Electronic

Fantastic Beats and Where to Find Them – Tobias Berchtold’s Best of 2016

This article was written by Tobias Berchtold 

2016 has been a difficult and troubling year for the world, but it has also produced some absolutely outstanding music so I wanted to renew my best of review for the year just passed. (https://wallofsoundmagazine.com/2016/01/01/my-favourite-15-albums-of-2015/).
As much as I wanted to keep it short, there was just way too many amazing projects to whittle it down to a sensible number. Behold, my top 30 of 2016:

  30. The Colour in Anything – James Blake

James Blake’s third album follows on from his previous projects nicely, it is very similar in mood to those two however there are some very subtle but effective tonal changes. He has become known for a minimal and moody aesthetic, underlined by precise and layered production, however with this project Blake has seemingly tried to shift from a minimal approach to a more maximalist one. The production is once again absolutely stellar and the swelling instrumentals throughout lend a beautiful atmosphere to the album. The only real issue I have with the album is that it’s just too long, clocking in at 76 minutes, so it can be a bit tricky to stay engaged the whole way through.

  1. ArtScience – The Robert Glasper Experiment

For years, Robert Glasper has been the gold standard of jazz fused into all sorts of different genres. With his Experiment band, Glasper seems to refuse to be pegged into one genre – even exclaiming it at the start of the album (“So why should I just confine myself to one? We want to explore them all.”) In my opinion it’s the group’s best project yet, in big part due to the fact that they decided to do all the vocals themselves instead of relying on outside artists – by doing this I feel like they succeeded in cementing their own vibe, more so than in their previous attempts.

  1. Konnichiwa – Skepta

Skepta has been amongst the forerunners of the UK grime movement in recent years. It’s been 5 years since his previous album, and the long wait (with many delays) was thoroughly worth it. It’s packed with anti-establishment sentiment, and the lead single That’s Not Me is a good example of the content of the rest of the album. It’s a big middle finger to the press, the police and the government. All around it’s a great trailblazer for the grime genre, a genre that doesn’t usually feature albums but more often than not consists of singles and mixtapes.

  1. Epoch – Tycho

Tycho is back with another excellent downtempo album. All of the songs on the album bear his unmistakable style that he forged with his previous albums Awake and Dive, with very precise and deliberate instrumental melodies. This album is probably his most energetic yet, with some vocal samples added in, which Scott Hansen hadn’t really used much in the past. While it would be difficult to argue that this album is anything new, it’s probably one of my favourite Tycho projects yet – and with it he has cemented himself at the very top of my exam time playlists.

  1. 22, A Million – Bon Iver

It’s been a loooong time since we got a release from Justin Vernon and it really didn’t disappoint. It’s a difficult listen, which in general is nothing new from Bon Iver – but on this album he seems to explore, and play with, the strange and the uncertain. There is a great existential angst to the subject matter of this record, with Vernon resorting to a lot of religious imagery to try to explain his anxiety about the uncertainty of existence and his use of distorted vocals just adds to the theme. Its aesthetic is very high brow and experimental, and it works beautifully well as a reminder that Bon Iver is one of the best contemporary artists around nowadays.

  1. Freetown Sound – Blood Orange

“My album is for everyone told they’re not black enough, too black, too queer, not queer the right way… it’s a clapback.”

I think I kind of want to be Dev Hynes. His activism for black rights is immensely powerful and it is the overarching theme of this album, the racial context of this album imbues it with so much meaning. It was released during the time when there were weekly/daily occurrences of police brutality towards black teens. It’s a celebration of everyone who is told they’re not good enough and the music does the theme justice – I found there were a lot of similarities between this album and D’Angelo’s Black Messiah, both in style and substance. In a year like the one we just had, music like this is so incredibly important in conveying a message.

  1. Coloring Book – Chance The Rapper

Chance’s third mixtape had a lot of expectation placed on it, after the widespread success of the 2013 release of Acid Rap. Since then he has teased an built hype through some excellent features, in fact in my opinion he had the best feature of 2016 (on Kanye West’s Ultralight Beam). The album is filled to the brim with gospel singers and excellent features, but that’s also my biggest issue with the album. The gospel and the features add a great dimension but it hits a point of diminishing returns and I just wish there was a little bit more Chance. There are some spots on the album The best song in my eyes is Same Drugs, which is a beautiful Peter Pan metaphor of two people growing apart. Noticeably on that song there is mainly background gospel and no features.

From what i’ve just said it sounds like I didn’t like this album at all but that’s not the case – it just left me wanting more from Chance because I think he’s one of the most exciting talents in hip hop right now. I can’t wait for his first official album release.

  1. Bottomless Pit – Death Grips

Don’t really know how to describe this one. It’s taken me a good two years to wrap my head around what Death Grips do, and to be honest I think anyone that says they understand their vision is a liar. That being said this project is probably their most cohesive yet, and is what has led me to explore deeper into their discography. Their mix of hip hop with heavy, experimental rock is abrasive and crass but this is probably their most accessible effort yet due to a renewed focus on songcraft instead of shock value.

