllitatud basic_sounds'i all. Kolm lugu, täis teadlikku rütmikeemiat – isegi väga teadlikku –, milles on lisaks tantsupõranda kutsele ka intelligentne psühhedeelne vaib ning žongleerimistung man. Või on see siis minimalistlik lumm, mis võtab kuulaja üle. See on graatsiline haussmuusika, mille servadeks on diskreetselt vihjavad tehno ja funk. Värvi lisavad mees- ja naisvokaalsämplid siin-seal; sämplid, mille pikkus on ehk paar kümnendiksekundit, aga mõju hoomamatu. Sämplitilgad, mis muudavad meepoti magusamaks.

9/11/2021

Guy Birkin – Bits (2014)



  • Drone 
  • Organic electronica 
  • Experimental techno 
  • Electronic music 
  • Post-classical 
  • Musique concrète 

Nottingham`i tüübi neljalooline üllitis basic_sound-nimelise netileibeli all uurib vähem- ja rohkem põrklevaid rütme, süveneb droonjasse hingeellu ning kaardistab kaasaegse klassika äärealasid. Siin ei peitu läbivat narratiivi, pigem on see juhuslik huvitumine ühest, teisest ja kolmandast (heli)sfäärist. Veider on mõelda, et veel paarkümmend aastat tagasi seesugusest muusikast oleks vaevalt niimoodi mõeldud. Kas seda muusikakski oleks väga peetud, julgen kahelda. Ise julgen vastupidises kahelda – konkreetselt maitsetu EDM ja häbitu Hi-NRG näitel. Ka seesugust saundi on vaja – esiteks inimestel on vajadused (kuigi mitte otseselt muusikalised) ning teiseks on sellel hoiatav tähendus. Kõik muutub ajas, muusikaline tekstuur ja veelgi enam inimeste taju ja arusaam ühe või teise helilise fenomeni osas. Eks omal ajal said industriaalmuusikud laval peksa – on kahtlust arvata, et nendeks olid punkarid, kes ise omaa rust võitlesid väikekodanluse vastu. Irooniline ja paradoksaalne, on ju? Hea album, isegi kui see ei ole meelierutavaim süda eelpoolnimetet plaadifirma kaustas.

8/14/2021

Chord – Year As A Ghost (2012)




  • Ambient pop
  • House 
  • Organic electronica 
  • EDM 
  • Electronic music 
  • Dub 
  • Chilltronica 

Michael Pettit'i (üks pool duos Overcast Sound) seitsmelooline üllitis sildab sügavamaid klubihoovusi ja pealiskaudsemat pop-mentaalsust. Korjates sulneid elemente deep house'ist, ämbiendist ja dub'ist, et käänata-väänata neid elektroonilise tantsumuusika sagedustele ja laiatarbehaussmuusikale lähemale. Sügavus konverteeritakse pompöösseks žestiks, et liikuda ööpimedusest päikesevalgusesse. Ei, seda ei tee Pettit häbitult ja lihtlabaselt, säilitades kontrollitud sammu sellel libedal teel. Klaveriakordid siin-seal rõhutavad eespoolmainitud kavatsust. Tegelikult võib suisa nentida, et artist teadlikult flirdib EDM-võimalikkusega, samas seda realiseerimata (ühe loo erandiga). Ühe träki taamal kõlab jutuvada ning müntide kõlin, mille mõte ilmselt seisneb selles, et heli ei haise. Tegelikkuses, jah, heli võib vägagi lehata. On hõllanduslikke elektroonikapalu, mis kiirema rütmi korral muutuksid elektrohausiks. Siia on peidetud teisigi üleminekukohti ja pulbitsevat potentsiaali. Üllitise on reliisinud basic_sounds.

7/06/2021

offthesky + Radere – Temporaryspace (2015)



  • Drone 
  • Ambient noise 
  • Experimental electronica 
  • Abstract 
  • Improvised music 
  • Avant-garde 
  • Musique concrète 
  • Experimentalism 
  • Minimalism 
  • Sound art 
  • Avant-electronica 
  • Micronoise

Nagu sageli on kombeks olnud plaadifirmale basic_sounds, siis üllitis koosneb vaid ühest pikast kompositsioonist (antud juhul 19 minutit puhast ilu) ning plaadiümbris on tavapäraselt südamekujulisse vormi valatud. Nimetet teose on loonud muusikud Carl Ritger ja Jason Corder Colorado osariigist USAst. Muusika loomiseks on kasutatud pool- ja täismodulaarsüntesaatoreid (sh katkine süntekas) ja igasugu efekte helide sünteesimiseks, moonutamiseks ja väänamiseks. Kompositsioon on välja kasvanud improviseeritud proovidest, millest arenes samuti välja teine üllitis. Hea teos, milles on dünaamikat, jõudu, veenvust ning valget ja tumedat mateeriat, mis võidab kuulaja tähelepanu ja täidab puudujäägid vaakuvas hinges ja vaimus. Nagu öeldakse – tummine vaimutoit. Kummaltki artistilt on võimalik leida ka soolotöö nimetet plaadifirma all. Lisaks soovitan ka The Postal Service`i liikme Jimmy Tamborello aka Dntel`i suurepärast teost "Clelia II".   

