‘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.
The Grief That Does Not Speak is an elegy that is both mournful and hopeful, a song that grieves over loss but looks past it too. Post-rock has always been a medium suited to expressing these kinds of conflicting emotions, and Abbas layers an optimistic guitar riff over backwards-effected strings, encapsulating the pain of grief,
'I need space', for Zahra Paracha, is a thinly disguised 'get the fuck away from me'. Beautifully sung by Aaishay Haque who brings just the right amount of 'idgaf', the warbled vocal effects swoop around like vultures over a deadpan bass beat. Towards the end, the track kicks off with a melodramatic boom, segueing into