Tagged with " Melbourne"
I first came across Leaks, 19-year-old Australian producer Thomas Guida, over a year ago. It was one of those instances where the right music hits you at the right time. I had put my headphones on late one night, with no intention of taking them off, and dove headfirst into the internet of music. Deep into that night, as I was just as deep into the web, I came across “Stranger” and “The Only Place For You and Me”. It was quiet music that I found on a quiet night. The subtlety of his production is where the power of his music takes it’s place.
And, now, a year later, Leaks is releasing his next EP on the infallible Absent Fever. The EP is called De Landa, and is out on May 28th. “I’m Glad You’re Still Here” is the first cut off of the new EP. It is a beautifully delicate track that drifts from introspective thought to introspective thought. With a sample that might seem familiar, the track is subtle and overt at the same time. Listen to the track below, and prepare yourself for the full EP later this month.
I’ve been thinking lots about the future recently. Lots about my future, our future, the future of music, the future of the evolution of art. Will mankind ever get to a point where every art that can be made will have been made? Every sound heard, every track crafted, every genre birthed. Is it possible for us to create infinitely? For us to constantly evolve in our abilities, in the ability to craft something new. How close are we to this final frontier? Or, perhaps less ominously, does this frontier even exist? Will there always be art made that has not yet been seen?
It’s scary, you know, if you really think about it. I want to live in an age where boundaries are constantly being pushed, where we are all Techno Rebels that are going to make history and not fade into obscurity. When I’m old and sitting around my living room with the younger generations, I want to be able to show them our mark on artistic meaning. Furthermore, I want them to be able to do the same thing years and years and years into the future, in another living room, another time.
There is a really humbling feeling that the future, and these kind of unanswerable questions, imparts. You have to lay yourself down to the mercy of what is to come, be vulnerable almost, to what lingers out there just ahead. Lindsay Tuc‘s latest tune, “Hanspeter”, encapsulates that essence. Its warbled noise samples and temporal fluctuations are futuristic—they dance with fate and its fancy. At the same time though, it’s grounded, not letting this essence dominate, consciously courting the future but not being privy to its internal workings.
We live in an interesting time, when sometimes the future wears you down with the weight of the world. Its important to think deeply about these notions when necessary, but don’t get so tired you can’t do anything in the present. Keep creating, keep letting beauty wash over you and keep finding boundaries and then step over them.
Melbourne orchestral pop project Wintercoats has been making music about as long as I’ve been writing a music blog. So when James Wallace sent me an email late last week with his latest release, I was really excited.
His latest EP, Heartful, was just released on Melbourne’s own Yes Please Records, and it is his third EP to date. Wallace truly is a one man orchestra, and he has made another beautiful collection of songs. Where previous EPs, like Sketches, used many string arrangements, Heartful focuses on vast orchestral soundscapes, and from beginning to end, it is a beautifully optimistic journey. It’s surprising that such instrumentation was all recorded in a bedroom over the course 15 months—a testament to Wallace’s skill.
Stream the EP below, and pay what you want for it on Bandcamp.
Young Léon Crescent has just recently popped up in the Melbourne scene. Having already been scoped out by renowned collective //This Thing// and having a release lined up, he is headed for big things. He has chosen his introduction to be mysterious and unique. His sound, above all, is a mix of different distinguishable genres. The most apparent might be the strong Chicago footwork element he uses. The soft sinewave bass line is all present. On top of which sit filtered, watery shakers and light snare taps. Pitched up vocal picks from Kanye‘s “Mercy” makes a ridiculously good mix with this new sound, self-dubbed ‘housework’. I pray this is the beginning of a worthy Australian footwork scene.
Warped magic in underground cities, reverberating off the limestone walls. There’s a coldness that you can sense—you don’t know that there is running water on the walls that slowly finds its way from underneath the mountain down onto the floor. Which way do you turn? Deeper into the labyrinth, that will take you to the heart of the bass? Or the opposite direction, out into the frosty night and the bitumen that will cushion your feet as you meander home? You hesitate for a second, as the ache in your limbs challenges the unstoppable twitch in your feet. You hesitate, and then decide.
Baba-X from Melbourne is usually known for his warm, jazzy beats that traverse a wide spectrum of glitch in a soft, slow manner, so it was an absolute surprise when I heard this absolute banger on his SoundCloud. The warped, distant-like techno beat is like an injection of hot lava into the veins. It will fire you up straight away, and sadden you when it fades away…