Do you need to chill out? Are you looking for music for meditation, yoga, sleeping, or romance? Does your reality need a shift? Then give Cicada Wavesby Ben Seretan a spin.
The idea behind Cicada Waves is beautifully simple: Hit record, play some piano in an Appalachian Mountains dance studio, and record whatever happens with no second takes, edits, or polishes. It captures moments in time in Seretan’s life and gives them to us to experience. Ambient piano criss-crosses with sounds of rainfall, thunder, wind, cats, birds, and the titular cicadas. It was recorded in isolation yet sounds expansive. It is hypnotic yet enthralling.
“Cicada Waves 1” has the critters’ buzzing as soft drone undertone while Seretan muses away on his antique Steinway without hurry. “3pm Rainstorm” is perfect for slowing down the rush of whatever is overwhelming you. “Cicada Waves 2” seems a little melancholy compared to “Cicada Waves 1,” but it’s no less lovely. The cicadas blend into more white noise on “Rain and Cicadas” while Seretan’s piano backs them.
I meditated through most of “11pm Sudden Thunderstorm” and can tell you it was a nice experience. Seretan’s piano riffs off the rain and thunder quite well. His piano work on “8pm Crickets” is a bit more playful and active, surely inspired by the insect chorus outside the studio. “Fog Rolls out Rabun Gap” moves as easily out of your speakers or earbuds as its namesake.
It’s a lovely record that you’ll want for many moods, travels, and situations. I wouldn’t listen to it while driving, however. It might lull you into a dreamland across the centerline or into a ditch. Play it at the rest stop while you take a power nap during a long trip. Open the window while you play it and you won’t be sure where the album ends and nature begins.
Keep your mind open.
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Japanese quartet CHAI present a new single/video, “PING PONG!,” from their forthcoming album, WINK, out May 21st on Sub Pop. The track is a laser beam ode to a social activity that CHAI love but cannot currently partake in. In Japan, CHAI would often play ping pong after visits to the public hot springs, called onsen. “PING PONG!” also features YMCK, who brought a gaming feel to the production, which CHAI wanted to match.“
CHAI elaborate: “We’re channeling our inner playful selves, challenging ourselves to fun, and bringing you that nostalgic-feel with this song! There’s just something about old video games that’s super cute, a little tacky, yet at the same time fancy. Something that you think is “old-school” but at the same time super refreshing. YMCK collaborated with us on this and created the ultimate 8bit World of CHAI!”
“The theme for PING PONG is exactly as is, ‘ping pong.’ In Japanese culture, there’s this routine where Hot Springs or ‘onsen’ and playing PING PONG go hand in hand. When the four of us hit the hot springs, we always wear a Yukata (unlined Summer kimono), drink a cup of milk, and go right into some PING PONG! It’s very Japanese, something we don’t think exists overseas and that’s exactly what we want to share! You can hear it in the lyrics and you can feel it in the music video!”
YMCK adds: “It was our first time creating something from start to finish remotely but everything turned out amazing with each member’s character shining through! Don’t miss this ever-so free and forever dancing world of CHAI! “ WATCH CHAI’S VIDEO FOR “PING PONG!”
CHAI is MANA (lead vocals and keys) and KANA (guitar), drummer YUNA, and bassist-lyricist YUUKI. Following the release of 2019’s PUNK, CHAI’s adventures took them around the world, playing their high-energy and buoyant shows. They took quarantine as an opportunity to shake up their process and bring their music somewhere thrillingly new. Rather than having maximalist recordings like in the past, CHAI instead focused on crafting the slightly-subtler and more introspective kinds of songs they enjoy listening to at home—where, for the first time, they recorded all of the music. WINK is also the first CHAI album to feature contributions from outside producers (Mndsgn, YMCK) as well as Ric Wilson. They draw R&B and hip-hop into their mix (Mac Miller, the Internet, and Brockhampton were on their minds) of dance-punk and pop-rock, all while remaining undeniably CHAI. WATCH THE “NOBODY KNOWS WE’RE FUN” VIDEO
Earlier this year Oakland-based duo Brijean released Feelings, “an album that’s as soothing as it is grand” (Bandcamp). Today, Brijean announces the Feelings Remixes EP coming out August 13th on Ghostly International, and presents the “Moody (Buscabulla Remix).” In addition to the Buscabella remix, the EP extends the relaxed reverie of Feelings with contributions from Sam Gendel, DRAMA, and Rick Wade. Brijean Murphy and Doug Stuart’s deep roots in jazz, pop, electronic and Latin spheres inform the music they make as Brijean, and these influences are reflected in the diverse group of remixers they tapped for this project.