  1. Lemonade – Beyoncé

Before this album I wasn’t really a Beyoncé fan at all, I thought her songs were disappointing when you took into account her vast amounts of raw talent. This is a complete departure from her usual style of music, and it’s almost as though this album was born out of a desire to make an artistic statement rather than for financial gain which is what always irked me about her music. The overarching theme of marital troubles with Jay-Z (real or not) add a really nice dimension to the album and is very engaging. We see Beyoncé flit between several genres, even including a country song Daddy Lessons which ended up being my favourite on the album. Beyoncé took a lot of risks with this album and for me they all paid off.

  1. Emily’s D+Evolution – Esperanza Spalding

Esperanza Spalding is an upright bassist and singer who gained fame by beating Justin Bieber to the 2011 Best New Music Grammy, but she never seemed to crave this kind of attention and a few years later she took some time off from the music industry to reevaluate her position within it. For her return she came through with a really nice funk album that is highlighted with elements of rock music. Straddling the lines between several genres, Spalding seemed to create this album with the freedom that comes from being out of the limelight. If you haven’t heard this album yet I would warmly recommend it, it’s an incredibly rewarding listen.

  1. Spiritual Songs for Lovers to Sing – Lost Under Heaven

Born out of the ashes of WU LYF (RIP), Ellery Roberts’s new project has much of the same charm that drew me in the first time round. Ellery’s visceral, raw voice is coupled with that of visual artist Ebony Hoorn and he carries a similar message to the one he did with WU LYF. Blaring anti-capitalist, anti-establishment, anti-everything lyrics is Ellery’s speciality and the mixture of this and grandiose instrumentation makes this a really euphoric listen.

  1. Blank Face LP – Schoolboy Q

This is Schoolboy Q’s first album after beating a horrible addiction to lean and he seems to be on track to become a force in hip hop. This album is almost like a TDE poster child as it is absolutely littered with features but not once does it lose its way – Schoolboy Q is always front and centre of each song without getting overshadowed by anyone. Combining raw and emotional portrayals of a past life with a straightforward and down to earth manner make this a very enjoyable listen start to finish. The focus of this album is very clearly on the rapping which put a lot of pressure on Q to hold the attention for a full hour, but he does so seemingly with ease, with regular tone and tempo shifts that really work in his favour.

  1. The Sun’s Tirade – Isaiah Rashad

Isaiah Rashad’s second album is another stellar output from the TDE label. The Tennessee based rapper’s bars are laced with anxieties regarding maturing and moving past addiction and in doing so he comes across as very human and brutally honest. Fitting with the theme the album ebbs and flows between manic highs and sluggish lows, much like life with addiction does. It is a moving account of facing demons and coming out of the other side better than before.

  1. HOPELESSNESS – ANOHNI

On her fifth album, ANOHNI teamed up with producers Hudson Mohawk and Oneohtrix Point Never to create an absolutely outstanding protest album. As ever, she sings about difficult political themes and challenges things like pop culture’s obsession with image, drone warfare and even the Arab Spring. She paints a bleak picture of despair and struggle, but coupled with bombastic songs and production from HudMo and OPN this album is truly great, and that seems to fit 2016 perfectly.

  1. 99.9% – KAYTRANADA

Kaytranada first made his name as a Soundcloud producer and dance DJ, and his first commercial effort is a statement that shows he’s going to stick around for a while. Specialising in samples and Madlib-style crate digging, Kaytranada’s production is funky and upbeat and enlisting the help of some high-profile collaborators (like Anderson .Paak) makes this a really refreshing experience. He accredits his style to his Haitian roots, and the percussion-heavy beats with help of drummers like Karriem Riggins back this up. A pleasure to listen to all-round.

  1. Telefone – Noname

I first heard of Noname (fka Noname Gypsy) through features with artists like Mick Jenkins and Chance the Rapper, and had been looking forward to this album for a while and in no way did it disappoint. This is a rich, satisfying and intimate hip hop album which documents Noname’s experience growing up as an introvert and finally blossoming into adulthood. The album is framed around transformative phone conversations in her life, with upbeat and playful bars underlining this as the best album by a female rapper this year.

  1. MY WOMAN – Angel Olsen

With her previous three albums Angel Olsen has crafted a powerful identity, her name being synonymous with her voice and her storytelling. On this, her fourth attempt, she has pushed both of these to their highest heights yet. This album is a haunting and beautiful recital of sadness, hope and love. There is a mix of sounds and styles, and there is a constant maze of self-discovery present throughout the songs on the album – even the brightest of songs are twinged with ideas of impermanence, that none of the feelings she is feeling can last forever.

  1. A Moon Shaped Pool – Radiohead

I’ve personally never been that enamoured with Radiohead, and consistently found that I preferred their more expansive and airy music. In particular I loved Thom Yorke’s solo project with Atoms for Peace, which is why I was so satisfied with this album – it has a very similar tone. The album is a bit of a grower, it’s a midnight sort of listen and it signals a return to a more conventional type of songcraft . There is a palpable sense of loss which is likely born out of Thom Yorke’s separation from his long time partner – but it would be a disservice to call this a breakup album. It’s lofty, vast, and encompasses all of the things I love about Radiohead. I can’t wait to see them headline Glastonbury.

