Showing posts with label Music. Show all posts
Showing posts with label Music. Show all posts

Wednesday 19 March 2014

Covers and Kawehi


TCS - Robot Heart: Heart-Shaped Box - Nirvana (covered by Kawehi) from Kawehi on Vimeo
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Music covers and controversy go hand in hand. And I'm more a culprit of keeping this couple alive more than anyone. One of my first blog posts on here, in fact, referred to Leona Lewis's attempt (and I wouldn't call it much more than that) at Trent Reznor's (Nine Inch Nails) 'Hurt'. An undeniably great voice but the take was nothing much than a commercial butchering.

Yet where most disdain lies is actually in the use of sampling rather than covers. When artists take the catchy  choruses etc. of others, contemporary ignoramuses the world over consider these defiant fresh hits amazing when, actually, the only thing that begs any attention is what was snatched from their predecessors. Tupac did it with 'Changes', taking Bruce Hornsby's iconic piano work, and I still struggle to grasp what Derulo did to Imogen Heap. Shocking. What's even more frustrating is most of these arguably distasteful covers place central dominance on the previous work they're sampling and, by doing this, arrogantly imply it's theirs, leaving our poor naive listeners appreciating the large matter of the song that actually isn't the work of their jumped-up city boy with more snapbacks than talent.

They're not necessarily bad songs, but I think what pisses most people off, certainly including myself, is more the lack of appreciation for the parents that nurtured some of these ugly babies. If it's your bag, fair play, but hark back to the old boys once in a while, do your research: albeit it's often to no avail to our younger generations, but it's those musicians who did the real groundwork.

Sorry, I digress. Covers, not sampling. Clearly with covers the original work cannot surpass unacknowledged which is always refreshing. And the obvious beauty is getting to hear great music in a different light. For me, what's paramount to a cover is that, for all the new takes that ensue, the central element of the work should still be that of the original.

And this is where my newly found friend Kawehi comes into play. I discovered her through Esquire a couple of days ago and, oh my. It's been relentlessly on loop. I'm a sucker for loving artists who work with Ableton as I can truly relate to how complex it is to progressively build such a rich depth. And she's hit the nail on the head. On the first listen you'll wonder where it's going; but as it all builds together it'll delightfully hit you like a tonne of bricks. And then to top it all off, she's got one hell of a pair of lungs on her.

I write this in reference to her take on Nirvana and the late Cobain's 'Heart Shaped Box' (above). She's covered one of what Esquire described as "the uncoverable" and simply does so from her home...halfway through a large bottle of red. Her voice is slightly unrefined in places and if you listen closely you can catch her out; the same goes with her keys being oh-so slightly out of time here and there. But hear me out, I'm not just being pedantic: this is what's great about her covers (and sorry, I know it's petty I'm raising these tiny faults at all). To me, her covers become all the more warming through this relaxed approach. You get the impression it's her pleasure that prevails over her listeners. Late evenings, wine and a jam. I remember doing very much the same thing when I recorded DJ sets in my teenage bedroom with friends...although I daresay - as much as I may like to flatter myself - my old techno collection didn't sound half as epic as this.

Seek her out. She's yet another musical Youtuber, but unlike her fellow try-harders, she not only allows a different sound to the work, she let's you know you're still listening to the original which, if you ask me, is what it's all about. Whilst you often come away from covers thinking "God, I prefer the original", with Kawehi it's more likely to be "God, I love Nirvana".

Kawehi's website can be found here. She's covered a lot of other great work which is definitely worth checking out also.

Monday 3 March 2014

'The National Student' work experience



'Love the office interior here'

So far 2014 has begun rather successfully, both in my studies and with this work experience I began a fortnight ago. The National Student is the largest independent student publication in the UK, with contributing writers from all universities. I've written for them briefly before, however, after asking them if I could come into their offices on a weekly basis and help out, they happilly welcomed me in. So far it's been a great experience and I'm looking forward to learning everything they throw at me; from writing and editing to interviewing: both in music, culture and beyond.

So far I've covered all sorts. You can check my profile here.

'First day at this work experience went swimmingly'.



Monday 9 December 2013

'So The Echo' - Brandon Boyd


Meet Brandon Boyd. He's got to be one of the most creative people in contemporary culture. 'Incubus' was his break and his most well known creation, but stretching beyond this pioneering experimental rock band, Brandon's life-long strive to express himself appears boundless.