Puerto Rican synth-pop duo Buscabulla accentuate the percussive downtempo flair of “Moody.” Keeping Murphy’s stream-of-consciousness lyrics at the forefront, the polyrhythmic percussion is sparing and, well, moody. Sprinkles of subtle yelps, harp flutters, gauzy synths, and sinuous synth grooves give this rework a unique neo-tropicalia vibe. Murphy elaborates, “I first heard of Buscabulla from a club poster at Baby’s All Right in Brooklyn. I was playing at that venue with a band I was touring with around the same time and fell in love with their music. They play with time signatures, levels and expression in an enveloping and inspiring way. They are insanely talented artists and I’m so so stoked to have their lush, experimental and moving touch on our song ‘Moody.’“
Buscabella adds, “We had plans to meet Brijean the next time we swung by San Francisco on tour before the pandemic hit. We love their vibe and doing this remix is as close as we can get to jamming together in the same place. We aimed to deconstruct the original and to explore the point where our separate influences converge. Fusing together the futuristic synthesized drums and bass with organic syncopated Caribbean percussion. Here’s to a jam in real life.”
Buscabilla photo by Quique Cabanillas
Rhythm is the driving force of Feelings; each featured remix plays with that force, adding, subtracting, and altering percussive elements to build a range of sonic environments — true to Brijean’s mission of encouraging uninhibited imagination and new possibilities. Stream “Moody (Buscabulla Remix)”
Following their recent JUNO Award nomination for Alternative Album of the Year, Dizzy are excited to release their new single “Sunflower, Are You There?” featuring Kevin Garrett. The new track is the second offering from a forthcoming collaborations EP titled Separate Places. The EP will be released by Royal Mountain Records and Communion Records on 11th June, and features recent single “The Bird Behind The Drapes” featuring Luna Li.
LISTEN: to Dizzy’s “Sunflower, Are You There?” feat. Kevin Garrett on YouTube
The Separate Places EP sees the Oshawa four-piece reimagine some of the standout tracks from their second album, 2020’s The Sun and Her Scorch. Each track features a different guest artist: “Sunflower, Are You There?” is a reworking of the album’s lead single “Sunflower”, now featuring Grammy-nominated musician Kevin Garrett, known for his work on Beyoncé’s Lemonade.
On the collaboration, vocalist Katie Munshaw explains, “We opened up for Kevin back before we had released any music as a band. I remember looking up to him as someone our age touring, writing perfect songs and just doing the damn thing so well. Having his seal of approval on “Sunflower”, a song about self-doubt, felt very full circle.“
Upon its release, The Sun and Her Scorch album was praised for its “lyricism paired with their dreamy indie-pop sound” (MTV) and its candid exploration of the messiest, most raw emotions young people experience in the modern age. “I wanted to be completely honest about the things nobody ever wants to admit, like being jealous of your friends or pushing away the people who love you,” frontwoman Katie Munshaw says. “So instead of being about romantic heartbreak, it’s really about self-heartbreak.” The Sun and Her Scorch has been nominated for Best Alternative Album at the Juno Awards, a feat previously achieved by the likes of Arcade Fire – and Dizzy themselves, for their 2018 debut Baby Teeth.
Unable to tour the record due to the pandemic, Dizzy returned to the studio, bubbling with a fervent creative energy and drive to make the most of a bad situation. “The Separate Places EP has allowed songs from The Sun and Her Scorch to go on tour without us,” Katie explains. “Following some of our favourite artists around the globe from Birmingham, London, New York and back to Toronto, each song has been reimagined. “Primrose Hill’” is now fiery and tough. “The Magician” and “Ten” returned to a state of naive, solemn bliss. “Beatrice” gains solace with felt piano and harmony and “Sunflower” sounds like something out of a Super Mario Brothers video game. It’s kind of a ride.”