  1. Yes Lawd! – NxWorries

Anderson .Paak’s meteoric rise seems to know no bounds and album only serves to confirm that. Having teamed up with producer Knxwledge this is a beat tape first and foremost, with all of the songs hovering around the 3-minute mark. Paak has seemingly mastered his vocal range and uses it to full effect on this album, all the while maintaining an infectiously upbeat mood. The production by Knxwledge is immaculate, channeling greats like Dilla and Madlib.

Livvin’ is probably the epitome of the feeling of this album, which is basically an exclamation of the triumphs in .Paak’s recent history. Hopefully he can keep going from strength to strength.  

  1. In My Mind – BJ The Chicago Kid

This is a modern update on Chicago soul, and BJ delivers a beautifully tender and soulful approach to the classic genre. Its lyrics are very on the nose about sexual experiences, but the way BJ sings them makes them is absolutely perfect. He excels at his brand of love song, and the only time where this album falls a bit flat is when he strays from this concept. The features he enlists on this album are also excellent, with appearances from Kendrick, Chance and Big KRIT complementing his voice expertly.

  1. Awaken, My Love! – Childish Gambino

It’s been a great year for Donald Glover – his new show Atlanta landed him a Best Comedy Actor Golden Glob, and he’s been cast as the young Lando Calrissian in the forthcoming Star Wars movie. I’ve loved him as an actor for a while but I have never been particularly enamoured with his rapping. It piqued my interest when I heard that he had ditch rapping for more of a funk sound and this is easily my favourite project of his so far. The production is majestic, Glover’s singing is better than ever and this project is so unique and unexpected that I’m struggling to find things to compare it to. I have to say that Redbone is up there as one of my favourite songs of this year – it is so smooth and serene that I could listen to it on a loop for hours.

  1. Malibu – Anderson .Paak

I mentioned earlier how good a year Anderson .Paak has had, and this is the centrepiece of his many successes. Behind his success there is a difficult story (as explained on the opener The Birds) – his mother was a farmer from South Korea and his father was an Air Force mechanic that was imprisoned for beating the former. Mixed in with the fresh and new sounds of Anderson .Paak are several old heads, including features from Schoolboy Q, Rapsody, The Game and Talib Kweli. This is another important, empowering album with the overarching message being that anyone can achieve anything, regardless of where you’ve started or what colour your skin is.

  1. A Seat at the Table – Solange

Most of the time the significance of an album doesn’t really hit me until the third or fourth listen through, but with this album I realised about halfway through about its importance in the world today. Specifically on Interlude: Tina Taught Me where we hear Solange’s (& Beyoncé’s) mother talk about her pride in her culture and heritage and seems to get very emotional about the fact that that is often not accepted by other cultures. This seamlessly flows into the incedibly powerful Don’t Touch My Hair which epitomises the message that this album tries to convey. It is an incredibly meaningful account of black womanhood in modern America, and is complemented by some beautiful singing and excellent production.

  1. The Life of Pablo – Kanye West

The birth of this album was a massive rollercoaster with delays, leaks, revisions and additions hampering it on its way. When it did come out, it ended up being the most perfect description of Kanye you could get. It’s bold, erratic, a bit bonkers and overall a great experience from start to finish. It seems as though this is the artistic vision that Kanye has wanted to put forward for a while now, and his ‘unique’ way of putting it out into the world seems to fit that theory. There is a good mix between the larger-than-life Yeezus Kanye and the introspective and damaged My Beautiful Dark Twisted Fantasy Kanye. Some of Kanye’s best songs in my opinion are on this album – Ultralight Beam’s production is some of the best that Kanye has done, along with an incredible Chance the Rapper feature (as mentioned earlier, my favourite feature of the year). Real Friends is another that I am enamored with – Kanye is vulnerable, and laments his failures as a friend and as a person in a real and relatable way.

Since then, Kanye has cancelled shows and tours and has been hospitalised following a manic depressive episode. I hope he can stay stable in the future and that we get to hear more of his vision, because as much shit as he says and does, he really is a fantastic talent.

“Name one genius that ain’t crazy.”

  1. Run The Jewels 3 – Run The Jewels

A surprise 2016 release that was initially slated for early 2017 but was brought forward and released as “A CHRISTMAS F***ING MIRACLE.” I’m really glad it was released early because it fit the theme of 2016 excellently, RTJ have become known for their defiant and political style and of course this album is no different. The third album in the RTJ series is a culmination of what made the previous two so great. They managed to maintain their sound while subtly developing it – yet this album is the most subtle and polished. Killer Mike is ridiculously good as ever, and El-P’s production is better than it has ever been. It’s a protest album with several riot anthems that may or may not be directed towards the Mango Mussolini that was inaugurated just a few days ago.