I'm yet to purchase a copy of his new 'coffee-table' book but it definitely looks like it's worth checking out. 'A Peek Inside' on his website demonstrates that this collection gives insight into his creative process through a combination of his art alongside lyrics, notes and almost fleeting opinion pieces from his journal. It seems a 'stream of consciousness' narrative to Brandon's inner going-ons. His art combines what seems to be an edgy political tone amongst a psychedelic backdrop, producing some rather quirky and abstract - but nonetheless thought provoking - pieces. Surrounding much of his art, and his words to an extent, is an element of fluidity. His musical work often plays on clever time signatures and lyrical structure, tampering with how his music flows. His art reciprocates this somewhat. Streaks, twirls and waves work themselves around a central icon or image developing, on a simple level, mere aesthetic pleasure; on a higher note a lot of his work compliments his ideas and thoughts more often seen in his poesis.


Boyd's creative adaptability is what sets him up above the rest. He versatiley brings his fans an array of abounding ingenuity for our eyes and ears. Whether you take his work at face value or attempt to extend his work into something more, there's an angle for everyone. If you ever catch one of his interviews he often talks of his childhood and how he felt he was raised in an environment that (quite evidently) nurtured his artistic innovation to where he is today and where he will go. What all parties will come to appreciate is that creativity, for Brandon, is far from just work, but a lifestyle.

'So The Echo',out now, is available from Brandon Boyd's online shop here.

Thursday 7 November 2013

Hype Vibes Review; Qbeck's 'Railway Mood EP'


Here's another review I've done for Hype Vibes on Qbeck's 'Railway Mood EP'. The EP is really worth a listen; it's definitely some of the best Tech-/Deep House I've heard recently.

You can check my article here and listen to a preview of the EP below;




 UPDATE (19/01/2014); unfortunately this article is no longer hosted on this website, however I've posted it below;

After making a big break through Seth Troxler’s Visionquest label with impressive work such as ‘Alice’, Qbeck is now full steam ahead with his Railway Mood EP.

Eureka has a slow and almost uncomfortable bounce; haunting whilst at the same time enchanting. Its distinctive breathing samples give a cinematic feel where you’d almost expect it to soundtrack a thriller movie. At the same time it creates an intimacy with his music, both giving it a personified identity and stressing the closeness of others in the urban dance movement.

The reality is that it’s more likely to soundtrack your night rather than a movie, and, considering the brilliant complexity of this EP as a whole, this is certainly not a bad thing. Both Eureka remixes are an imperative listen; the Hooved remix increasingly plays on the echoey vocal samples, giving an even more troubling and rugged take to the tune. Secondly, Mihai Popoviciu’s approach creates a deeper and more dance-compatible adaptation thus seemingly the most likely to make the club sets.

The EP closes with ‘Deadlock’: a rolling, chirpy piece. Whilst the breakdown maintains the bleak and empty feel heard throughout, the clappy samples and animated percussion really lets you know you’re ultimately listening to tech-house. Yet what is paramount on this EP is the title track. Setting the bar high for Qbeck’s contemporaries, ‘Railway Mood’, with its oriental-esque samples and slow rolling, pensive feel takes deep house to a higher level.

What Qbeck essentially does is combine some of the best elements of Tech and Deep House to create – and satisfy the need for – a darker side of house. Whilst the more commercial approaches to house music progressively advance, there’s still a thirst for a gloomier sound. Qbeck, with this EP and the rest of his unfailing back catalogue, definitely makes a decent stab at this. Following successes like ‘Alice’ with this EP, Qbeck seems to still be up and coming and definitely one to keep an eye out for in the future.

Tuesday 15 October 2013

'Hype Vibes' and Claude VonStroke





I've recently started writing for an online music blog called Hype Vibes. They cover big releases and news on the contemporary urban dance scene.

My first piece is on Claude VonStroke's new 'Urban Animal', one of my current favourites. You can check my article here. I've also embedded the Soundcloud preview of the album;



Also, here's a video which I found during my research which accompanies my article nicely. Turns out VonStroke seems a really decent guy! I love the way the entire album is based around liberation from what he calls the "9-5 grind" and that antipation that many feel for the weekend ahead. Check the video and see what you think;


  
UPDATE (19/01/2014); unfortunately this article is no longer hosted on this website, however I've posted it below;


Described as “spanning genre, space and mood” and “as unpredictable and bewildering as any living entity”, Claude VonStroke’s ‘Urban Animal’ certainly lives up to its name. With dirtybird’s 100th release expect to find experimental, metropolitan electronica combined with bouncy house beats, cleverly creating this idiosyncratic sound that delivers a fruitful depiction of the current Detroit techno movement.