Each track draws inspiration from Dizzy’s chosen collaborators, breathing new life into an already stellar collection of music, enriched by the excitement of artistic synergy in a time when collaboration hasn’t always seemed possible. It’s a celebration of the new ways we have found to be together, even though we’re all in separate places.
The Separate Places EP will be released on 11th June on Royal Mountain Records and Communion Records, including the below tracks. The featured artist for each track will be announced by Dizzy in the build up to EP release. You can pre-save it here.
Just in time to snap you out of your COVID-19 blues, Alberto Melloni‘s two-track EP, Red Siren, brings you plenty of dance beats and synth-bumps to get you moving out of the house, down the street, and to a club or house party (finally!) in order to celebrate your survival and you and your friends being properly vaccinated.
Side A is the title track, and it brings together jungle drums with cyborg synths, chopped-up Middle Eastern chants, and a bass line so subtle it pretty much seduces you before you realize it’s happening.
Side B is “Santa Serenada” – a track that somehow sounds more futuristic than the other with its “underground disco of the future” vibe that brings to mind humans and replicants dancing alongside each other and sipping drinks that glow in the dark. Chants are again used to nice effect, and that bubbling synth-bass is boiling hot.
The whole EP is hot, really. You can’t miss with this one. Mr. Melloni sure didn’t. He hit a home run with it.
Based between London and Manchester Oh Baby met via a chance meeting at a family members funeral. The pair, made up of distant cousins Rick Hornby & Jen Devereux, have just announced their new album ‘Hey Genius‘, which is laden with their romantic guitar-led synth-pop and is set for release July 23rd via Burning Witches Records. Today they’re sharing the first single from the record, “Cruel Intention“.
Speaking about the track, the band said “For ‘Cruel Intention’ we wanted quite a disposable sound, with a kind of plasticity to an almost one hit wonder-like song about the inevitable risks of love, the risk of never truly knowing someone until their ‘version A’ mask is lowered, and by that time you’re usually already too far in.”
Hey Genius carries on from Oh Baby‘s last record, The Art Of Sleeping Alone almost like the flip side of an album, it has that kind of geography to it.
The duo are fascinated with machines conveying or creating emotion and the electronic take on the human condition. The human body actually has a very small electrical current running through it, with enough to power a 100watt lightbulb, the synth lines and arpeggiators on this album are written relating to that current, tapping into it and running alongside it.
Ever since they were children, the pair found the whole notion of electricity captivating, Hornby recalls spending hours as a child turning the radio dial just to hear the noise of interference and static, thinking this is how the world actually sounded. Inspired by 70s and 80s synth bands such as Kraftwek, Tubeway Army and Human League, as well as Philip K Dick’s dystopian sci-fi novel “Do Androids Dream of Electronic Sheep?”, which went on to become the Blade Runner film, the band look to explore the way electric currents work in conduction with human emotions and how these rhythms impact feelings in their new record.
The idea of the dancefloor being the end of a journey, the final destination for a track, is always in the back of Oh Baby’s minds when writing. All the emotions and drama that get played out on those few square metres that leads to the soundtrack.
Recorded primarily at Hornby’s home studio in Manchester, the band explained the process behind the creation of Hey Genius, saying “The writing process always follows the same pattern, we will hole up separately for weeks that become months, stockpiling ideas and venturing down rabbit holes of sounds, words, effects and riffs, then getting together to plug-in, switch on and start building the tracks. We set up an outside home studio during last year’s Summer lockdown, which ended up looking just how we wanted but being about as soundproof as a shower curtain so there are a few neighbours that got to know the basslines a bit too well.