  1. untitled unmastered. – Kendrick Lamar

It’s a bit unfair really isn’t it. An album of 8 throwaways that weren’t quite good enough to fit into last year’s To Pimp a Butterfly, is still better than most of the music that has come out in this year. While it is obvious that a lot of the tracks on this EP are unfinished that doesn’t diminish the quality of this product at all. The songs are in a very similar vein to the songs on TPAB, however Kendrick has to be commended because I do agree with the fact that none of these songs would have added much to last year’s album. As a standalone project it is excellent, with catchy hooks and silky instrumentals (as ever) from people like Thundercat and Kamasi Washington. It’s going to be interesting to see what Kendrick can do from here, it seems like everything he touches turns to gold.

  1. We got it from Here… Thank You 4 Your service – A Tribe Called Quest

18 years in the making, the swan song of the alternative hip hop pioneers was so much more than I thought it could ever be. I have to confess when I heard that there was a new ATCQ album in the works I was a bit sceptical. Halfway through the first song my doubts were blown out of the water – the opener The Space Program sets the tone by making clear that this isn’t a 1994 project that’s 20 years late, but is a refreshingly current attempt. The tragic death of MC Phife Dawg was covered by the fact that the band had recorded all of his vocals at Q-Tip’s studio earlier in the year, and you would never know that he wasn’t there.

This is another album on this is list that is incredibly timely. The songs are again very political, and We The People is the best example of this which clearly references the various unrests of 2016 – “All you black folks you must go/All you Mexicans you must go.” Even if they do get a bit blunt by naming one of the songs The Donald, overall it’s a very nuanced and effective commentary on the state of the world compared to how it was in ATCQ’s heyday.

  1. Atrocity Exhibition – Danny Brown

This album genuinely transcends explanation, it’s like nothing I’ve ever heard before. If I were to compare it to something on this list I would say that the closest other thing is Bottomless Pit but even that isn’t really close. The beats are gritty and dark, and Danny’s abrasive, shrill voice over the top of it just works. I’m struggling to explain why it works but it just does, to tremendous effect. It’s a wild ride that documents the ups and downs of drug addiction, some songs are blurry and fuzzy and then there are others that almost sound like Danny is driving himself up into a fit. There isn’t a song on this album that I don’t like, but Ain’t it Funny is the standout track for me. The beat is outrageous and it doesn’t really make sense, the way Danny sings offbeat and just plays with the rhythm is so engaging and fun. There is also Really Doe which in my view is the best posse track of the year (however the Black Hippy THat Part remix runs it close). The track has Danny Brown, Kendrick Lamar, Ab-Soul and Earl Sweatshirt bouncing off each other perfectly as though it’s all they’ve been doing for years.

I’m not really sure where Danny Brown is going to go next but he’s one of the few artists where I trust his vision, and I really look forward to whatever he can bring out next.

     2. Blackstar – David Bowie

If I ordered this list to take historical significance into account then this would be a no-brainer at the number 1 slot. David Bowie’s last album before he lost his battle with cancer is the most perfect way he could have said goodbye. I thought it was an incredible album soon after it came out, as its songcraft and instrumentation is beautifully dark and sombre. However when Bowie died, the album took on a whole new shape and added countless layers of complexity and imagery. Even though it has transpired that Bowie may not have necessarily known that he was  dying during the recording process, the idea that Bowie immortalised his views about death and mourning shortly before his own passing is so beautiful to me.

Lazarus is the key song on the album, it’s a superbly artistic statement – condensing the entire human narrative of birth, life and death into one single song that was released three days before his untimely death.

Doesn’t get much more Bowie than that.

“Every man has a black star
A black star over his shoulder
And when a man sees his black star
He knows his time, his time has come”  – Elvis Presley

  1. Blonde – Frank Ocean

The hype around Frank Ocean had reached a boiling point, after the widespread success of his 2012 abum Channel Orange he just disappeared. Shortly after that release he came out on the internet, saying that his first love was a man. After that, he was gone. There was endless speculation and Channel Orange had taken on a sort of cult-like status until Frank posted on his  Tumblr #ALBUM3 #JULY2015 #BOYSDONTCRY. July 2015 came and went and no sign of Frank, apart from the occasional feature on Odd Future tracks. His only 2016 feature was on Kanye’s The Life of Pablo, as an add-on track to Wolves.

More and more speculation built up with photos and teases from people close to Frank, suggesting his third album Boys Don’t Cry would release in July 2016. Alas, no album. Yet early in August a cryptic livestream popped up which showed people woodworking in a whitewashed warehouse and the hype machine hit max.

On 19th August, finally, Frank released a visual album called Endless (which is also fantastic and well worth a listen/watch). But was this the full album? This wasn’t called Boys Don’t Cry? What?

The day later, 20th August, Blonde was released and an accompanying magazine called Boys Don’t Cry was announced.

And it is a masterpiece. I won’t have enough space here to convey just how much I love this album but I’ll give it a go. Compared to the relatively expansive and elaborate production on Channel Orange, Blonde is very minimal and stripped back. There is a very sparse use of percussion on the whole project, but where it does appear it adds a beautiful dimension – purely because of its absence previously. When Frank’s voice breaks through it’s almost as though the relative quietness and peace shines a spotlight on him and his words.