9/19/2018

B. Toriyama – Episodes (2015)




  • Ambient techno 
  • Downtempo 
  • Electronic music 
  • Ambient dub 
  • Tech-dub 
  • Deep techno 
  • Deep dub 
  • Crossover 
  • Dub techno 
  • Minimal dub 
  • Dub house

Comment: B. Toriyama embarks on this 4-notch outing with wobbly synthesised chords and atmospheric layers in the vein of dub music. In truth, later the distinctive categorization will get a bit watered down by using also techno and downtempo reliefs, however, the spaced-out layer continues to emit through the other stylistic appearances. At Cloud the artist comes back to a deeply soaring inner space by interweaving dub and techno and even near house knots into a 9-minute apparition as if depicting a phantasmagorical plateau at the bottom of the ocean. Yeah, it is deep and minimal. The same can be admitted about Sauce which in truth is a bit more vivid and flaring due to those hypnotically loopy synth fadeouts. Yeah, the listener can imagine slowly swimming monstrous creatures coming out from the shipwrecks. All in all, it is an example of music for your dormant fantasies by allowing you a fantastic space engine for to travel to places of which you could never reach physically. For only thanks to the art one can cross his/her mundane and mortal borders. Music is obviously the fastest way to do it. Here it is. The solid issue is a part of the discography of basic_sounds.

8/17/2018

Co-Op – Neighbours (2015)




  • Soft rock 
  • Yacht rock 
  • Electronic 
  • Jazz rock 
  • Alternative rock 
  • Indie rock 
  • Crossover 
  • Art pop 
  • Mood music 
  • Improvised music

Comment: this bunch of three tracks by Toronto, Ontario, Canada-based Oreste Camarra and his guest and neighbour Marcus Wong (who plays guitars) is a fine amalgamation of poppy electronic music, yacht and jazz rock shreds. The motives represented over there used to run in repetition thereof creating somehow compelling yet enchanting mood (Oak and Eli). Yet the other two tracks have been set out to run in a more variegated feel. I would like to praise the guitar play by Marcus Wong because it is the main propulsion in different penumbrae and shades and flickers in different strength and atmosphere. I would like to call it a contemporary version of soft rock because its intention apparently is not to overwhelm the listener with crushing riffs and volume but creating a subtle mood around his/her head (at the same time you have no chance to reject the technical adeptness of the release). By the way, the tracks are long (the shortest one clocks in at a 6-minute) so you nevertheless discern the impulse of an improvised format. The issue is a part of the discography of basic_sounds. Great stuff.

5/19/2018

Bite – Calle Palma (2015)




  • Modern classical 
  • Post-classical 
  • Field recording 
  • Ambient 
  • Electronic music 
  • Avant-garde 
  • Epic 
  • Experimentalism 
  • Organic electronica 
  • Minimalism 
  • Piano music 
  • Musique concrète 
  • Art music 
  • Drone

Comment: you are searching for profound and tranquil soundscapes to find a remedy for suffocating your desperate feels and borderline madness. You are aware of the premiss the ideal album must have the imposing centre point being surrounded by many and frequently changing satellite sounds. The method makes sense. Josè Barrera aka Bite's 9-track release on basic_sounds makes sense in that way. It is just an infinite moving where it makes no sense to remember the starting point and the finishing point. Any temporal moment and chord makes sense. The music is very present in any present moment. Given that you have entered into the sphere of continuous present and it does mean the term time makes no sense altogether. That's the point. Musically you hear at times hammering at times slightly lofty piano chords followed by one another and at the same time being accompanied by acidic electronic counterpoints, microscopic noises and ennobling natural sounds. For example, the self-titled track is a fabulous incantation full of profound, iterative, magic reality. Indeed, it bites you. And the rest of eight tracks do the same effect. Superb work by any means. I guess if Beethoven could have had the same technical possibilities he would produce an analogous stuff but instead of the known musical and historical reputation he might have a more hidden influence upon us.

10/15/2014

Mikaere - Ending To Beginning (2014)




/Tech-house, House, Club dance, Deep house, Modern classical, Downtempo/

Comment: in Germany residing Canadian Michael Petit aka Mikaere is a talented guy to produce catchy and hypnotic house-inflected tracks with soulful vocal sampling and fabulous laidback feeling. It creates a cosy, homelike atmosphere with regard to exploiting vinyl-alike crackles and hypnotically bouncing beats beneath. However, Mikaere`s issue is not an instance of true-bred house grooves because of adding heavier downtempo-alike frequencies into the mix. Me and You is the exception due to delving into another world where a piano chord driven motive and progressions within it are superimposed to subtle hums and subdued hisses thereby reminding something coming out of the modern classical pigeonhole. In a nutshell, the outing is to the nines.                  