Neither of us are particularly technically minded at all so working with synths there tends to be a lot of ‘see what this button does’ moments, discovering sounds as we write and a lot of trial and error which can be either rewarding or torturous depending on which day or night you catch us on. A lot of the 80s type sounds on this record come from an old Juno that’s been here forever and a Korg MS20 as a midi keyboard that we also use live. The drum machine parts are always first worked out on an old Boss DR55. We tend to try and wiring as much as we can out of what we have, and try to use those limitations well, partly for obvious financial reasons but also to try and not be overwhelmed by choice, which seems to be an easy trap to fall into in a home studio with wi-fi.“
Oh Baby have a pretty firm idea of the way they want everything to sound and when they finally take everything and de-camp to a studio for final production and mixing, by then they know that they have managed to stick to the only two rules they ever had: “We want it to sound like the truth, and we want it to be the sound of two people with a passion”.
Margate-based producer Raven Bush has announced his debut album ‘Fall Into Noise‘ is set for release August 13th via PRAH Recordings. The first single from the record “Start of Something New” is streaming online now.
‘Fall Into The Noise‘ is a record that looks to document living in the moment, allowing listener to find their own meaning in the results and the music to speak for itself, which is testament to Raven’s experimentation with sound and freedom of expression as an artist.
Speaking about this first single, Raven said “‘Start of Something New’ was the first track that was made and completed on ‘Fall Into Noise’. It all emerged from some chords I recorded as a voice note whilst playing the piano at my dad’s house.”
To accept that chaos is constant isn’t easy, but reconciling that idea can result in a sense of freedom. For producer and composer Raven Bush, it’s embracing that things simply are and that you can control only yourself within it that’s allowed him to thrive. Fall Into Noise is his debut LP for PRAH after two previous EPS, and it revels harnessing chaos as a positive, that it creates moments where no one path feels pre-ordained, and that it’s better to engage with what you can’t avoid than attempt a fruitless retreat.
“As a title, Fall Into Noise is about the acceptance of all that you can’t control” Raven explains. “I find it interesting that noise can be disconcerting to one, yet sublime for another. For one person a sound which makes them anxious, makes another aware of something mystical. I’m talking about uncontrollable forces and how we perceive them. A friend was telling me about how the thought of the ocean, with its unstoppable power that everyday just went in and out with the tides, was terrifying. everything just ‘is’ and it’s up to us to decide and embody meaning to it.
Of course it’s easy to say these things, but it’s always good to be reminded, I think.”
Fall Into Noise might be his first LP, but Raven Bush has made a career out of working within chaos, following paths that might not have immediately been there, and subsequently pushing his practice out into diverse fields. As a producer and violinist – an instrument he started playing as a two-year-old – he’s appeared on releases by everyone from Christine & The Queens and Ghostpoet to Kae Tempest. On stage, meanwhile, he’s performed with the likes of Mica Levi and the CURL collective, among many others.
It wouldn’t be right to call Fall Into Noise a culmination of all this – Raven is an artist who thrives on balancing simultaneous projects – but there was a pivotal show that provided the impetus for its creation. Many of the album’s tracks began as music performed last year at Funkhaus in Berlin for a show by choreographer Kiani Del Valle. One of three music producers working on the show, alongside Lotic and Floating Points, the challenge of fitting his music to dance felt like a natural fit and triggered a desire to further document it.
Recorded at his home studio in Margate, before being given a final stem mix by Ghostculture and then mastered by Rupert Clervaux, Fall Into Noise captures Raven’s giddy excitement at crossing this boundary. Rooted in techno, it pulls the fabric of that foundation apart to intertwine it with a rich, colourful sonic palette.
Tracks like opener “Factory of Light” have a breathless rush to them, with the tempo of the entire record rarely dropping below 135-140 BPM. There are moments that surge, and feel like sharp intakes of breath, but there’s also a sense of serenity due to the widescreen atmosphere of the production.
It also comes from his long-held interest in film scoring. In 2020 he worked with director Phillip Karminiak for a Nowness short film titled Cass & Lex, and the tension between the tenderness of his string work and the hard-hitting rhythmic drive of that material is something taken further here. Tracks such as “Start of Something New”’s restless flutter of clean keys and manipulated vocal work, and “The Window” – where everything drops out to leave a yawning chasm flooded with yearning drones and intermittently flickering frequencies – it’s clear this is music written for moving image both real and imagined.