There isn’t a song on this album that I would remove or even change, every single word and note seems to have been placed very deliberately, which may explain the long drawn out release process that this album went through. The album is noticeably devoid of standalone bangers, unlike Channel Orange that had songs like Thinkin Bout You and Pyramids, but even then I think this is endlessly more listenable because of the different layers that you can unpick with every listen. Even Ivy, the song that is closest to being like those two, isn’t as massive or as instantly catchy, but is carried amazingly by only Frank’s voice and two guitar tracks. It’s probably the best example of the themes present on the album – a sort of nostalgic teenage heartbreak seen through reminiscing eyes – ‘I ain’t a kid no more/We’ll never be those kids again.’

This is easily my most played album of this year, and after hearing it for several months my favourite song changed almost after every listen – it flitted from Ivy to Nights to White Ferrari to Self Control to Seigfried. It’s a testament to how well put together the album is that I even enjoy listening to the (often criticised) interludes because they set up the following song really nicely. Be Yourself features a phone conversation from Frank’s mother saying that he shouldn’t rely on drugs or alcohol to be himself, and then in the next song Solo Frank sings about taking tabs of acid to be able to unravel himself and be ‘solo.’ Facebook Story features SebastiAn who talks about a relationship that broke up over his refusal to get involved with Facebook, and it flows into a cover of Stevie Wonder’s Close To You, which is heavily distorted and mechanical sounding – almost as though he’s trying to get close to someone but can’t break through the virtual barrier.

Overall, this album definitely worth the wait. I hope the next project comes a bit sooner but even if it takes another four years I’d be happy if the overall quality stays like this.

Where in the world is Jai Paul?

With the long-anticipated release of a new Frank Ocean album finally coming to fruition, another equally elusive artist came to mind: Jai Paul.

Jai Paul is an artist who came into the scene having already formed a unique and personal sound, a sound that you can recognise as his own from hearing a few seconds of most of the songs he’s made. And trust, I’ve looked for similar styled artists, artists who try similar things in their experimental production, but it always feels as if they’re either not as good as Jai Paul or that they’re copying him rather blatantly.

 

Paul being elusive however is not to say he’s unknown – having only one demo underneath his belt, XL Recordings signed to him to a deal in 2010, releasing an edit of the track a year later in 2011. ‘BTSTU’ is a stunning track, especially considering it was Jai Paul’s first full-fledged effort. Juxtaposition is used to full effect, with half the track being led by a surprisingly powerful falsetto which is backed by a harmonic vocal melody, and the other introducing itself with wave after wave of distorted synth along with Paul’s regular singing voice. The whole track is chocked full of effects, and introduced us to one of Jai Paul’s personal favourites, the sidechain, providing moments of subdued almost-silence, a palpitation-like impact. Although the parts individually seem to be rather upbeat, ‘BTSTU’ at its heart is rather angry, the opening lines becoming comic once you understand what they actually are (something which can be quite difficult with Paul’s music):

“Don’t fuck with me, don’t fuck with me

Since you shipped my ass off to sea”

The demo provided Paul with a copious amount of media coverage, being played by DJs such as Zane Lowe and Annie Mac, as well as being sampled by heavyweights such as Drake  (‘Dreams Money Can Buy’) and Beyonce (‘The End of Time’).

A year later came his next track, ‘Jasmine’ which again received similar critical acclaim, once again being lauded by Lowe and Mac. Guitar features more prominently in the track, an electric guitar laying down the main chord progression whilst what seems to be a bass guitar with an auto-wah effect providing some funk-era vibes. ‘Jasmine’ also marks the formal appearance of Jai Paul’s brother, A.K. Paul, who is credited not only with bass design but also c0-writing props as well (A.K. Paul has since worked with artists such as Sam SmithEmeli Sande, and Miguel, but has also remained rather elusive). The tone of the song was less aggressive, more romanticised, presenting a desire for a something or a someone, rather than a push away from it.

 

Work with artists such as Big Boi on the track ‘Higher Res’ (upon which he left a definite mark) followed, until 2013, where an artist’s (especially an artist like Jai Paul) worst nightmare was realised – a Bandcamp album was released supposedly under the guise of it being Paul’s debut effort, with the internet being set ablaze before Paul himself said it was a leak. This didn’t stop the hype surrounding it though, Jai Paul being listed in various ‘Best Albums of the Year’ lists. In reality, it was obvious that the album was not ready to be released, the mixing on many of the tracks was extremely unbalanced (and not in an edgy, “ooh it’s Jai Paul so it’s fine” kind of way), and many of the recordings were almost too distorted. Perhaps most noticeably was the far inferior version of ‘Jasmine’ that featured on the album.

 

That being said, the leaked album is by far one of the most exciting and explosive listenings I’ve had the joy to experience. Explosive and far reaching synths, arcade-sounds, Harry Potter samples, Bollywood samples, extreme sidechaining, layered guitar, and more all combine to give an incredibly genre-bending and unique album. And yet despite this, we haven’t heard anything from Jai Paul since. No one knows if these tracks were the finished product, whether or not we should be listening to them, or whether or not Paul has simply thrown these tracks away (a testament to the skill and musicality of the artist). The last posts on Paul’s Twitter and Facebook have both been from 2013 stating that the album was indeed a leak – nothing else has appeared on either social media format:

Alas we have heard virtually nothing from Jai Paul since. This year he started The Paul Institute with his brother, though the only track that has surfaced from there has been A.K. Paul’s ‘Landcruisin”.