‘Urban Animal’ opens with its title track. The dark tones and sharp, snappy beats immediately place you in VonStroke’s urban landscape. Along with the progressive bass undertones and rich piano, the track becomes a well-rounded uplifting piece of electronica, placing you in the right urban mind-set.

But the main energy is yet to come. ‘The Clapping Track’ and ‘Dood’ bring a whole new pounding dimension to the release. The former is a real crowd pleaser: happy and playful and no doubt a floor-filler; whilst the latter takes a more rugged approach, fuelled by squealing 303 synths and experimental, bendy vocals.

Whilst the album’s urban theme remains a constant, the genre is far from static. ‘Oakland Rope’ is the wild card that really shows off VonStroke’s eclectic skill. Collaborating with Fox & Py, the team have produced a really moreish drum and bass piece. With the echoey guitar samples and somewhat haunting vocals, it differs considerably to the heavy 4X4 beats that came before and in tracks such as ‘Can’t Wait’ which follow. Yet this differing style shows VonStroke’s diversity and how he is not confined to one field, consequently stressing the value of pleasure in dance music as an entire entity, and not in one particular genre.

The simple pleasure of dancing is exactly the impression you get of what VonStroke hopes of his listeners. He wants you to not just to listen to ‘Urban Animal’, but to be the urban animal; to thrive off the primitive pleasure of pounding grooves and flowing basslines. Don’t waste your time listening to this through small speakers. ‘Urban Animal’ is a dish best served loud and preferably in the collective claustrophobia of the city where it was designed to be listened to, amongst friends and strangers alike.

‘Urban Animal’ is available to buy on iTunes and Beatport. Alternatively, you can also listen to it on Spotify.

Monday 8 July 2013

Album Review for The National Student - Phaeleh, 'Tides'



I wrote a review for Phaeleh's new album, 'Tides'. You can find it on the National Student website here. The album is out on both iTunes and Spotify so there's no excuse to not check it out! I've also linked the album below for Spotify users;




(09/07/2013) Update: Phaeleh has also just released an influences mix for Hyponik. Check that out below as well. Looks like I was right to make the comparison between him and Boards of Canada! Nice mix Phaeleh, you clearly have great taste.



Thursday 16 May 2013

'The National Student' and Daft Punk's 'Random Access Memories'

[I've just written a piece - albeit rather small - for 'The National Student' the other day. Check it below. I've just started writing for them so after exams I'll have much more time to take up this position properly. You can see the original article here]


Available for pre-order and stream on iTunes nowWith 'Get Lucky' already being the catchy summer hit for many worldwide, the online release of the album has caused quite the stir.

'Random Access Memories' has been a long awaited project that has been worked on by the French duo and others, including singer-songwriter Pharrell Williams, since 2008. Like the album's first chart hit, expect to hear more of these funky and vibrant grooves along with the iconic synths and beats of Daft Punk that we all know.
  
You can access the album by clicking here, then clicking 'View in iTunes' and then by clicking 'Listen Now'.

Enjoy.

Thursday 8 November 2012

Desert Island Discs? My 2012 Top 10 Hits.

I've come to realise that the amount of music this year has introduced me to is astounding. Admittedly it's not the end of the year just yet, but if I find any more music this year I'm scared that I'd never complete what is already a really hard task. It's been quite the complicated process of elimination. I feel almost rude leaving out some music that was still really significant to me and I'm sure I'm bound to always walk away with regret no matter how I choose. Nonetheless, here's what I've come up with.

I'm kind of cheating with my 'Top 10 of 2012' as I'm still struggling to place them in order of my appreciation. The only one that is concrete, and rightfully so, is Number 1. You'll also find that not all of these are from this year (in fact, most of them aren't), but these are the songs that have been my year's soundtrack; my walking, driving and - in general - living guardians. Desert Island Discs is something that I can aspire to but, for now, I've got you and this blog entry. Enjoy.