“Something like We Are Made of Stars, too, is an example of a track that in my head has a whole film to it” Raven furthers, citing the record’s third track, which slips in an out of different scenes at break neck speed, from 70’s sci-fi futurism, through crackling percussive clicks and whirrs and mechanical techno, to ascendant strings.
Raven’s strings frequently make an appearance throughout. It is, in many ways, his anchor and main voice given his history; yet despite his extensive string work across multiple projects, here it’s symbolic that on Fall Into Noise he allows it to nudge and compliment rather than hold centre stage. This is a debut album that above all else is about taking a creative leap into the unknown and embracing the horizons that he might find. Finding clarity amongst the chaos.
“I think everyone has something absolutely unique about them, you just need to keep carving away till you find the essence of what you want to say” Raven finishes. “For me I feel like this record is the first layer of that process.”
The first thing I noticed when I heard Rochelle Jordan for the first time was how effortlessly she blends soul, R&B, hip hop, house, and (especially) trip hop. Those last two bits are what really hooked me. There are plenty of great R&B artists out there who blend soul, R&B, and hip hop, but few of them add house and trip hop elements – and fewer do it well.
Jordan does it quite well on her new record, Play with the Changes. The trip hop touches are noticeable right out of the gate on the album’s opener, “Love U Good.” Quick, electro beats and swirling synths dance around Jordan’s hypnotizing voice…and then that house beat kicks in and you’re floating on air and believing beyond hope that Jordan is actually talking to you alone. The house grooves continue on “Got Em,” which will be played all over dance clubs once they open up in a post-COVID world. Rightfully so, as the synth-bass alone is worth cover charge.
“Next to You” is another sexy track with Jordan’s pleas for more than snuggles as sharp synths and kinky bedroom beats pretty much make you want to get naked. “All Along” is a fun track with peppy beats and samples and Jordan saying she’s looking for someone she can trust and “Someone to spark me up.” Meow. Excuse me while I release some steam from under my collar.
The bass of “Broken Steel” hits hard, but not as hard as Jordan’s vocal work – which is gorgeous – and her lyrics about the daily struggles of black women to be strong every day while carrying sometimes enormous crosses that we can’t (or don’t want to) see. “Better shut my mouth. If I sing my feelings, then they’ll say I am too loud. Blend into the crowd. Once they see my color, then they’ll think that I’m too proud. They’ll think I’m super-tough and made of silver stuff, all while I’m falling apart.” Damn. You think it’s a sexy jam at first, and then Jordan puts on a pair of brass knuckles that read “TRUTH” and wallops you in the forehead.
“Count It” blends birdsong with gooey, thick bass and Jordan telling her lover, “If you ever leave, I might be lonely, but if you ever leave, I won’t be beggin’.” She’ll make it without you, me, or anyone else. The opening beats and synths of “Already” would fit perfectly onto a Thievery Corporation record, and Jordan says, “Yeah, I’m good to go. Nothing personal.” after a break-up. Her ex has offered apologies and a good time, but it’s too late. She’s already moved onto better things (a dance floor being among them, judging from this song’s groove).
Jordan soon has “Nothing Left” to give her lover (apart from sharp synth-snare drums and brooding bass) after trying, again and again, to make their relationship work. She’s finally had enough and is leaving to replenish herself. “Lay” opens with Jordan leaving a message for someone to call her back before she sings about being worried about her lover being hurt whenever he leaves her sight due to her watching too much news and seeing what’s happening to black men across the country. “Your head’s always on a swivel. I like it better when it’s on my pillow…You’re safer with me when I’m watching you sleep,” she sings.
“This could be something, or nothing,” Jordan sings on “Something” – an agile track that has a bass line and beats that seem to move in multiple directions at once and Jordan wondering if her new beau is going to be “the one” or “the none,” so to speak. “Dancing Elephants” will have you bouncing next to them in the club. The thumps and bumps are undeniable, as are Jordan’s lyrics about wanting to keep dancing with her lover despite knowing the relationship isn’t going to last. They’re dancing around the elephant in the room. “This is all we know, this is how it goes,” she says. They’ll dance, things will seem better for a while, but that elephant will still be there in the morning. The closer, “Situation,” brings in a little bit of drum and bass music to go with Jordan’s falsetto and lyrics about realizing she’s fallen harder for her lover than she initially realized.