In the age of the internet where everything is at our fingerprints, Jai Paul has managed to stay out of the spotlight – do not think this is a show of disinterest, or a lack of desire to produce more music, rather it is a sign of perfectionism and knowledge of timing, that when he feels his music is ready to be revealed bare he will do so. And I, for one, will be eagerly awaiting the day.

This article was written by Mo Hafeez

Album Review – ‘Reverie’ by Tom Misch

Tom Misch, singer, guitarist, violinist, and producer, puts together a perfect Summer record with his EP Reverie. I had first ran into him whilst surfing those YouTube channels who are wanting to make themselves home to a particular style of music (think Majestic Casual, Holy Chill, Chillhop, etc.). The track I actually heard is featured on the EP, a collaboration with his saxophonist sister Laura Misch.

Tom Misch’s soothing voice pairs fantastically with the saxophone in the chorus, especially when the harmonies kick in. The double-bass behind the track has been beefed up in the low-end providing a more 808 like style, filling out the track considerably when paired with the drum loops. Lyrically there’s not much to be amazed by, but by no means does it hinder the track either, the scat “m-m m-m-m-m maybe” being a very nice touch and variation to the song.

Despite Misch’s instrumental prowess, he actually employs drum loops and all four tracks of the EP. This could have felt repetitive had the rest of the production not been rather interesting. Opener ‘Crazy Dream’ has a nice enveloped synthesiser which is joined by funk-inspired guitar and bass on the chorus. The rapping, whilst matching Misch’s soothing vocals, almost sound too smooth and relaxed, but again, it’s not a major upset or anything to criticise overly, especially when the lead synth is embedded beautifully towards the end of the track, and so Loyle Carner‘s feature does not go to waste.

‘I Wish’ features a snap-snared beat following a summery-acoustic guitar, an opening which remained me of Chance the Rapper’s ‘Favourite Song’ – I wasn’t quite sure of the chorus, it doesn’t quite fit with the more downtempo feeling of the song, the bass guitar and guitar pairing together to play a much upbeat riff. Had this solely comprised the chorus it would have been a questionable decision, but Misch adds his vocals prior to this little section, accentuated by crash cymbals to make it the change-up manageable.

‘Watch Me Dance’ closes the album, Misch’s violinist upbringing coming to the fore as the track is introduced with a lamenting string section which slips to the background as he brings in guitar and vocals. At around the 1 minute 40 second mark the name of the track comes to light as the kick drum drives the track forward with the bass guitar and guitar riffing away over the top of this.

The track really demonstrates his influences from funk, to hip-hop, to house as well. For someone who has yet to release a full-length debut album, Tom Misch is continuing to make waves, impressively selling out venues and embarking on his first US tour. I’ve yet to find a song that he’s written that I dislike, or rather that I don’t like, and so I hope he continues his ways and wish him success.

This article was written by Mo Hafeez

Album Review: ‘The Colour in Anything’ by James Blake

James Blake has a signature sound, a style that means when you hear the first 10 seconds of most of his tracks you’ll instantly be able to recognise it as him. True, he is not alone in the field of minimalist electronic R&B and pop, though other artists/groups like the xx and Mount Kimbie are always chasing, both vocally and via production also.

Although the deep and aching piano chords, finely used autotune, saw and pulse-based synths, and idiosyncratic percussion remain, it does feel just a bit different from past releases – it’s still minimalist, but his voice is higher in the mix, and it really makes a difference in filling out the tracks just that bit more.

It could be the increased collaboration you hear on the album too – Blake in the past has been very limited on this front, but here Rick Rubin co-produces on various tracks, Bon Iver returns on ‘I Need a Forest Fire’, and Frank Ocean chips in for some writing credits too. Kanye West was reportedly providing a verse on the track ‘Timeless’, but the verse didn’t materialise and the atmosphere of the album changed (trust me, Kanye would be really out of place on this record). Add in his input on Beyoncé’s Lemonade, and The Colour in Anything really does represent a shift for the London artist.

The album’s a hefty 17 tracks, and it does take a bit out of you after every listen – it’s much longer than his previous efforts. The transitions are smooth enough though, and there are more than enough new sounds introduced do keep it fresh. Classic James Blake themes are on the album, from missed love, self-doubt, grapples with loneliness and so on – the opening lines to the album are “I can’t believe this, you don’t wanna see me”, as reserved piano chords are played beneath, and Blake recounts miscommunications and love lost. If I’m completely honest, it’s very whiney, and the lyrical content is not consistent across the whole album, but the falsetto-laden singing imbues an extra layer of emotion that allows Blake to get away with it.