3/20/2014

Bite - Room (2013)



  • Abstract techno
  • Avant-electro
  • Glitch techno
  • Ambient techno
  • Musique concrète
  • Minimal dub
  • Ambient dub
  • Click and cuts
  • Experimental electronica
Outstanding tracks:
Room 1
Room 2
Room 3
Room 4

12/21/2013

Chord - Broken (2013)



  • Electronic pop
  • House
  • Alternative dance
  • Mood music
  • Breaks
  • Modern classical
Outstanding tracks:
Doesn`t Change


10/20/2012

Chord - Year As A Ghost (2012)



9.2

/Electronic pop, Dreamwave, House, Deep house, Downtempo, Club dance/ 

Comment: indeed, by listening to this 7-track album you could imagine yourself to be a lone ghost for a while. The whole consists of airy piano chords and ethereal vowel whiffs which are waded in by an array of variegating rhythms, concrete sounds-tinged and orchestrated synth stripes at times. However, all these sparawling particles are settled down to wobble within the realm of pouting house vibes backdropped with acidic piano hammering and soulful tuning, at times having a trip through universes which are freed from the burden of gravitation. In a word, the issue because of being soaringly idealistic can be considered a tool to get yourself out from this world. Would you like to be an escapist approximately for an hour?

4/01/2012

Radere - The Earth, Laid Bare (2012)



/Organic electronica, Epic, Ambient, Ambient noise, Post-rock, Crossover, Experimental electronica, Musique concrète/

Comment: similarly to other releases on basic_sounds this issue by Carl Ritger contains just one track/composition, though, spreaded out over 35 minutes. It is highly organic involving the elements of electronica, ambient, microscopic noise, and experimental/post-rock, however, all of these stylistic elements are seamlessly interlaced with each other. Furthermore, all these aspects in turn are infiltrated with the seeds of found sounds/field recording. It brings forth a bunch of pleasant consequences - it is soothing, it is epic and thus even exulting. At times it seems to be more the burning of a campfire than the sequences of deliberately treated chords. By kindred souls, however, it can be compared to the likes of slept., Labradford, Tudo de Volta, Tim Hecker, Ecovillage, Clark Nova Portable, Beth Kleist, Machinefabriek, Loscil, Pan American and many other ones. What a stupendous flow! In a word, it is an instance of a God`s trace.

3/14/2012

Bartek Kawula - Glass (2011)


basic_sounds

9.3

/Dub-tech, Club dance, Dub house, Deep techno, Acid house/


Comment
: there are up three dub-inflected appearances which are directed upon the listener`s ear and his/her extremities. It is a little angular by its roughly bouncing beats and acid house-tinged piano chords (of course, resembling of the beginning of 90`s) at Changes, yet, it will make sense at the end of the course. The other two notches are more churning and more relaxing including the samples of female voweling, cinematic bass bits, programmed drum clacks and so on. In a word, it used to be deep in dub somewhere in the middle of a club venue of someone`s brain. Altogether, it is a hypnotic and masterful notch by Bartek Kawula, a Toronto-based producer. The issue has been released on an excellent label, called basic_sounds.

7/05/2011

Dntel - Clelia II (2011)



/Indietronica, Experimentalism, Ambient, Conceptual, Crossover, Avant-garde, Organic electronica, Experimental electronica/

Comment: Obviously the name of Jimmy Tamborello needs no longer introduction for our obdurate melomans. He has been one of the main stalwarts regarding the worldwide organic electronica/indietronica scene at least for the last decade. This release consists of a 30-minute track only wherein diverse layers as the summary result have epic shifts against or parallel to each other. You can detect for some long-running synth drones, organic electro-acoustic overthrows, air-filled found sound, vastly suggestive motives and much more. Indeed, he did it again.

2/04/2011

Minisystem Live Above Ground (Basic_sounds)


This set of 4 notches reveals the sublime disposition of shuffling beats and warm fronts of melodic progressions around it, more exactly, setting the tone on the bubbling and tinny synth cadences/electro-inflected synth pop, IDM-esque wraiths, propulsive pop techno paces sometimes reminding of the workouts of Solvent. Similarly to Jason Amm, Jeff Lee aka Minisystem hails from Toronto, using an array of vintage keyboards and drum machines. Indeed, one of the biggest virtues of Live Above Ground is its lush analogue sound, which is used not to be common among the electronic music producers nowadays. Indeed, though I hint at Solvent above, Jeff Lee samples once Mira Calix (Goldenrod) and his sound can be placed between new and old, reminiscent of 70`s electro pop/synth music and its effects of outgrowing and departure from the full-electronic krautrock movement as well. Altogether, love it in the way as it loves you.

Listen to it here

9.1