Jordan can not only blend musical styles well, she can also pen love songs that will make you swoon one moment and sit up straight the next. Play with the Changes is one of the best records of 2021 so far, and Jordan seems ready to be one of the Next Big Things – but part of me can’t help but wonder if she’d prefer to stay somewhat on the fringe (which is totally bad-ass).
Keep your mind open.
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Today, percussionist and electronic producer Booker Stardrum announced his third album CRATER will release July 2 via NNA Tapes. Along with the announcement, Stardrum has shared “Diorama” — a texturally rich and rhythmically dense sound sculpture.
CRATER is the sum of countless dynamic, highly active, moving components. Not just percussive phrases, but melodies, textures, sound, noise, and the cracks and crevices of vacant space between these bodies. Stardrum’s creative approach is a multi-tiered process — ideas discovered during improvisation feed into live performances, which then fuel compositional concepts, cycling back and forth until the final arrangements emerge.
As with the majority of Stardrum’s works, percussion is the epicenter, the nucleus from which all else grows. But the music splinters off and transforms from there, growing and evolving into the distinctive final form that is Stardrum’s solo work. Melody plays a prominent role as well, but it’s journey feels dictated and influenced by the unpredictability and spontaneous, human fluidity of the percussive action.
Another important piece of Stardrum’s process is collaboration. Both inspiration and sounds were provided in varying capacities by Stardrum’s musical peers and close friends, whether they performed in-studio, or provided the artist with source material to then be sampled and processed into the structure of the tracks. The foundation of CRATER was recorded in-studio with long-time collaborative partner John Dieterich (Deerhoof), who also handled the final mixes and mastering. These recordings were then further dissected by Stardrum in a solitary headspace through digital editing processes, eventually revealing the nine individual pieces that make up the album.
A sustained tension carries the listener from track to track, which plays out like a narrative structure using a purely sonic language. The result is an overall sound that feels expansive and immersive, where the listener can truly feel held and embraced inside the music that Stardrum has created. Through deep listening, one can feel contained in this sound world, with enough dimensionality inside to move around freely and explore one’s surroundings.
Read the full bio and pre-order CRATER from NNA Tapes here.
Keep your mind open.
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[Thanks to NNA Tapes and Cody at Clandestine Label Services.]
Last month, Museum Of Love – the New York-based duo of Pat Mahoney and Dennis McNany – returned with “Cluttered World.” Today, they share its remix by Parrot and Cocker Too alongside remixes of “Marching Orders” by Justin Van Der Volgen. The 12” will be released on May 21st and is available to preorder now.
Parrot and Cocker Too are Sheffield music legends Richard Barratt (aka Crooked Man, aka DJ Parrot, one half of Sweet Exorcist) and Jarvis Cocker, who needs no introduction. Parrot and Cocker Too reimagine the claustrophobic subterranean stomp of “Cluttered World” by leading it past velvet drapes and down into the basement of a club, molding it into a futuristic torch song in the process.
Justin Van Der Volgen is a Brooklyn-based producer and DJ who runs the My Rules label. His new mixes of “Marching Orders” stretch out all the elements of the ultra-rhythmic original into a clattering, irritable whistling-led street party dub.
Pat Mahoney, founder and drummer of all-conquering NYC band LCD Soundsystem, and McNany, known for his production work as Jee Day, formed Museum Of Love in 2013 and released their lauded self-titled debut the following year. Their new album, Life Of Mammals, is out July 9th on Skint Records.
“Cluttered World / Marching Orders (Remix)” EP Tracklist 1. Cluttered World (Parrot & Crocker Too Remix) 2. Marching Orders (Justin Van Der Volgen Dub) 3. Marching Orders (Justin Van Der Volgen Remix)