The vocal humming melodies return to full effect on the following track, ‘Love Me in Whatever Way’, casting minds back to Blake’s classic song ‘Retrograde’ from previous album Overgrown. Noise slowly fills the sonic landscape as reverb is gradually added to Blake’s voice, and the synth filter is slowly peeled away to provide an enormous crescendo of lament. It definitely helps that it’s lyrically stronger than the opener:

“Giving up is hard to do”

Other lyrical highlights include the solemn request on ‘Waves Know Shores’, “I suggest you love like love’s no loss”, and the imagery provided on single ‘Modern Soul’, “So I swim to you while I’m sleeping// through sage green rivers of England”. The intense sound that opens the track and triggers later on throughout still intrigues me; I have no idea what it is, but it’s a great pairing with the sweeping dives of synths. Although it’s obviously about relationship struggles, the refrain that appears in the middle of the track suggest some kind of unrest and unhappiness with the touring life, with the musical life wrenching him away from friends and family – he sighs “Because of a few songs” over and over before he recounts a split from a partner.

The title track sees Blake get rid of synths and experimental percussion, opting for his voice and the keys to carry the listener through the three-and-a-half minute ballad. The eclectic run up to it may have listeners even somewhat bored as they listen to, the double-tracking in the chorus the only pick-up. Such a thing is very purposeful however, giving space for Blake set up an emotional sucker punch of a track whilst showing off his piano chops. Again, it casts your mind back to another track, Blake’s phenomenal cover of Joni Mitchell’s ‘A Case of You’.

Even though it’s a much fuller album than past efforts, it’s still modest – on the closing track Blake opts to get rid of all instruments, and delivers a palate-cleansing acapella, displaying dexterity with the vocoder. Everything and everyone seems to have left him, but he holds some optimism. He closes “Music can’t be everything”, an oddly strange sentiment considering Blake’s past soundscape exploration, but oddly beautiful at the same time. Ghostly and emotional as always, Blake continues to deliver.

This article was written by Mo Hafeez.

What we’re listening to (#22): ‘Midnight Snack’ by Homeshake

HOMESHAKE is the alias of Peter Sagar, best known as being the former touring guitarist of Mac DeMarco – he took time off from the touring life citing loneliness and detachment from friends and family to focus on his solo project, releasing The Homeshake TapeIn the Shower, and, most recently, Midnight Snack.

Comparisons to DeMarco will always come up – the jangly chorus effect guitar is still there, some wavy synths, some falsetto crooning, the ingredients to a DeMarco album are all there. But there’s something to Sagar’s music that’s a bit different. Where as his former bandmate’s Another One  is filled with charming love ballads topped with trademark goofiness, Midnight Snack is more RnB, more spacious, minimal with a twang of experimental,  and perfect for a midnight listen (who’d have thunk it?).

The introductory spoken word piece drops you seamlessly into the opener ‘Heat’ – a detuned synth  and a drum machine loop, a change from In the Shower‘s guitar led tracks, provide the backing for a catchy opening and chorus vocal melody, the subject matter definitely evoking the loneliness aforementioned – “All alone and got nothing to do
except lie awake and dream of you”

‘He’s Heating Up!’ follows, the guitar making its debut on the album, shaky and rapid riffs the core, a bass lumbering in the background – the chorus is the key to this song, the vocal melody is really catchy, the basketball analogy works well, and the manipulated-backing vocals aren’t too intruding that it takes away from the song. The song is so minimal, but it’s most definitely more than the sum of its part.

“Looks like I put up a brick again
I can feel it
(He’s heating up!)
Got stoned and then he jammed it in
I can see it
(He’s heating up!)
One lonely shot no good for two
But I need it
(He’s heating up!)
You wanna hold onto him too
(He’s on fire!)”

The vocal manipulation is much clearer on other tracks – ‘Give It To Me’ is perhaps the best track on the album. A trunk-shaking 808 is the heartbeat of the track, and whilst Sagar’s falsetto is on full display a pitched backing vocal picks up the rest of the weight. An extremely sensual guitar riff breaks the pattern in the chorus, windchimes ringing along for the ride. A cry for feeling and love, quintessential dream pop.

‘Under the Sheets’ continues the vocal manipulation, strongly so – drumless, synth stabs provide the percussion for the bass to follow, whilst airy and robotic vocals fly over the top. It’s probably the least pleasant listen on the album if I’m honest, and doesn’t quite fit the rest of the album’s more laid-back vibe. It’s up to you whether you want to applaud the imaginative production or not.

When you’re listening to this album, throw any connection to Mac DeMarco away – there are some things Sagar does better than DeMarco, and there are things DeMarco does better than Sagar, but they’re two different musicians. The first half of the album is stronger than the second, and whilst the drum machine use does tend itself towards repetitiveness, it’s easy to get lost in the airy and spacious nature of the album so it’s really a minor drawback.  So, what are you waiting for, grab yourself a snack and give this album a listen.

This article was written by Mo Hafeez 

Album Review: ‘The Interpreter’ by Danny Ruane

We had a look at Danny Ruane’s last work, Arrythmiatake a look here

The album begins with a remix of Martijn Comes’ ‘Depths of the Nile’. ‘Depths of the Nile (Danny Ruane Remix)’ is an incendiary, atmospheric assault onthe senses that teases the listener with its heavy avant garde structure and machinations of sound. The remix of ‘Phaneron’ by Trinkkets follows a more conventional song structure, using heavy purring synth sounds reminiscent of Ruane’s previous works. The Aniki San Remix (Inverchoulin) that follows sees the first implementation of conventional instrumentation, with soothing electro-piano lines that fall over a funky rhythm that turns almost into afro beats. The beat drives the song forward with pace and provides an interesting back-drop to the piano and also strings that come into the song later. The beat then falls away to reveal thicker and thicker string instrumentation before returning to the piano and beat combination.

