Cheeems is one of those chameleonic artists who seems able to do anything. In the bouncy ‘round the bend’, he takes on the stripes of chill dance music. In the stellar ‘Water’, he’s bluesier and poppier, before switching up into a sort of psych-funk breakdown. In 'Island Dawn', he’s a lo-fi bedroom singer-songwriter. But if
There's a sound that pops up midway through 'Sibylline' that sounds vaguely like a mobile phone vibrating on a distant table. It's a weirdly disconcerting sound - the first time I heard it I immediately looked around for my phone - and Spirare uses it as a Trojan horse for anxious and swirling synths as
‘Wonderful to be’ starts with the chucking sound of a train, of metal on metal, and the sound weaves in and out of the track throughout. Railway stations are in-between places, limbos, where you’re not quite here and not quite there, still in transit. With ‘Wonderful to be’, CHERRISH captures this feeling of being perpetually
BNK's original mix for Lowlit's 'Better Late' volume is a special cocktail of genres and sounds that comes together as something fresh and exciting. Take a listen to all the different percussion sounds that bounce out of the track: some of it almost sounds like foley, like at 1.26, which reminds me of running water.
Recently, most of Block-2's output has been heavily trap inspired. Just take a look at his contributions to the Forever South Hotcues series, or his popular single 'I need hardware'. But on 'Can', Block-2 goes back to some of his more muted and restrained work. One of my absolute favourites from Abdul Moiz Parvez is
'I Now Know' is a tender and gentle gift to another person ‘hurting more than I do’. Slowspin’s lyrics are often indistinguishable, singing in a style similar to Julianna Barwick, preferring to let the melody be the vehicle of emotion. But after a few listens, some words begin to blossom out, making the impact all
There's the implicit joke of calling a song 'Endless Summer' and giving it an artwork of frosty phallus trees but, under the snow cover, there's a real sense of loss here. Looking back on something that felt infinite, Hyder Cheema surrounds Nienke Van Schalkwijk's cutting voice wth icy, twinkling synths, capturing something as trivial and
Flutes and electronic music don't tend to mix, but on 'Haad Rin', Abdul Aziz Kazi mashes them together anyway. The result is something that is surprisingly cohesive and dramatic. As the synthesisers weave below, the flute dances on the top of the track, always keeping things interesting.
In a wonderfully nostalgic track, Rija Yousuf looks back, not to her childhood, but even further, to a pre-natal state. She asks, 'where do I begin again?', and the answer seems to be there, safe in a mother's womb. Swaddled in reverb, Nomad withdraws from the world.
So I have no idea who this is, but there are lots of nice little touches here that suggest Slumber Bandit are a band(?) to look out for. There's something about this track that reminds me of French duo 'Air', especially 'La Femme D'Argent'. Maybe it's the electronic blips dotted around, or the shuffling percussion.