10. Gotye - Somebody That I Used to Know (Feat. Kimbra)

I'll get an easy one out the way first. I'm sure I'm not alone when I say that I spent most of the summer humming this quirky piece. Not generally being a fan of the commercial charts, this one really stuck out. With the power of De Backer's voice against Kimbra's angelic, almost innocent response, both expressing such a bittersweet love story, it really made me - and I'm sure many others this year - really take a liking to it. This is not to say that the rest of the song's album 'Making Mirrors' isn't worth listening to; De Backer's voice carries nicely on to his other work. 'Smoke and Mirrors' is another personal favourite of mine.



09. Van Morrison - Coney Island

There's something so simple about this song that always gets me. Morrison talks of his memories of Coney Island. It's beautifully forward lyrics really brings that childhood back in yourself. My father, being a a huge fan of all of Morrison's work, was the one that introduced me to the artist and consequently this song. I suppose that's why it reminds me of him; but certain lyrics take me back to my childhood, of Sunday mornings with my Dad, newspapers and driving: when the "craic" really was good.



08. The Beautiful South - One God

"The world won’t end in darkness it’ll end in family fun, /With Coca-Cola clouds behind a Big-Mac sun". One of the best lines I've ever heard and, even having known this song nearly all of my life, I don't think it was until this year that I truly learnt to appreciate it and the band themselves.



07. The Police - Walking On The Moon

Definitely made this year's early months for me. I really found this a great soundtrack to the cold, bleak mornings. I'll definitely be listening to this at that time next year.



06. Sbtrkt - Trials Of The Past

Just a brilliant contemporary tune. My friend Chris introduced me to this guy. Pronounced 'Subtract', this Future Garage/Electronica producer really caught my ear. Sampha also has an incredible voice. Don't waste your time listening to this through poor speakers; as well as Sampha, the really chilled bass at a loud and crisp level makes this song.



05. Nic Dawson Kelly - The Musician 

Probably the most underground of my choices. This guy deserves so much more credit than he has. His voice has a resemblance to Antony Hegarty (from Antony and the Johnsons), but Kelly is far from a copycat. Like Hegarty, his peculiar but special voice and singing style is catching, but the difference between the two artists comes with Kelly's great poppy-folk approach, combining his alternative voice with a happy and easy-going genre. It's definitely also worth checking out the song's video as well as I feel that it really brings London to life in it.



04.Fun Lovin' Criminals - I Can't Get With That

Such a great Hip-Hop/Rock band. I can't think of a song that combines such smooth rapping and also a howling guitar solo finale which I defy you to not nod your head to. This song just sums up the band to me. The whole album 'Come Find Yourself' is a cracking listen. Seek it out.



03. The Who - Eminence Front

This song has always been there throughout my life, but not until I heard it on the radio earlier this year did it really stick out to me. I remember it significantly when I watched the first ever episode of 'Entourage' a couple of years ago and it also quite prominently appeared on the soundtrack to the game 'Grand Theft Auto: San Andreas', something that I've loved and played for nearly a decade. It's like it's been following me knowing that one day it would strike me as one of my favourites.



02. Daft Punk - Something About Us

There's something so unique about Daft Punk. Their album 'Discovery' was released in 2001 with big chart hits such as 'One More Time', but the album's real gem in my opinion is this. Although essentially a simple love song, there's something I find so nice and easy about it's funky, jazzy feel. Such a melodic treat that can be listened to anywhere, anytime. Always fitting.



01. Pink Floyd - Shine On, You Crazy Diamond (1&2)

Twenty six minutes of delight. A good friend of mine calls it an "epic journey" and I couldn't agree more. I don't think there was a day this summer that I didn't listen to it in it's entirety. Like the whole album, it's beautifully structured. Quintessential Floyd at it's best. Although built around a sad time for the band, with Syd Barrett losing his way and leaving, this sadness made way for one of the best tribute albums of all time. Listen to 'Wish You Were Here' from start to finish. It will enrich your life.





So close; the ones that didn't quite make it:

Althea and Donna - Uptown Top Ranking
Men At Work - It's a Mistake
Eric Clapton - Anything For Your Love
Chinese Man - You Suck Me
Dachshund - Overdue (Original Mix)
Phaeleh - Should Be True
Peter Broderick - I Am Piano
The Cinematic Orchestra - Oregon