Ruane’s second Trinkkets remix, ‘Lace’, is one of the longer tracks, building darkly through a moody beat and intermittent industrial sounds. As the song progresses it becomes recognisably more ‘techno’ and the bassline thumps and drives more and more aggressively, culminating with an ultimate crescendo of bass and industrial drum beat. The first Ruane track on the album is ‘Leaf’ remixed by Pierre Alexandre Tremblay. The track opens to an almost siren like effect over the top of some frantic drum beats. After a minute or so the song moves up a gear as heavy synths and the same frantic drum beat take hold, the siren still intermittently sounding over the top of the snarling back track. The song punches on with dark determination until it eventually slowly fades out and pulses out into nothing.

 

‘Switch’ is another Ruane song, this time with editing credits attributed to LOFTMIND. This tune opens with an unrelenting drum beat which is often a hallmark of the album. The build-up is slow and subtle as the backing track slowly comes alive, intermittent sounds hovering over the beat as tension is built. A light synth line slowly feeds into the mix as the high-hat opens on the off-beat. Tension continues to rise as more is added to the song. Suddenly, however, the song changes as it goes up another few notches almost without warning. The song’s new tempo adds a greater dance aspect that isn’t seen in the other tracks in the same way – this song definitely shows the dexterity of Ruane as an artist.

‘Tranquilizer’ appears twice on the album, being remixed by once Shay and then being ‘recalibrated’ by Trinkkets. The Trinkkets recalibration is the end track on the album and is a strong sign off from the album. Opening on an almost explosive feedback, there’s a dark mood to the track, the echoing mournful synth behind the explosive noises reminiscent of choral church singing. It paints a conflicting picture between the harsh electronic noises and the soft sounds that weave behind them. There is no backing drum beat, but this ambient track would lose much of the feel that it created through the use of a conventional beat. The synth sounds become faster and faster and then drop away again, eventually the sounds falling away completely to leave a wash of sounds from the back of the mix to fade out the song.

 

Overall, whilst Ruane’s album is by no means commercial, it is very listenable and fairly accessible. The hooks and subtle building of the songs grab the listener and keep them guessing for the whole song. It’s a strong album from a strong artist who’s going places in the electronic scene.

You can pick the album via bandcamp here

This article was written by Samuel Brunt

Album Review – ‘M3LL155X’ by FKA twigs

FKA twigs has had a knack for introducing slightly more abstract and artistic R&B/hip-hop a wider audience right from her first release, EP1. Through her follow-ups EP2 and LP1 she managed to establish her music by pairing the releases with visual counterparts that really brought her whole sound together.

With M3LL155X (‘Mellissa’), she takes a significant leap forward, and it’s most definitely musically – yes, the experimental sound is still there, and yes, following the line of her previous releases, there’s a curious, strange, and erotic short-film to go with the release as well, but what Tahliah Barnett brings on top of this is much improved songwriting.

Opener ‘Figure 8’ features walls of distortion, expected by those familiar with the artist, sandwiched by breathy-voiced singing overplayed atop a lurching bass which makes the track approachable for newer fans – twigs’ almost seems vulnerable and exasperated, singing “Paper cut it, I feel//The slightest rip is a river overflowing me”.

However, it’s revealed on ‘I’m Your Doll’ that this is merely a pose for her  – the track’s highly sexual lyrics show her growing frustration, and this is matched to great effect by an instrumental that slowly swells, sputtering percussion joined by eerie synth notes and distortion towards the close.  ‘In Time’ shows twigs releasing in an almost irate fashion, hissing “You’ve got a goddamn nerve” at her lover. It’s a complete switch-up from submissive to dominant, twigs exploring what it means (to her) to be a woman. The trap-esque beat behind this, big bass and percussion to boot, probably make this the most approachable track on the EP.

‘Glass & Patron’ comes next with a more abstract vibe – twigs seems to doubt herself, synths droning in the background whilst she paints an almost desperate image of herself trying to impress, and then snaps back into confidence with singing “I can’t wait to make your body my own”, asking her partner to pose for her. The instrumental almost breaks apart, sped up vocals and an eclectic beat spinning things out of control before twigs enters back into the frame. ‘Mothercreep’ closes out the EP, scuttling and whirring, twigs unsettlingly singing “I creep for you//I’ll be there soon”.

You might finish this record asking yourself what the fuck you just listened to if you’re not one to listen to experimental music, and it might take multiple listen-throughs to get fully immersed into FKA twigs’ dystopian like scenery, both lyrically and musically. And yes, the cuts might not be too conventional, and may be jarring for new listeners, but you’d be hard pressed to say she’s not talented. Many wait with baited breath for her next release.

This article was written by Mo Hafeez