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earphone-jacks · 10 months

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My Hero Academia Class 1-A Music Headcanons

I've been catching up on the manga and thinking a lot about Jiro making a collaborative playlist to help her really connect with her classmates lately. Anyway,

Deku listens to soundtracks, like bombastic instrumentals from old superhero movies, and I like to think he enjoys some fantasy adventures too. He also likes J-rock, including some openings and endings from the anime. He's pretty open to recommendations no matter the genre, but generally prefers more mellow stuff to help him relax and study or just unwind after a long day, and tends to listen to the same small handful of his favourite songs anyway.

Bakugo listens to heavy metal, particularly extreme metal. He loves the blast beat drumming and harsh vocals. A lot of the lyrics are incomprehensible upon listening, but if you took the time to look some of them up, they'd give more insight to his more vulnerable side that he's too prideful to show. I also like the idea of him having a softer private playlist that nobody lives to speak of.

Ochako didn't really seek out new music on her own before high school and formed her taste mostly from the radio or recommendations from friends. She has a lot of fun going through the playlist and she's happy to listen to anything from bubbly J-pop to heavy metal. I think she'd be a big fan of Babymetal.

Iida also likes instrumentals for studying, but more classical, and with faster tempos that he can take his morning runs to as well, like allegro. Something like hardcore techno would be funny, maybe some sport anthems, and a few more mellow rock songs that he picked up from his brother for when he needs to cool down.

Todoroki was very isolated and had a really limited musical library before high school. He'd also just listen to some classical, traditional Japanese music, or whatever was on the radio, if anything at all. He later gravitates to edgy alternative rock, or anything with relatable lyrics that help him vent his emotions. I think he could use that.

Tokoyami likes goth, modern classical, anything mellow, dark and ethereal-sounding with poetic lyrics. His music is oddly calming and haunting at the same time. He doesn't like anything too loud or harsh-sounding, partially because it can excite Dark Shadow too much.

Tsuyu and Koda both listen to cozy movie soundtracks, like from Disney or Ghibli, folk, lo-fi, ambient nature sounds, anything grounding and soothing, or "cottagecore".

Momo listens to classical, traditional pop, or modern music with elements of either, like baroque/chamber pop.

Jiro is already confirmed to have a preference for rock, probably alternative rock, and punk. I'd like to think some metal as well, but she'll listen to almost any genre and has impeccable taste in everything. She was largely influenced by her parents, and maybe grandparents, so her library spans a few decades as well.

Mina and Toru both listen to upbeat J-pop, and I like to think one of them introduced the others to Little Glee Monster. Maybe some sappy or wistful love songs more in private. Mina also likes 70s pop, disco and hip-hop, the kind of music that just compells you to dance and sing at the top of your lungs, maybe some psychedelic space rock and sci-fi horror soundtracks.

Kirishima is also confirmed to like 80s rock, like Eikichi Yazawa and Tsuyoshi Nagabuchi. I'd also think he likes stuff from as far back as the 50/60s as well, since Yazawa is the closest thing to Elvis from Japan that I know of, and that he picks up some more modern hard rock and metal mostly from Bakugo and Tetsutetsu as well.

Kaminari and Mineta both listen to J-pop, mostly from female idols that they think are cute. Besides that, Kaminari likes pop rock/punk and a lot of English music, and seems to have formed a lot of his taste from whatever was popular on the radio or social media with the occasional unexpected banger. He also had a dubstep, Vocaloid and hyperpop phase.

Sero is almost as adventurous as Jiro with music. He has a talent for finding underrated indie bands, and songs in a few different languages as well.

Aoyama also listens to some classical, but more opera, as well as French pop, some disco and house that he can vogue to. It's mostly upbeat but there's some sad-sounding songs in there as well that the others can't translate.

Shoji doesn't have much to contribute, being a minimalist, but he generally likes the more mellow indie stuff. He can get overstimulated easily.

Sato and Ojiro both like upbeat stuff, and enjoy music more as background noise for training, or baking in Sato's case. I also think Sato would enjoy the girls' bubbly pop music, and Ojiro would like some traditional stuff. Idk man they're nothing characters

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mircalla · 2 years

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all those character playlist challenges are way too easy. try making one without:

greek psychedelic rock

japanese celtic

hurdy-gurdy

nintendocore

russian post punk

grebo

pirate

swancore

corrosion

novo rock gaucho

solipsynthm

electrofox

bleep techno

#found these on everynoiseatonce dot com #none of them are made up #character playlist #character playlist challenge #music

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burlveneer-music · 1 year

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Wata Igarashi - Agartha - an imaginary movie soundtrack, one of the best electronic albums of the year with its variety of moods and tempos

Agartha, the debut full-length album by Japanese producer Wata Igarashi, is a mysterious, divine thing. Named for the mythical secret kingdom, understood as a complex maze of underground tunnels, perhaps designed by Martians who colonised the Earth tens of thousands of years ago, it’s a similarly mystical, perhaps even cosmic trip – but this time, exploring an inner, deeply personal cosmos. Beautifully detailed and bustling with rich incident, it takes Igarashi’s music to new places, which still retaining his unique sonic imprimatur; in this respect, it’s perfectly at home with Kompakt, a label that’s always encouraged artists to make the visionary music they need to create, to take risks and make sideways steps into uncharted territory. An eloquent producer and DJ, Igarashi has been releasing techno for eleven years now, appearing on such imprints as The Bunker NY, Delsin, Midgar, and Time To Express; he has also self-released his productions via his WIP net label. Throughout, Igarashi has consistently explored his unique approach to techno and electronic music, one that’s eloquent and poised, even when it shifts into more psychedelic terrain; he’s a master at balancing the sensual and the functional, and he has an unerring ear for the right texture, the right tone, at the right time. He brings all of this into Agartha, his most thorough-going expression of self to date. For Agartha, Igarashi had a strong concept he wanted to explore. Visualising specific scenes from an imaginary film based on the titular secret kingdom, he created soundtracks for those scenes, spending time during the pandemic in his studio, working away carefully at the ten tracks here. Given his background in creating music for television and advertisements, Igarashi is well-placed to explore the marriage of the sonic and the visual in such intimate ways, but freed from commercial concerns, he let his imagination run riot. He also drew on a rich palette of musical influences – techno is in there, of course, but you can also hear the smoky, improvised jazz of the likes of Miles Davis (to whom the album’s title is an indirect nod), and the minimalism and systems music of Steve Reich. Agartha’s conceptual framework means that everything on the album sits perfectly together; listening to it in one sitting is a dizzying, lush experience. Its imaginings of inner landscapes recall, in some respects, the nautical, aqueous mythologies of the Drexciyan universe, though from different perspectives. But the result is Igarashi’s own creation, a deluxe, enchanting trip through the visionary Agartha of this unique producer’s cinematic mind’s-eye.

#Wata Igarashi #electronic #ambient #kompakt #japan #2023

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whatsonmedia · 2 years

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Top 5 Music Albums Released this Month with Score!

So many music albums were released this month by different artists among them, these are the selected 5 album which is on the top chart this week, here are the songs check out the albums and add them to your playlist. Rina Sawayama - Hold The Girl The second studio album by British-Japanese singer Rina Sawayama is titled Hold the Girl. Dirty Hit issued it on September 16, 2022. The album's debut song, "This Hell," was made available on May 18, 2022. According to Paste's Jade Gomez, the album's lead single, "This Hell," a country pop song with "glam rock riffs," is a "thrilling empowerment anthem." She also pointed out that the song's opening line, "Let's go girls," is a nod to Shania Twain's similar introduction in her 1999 song "Man! I Feel Like a Woman!” There are a total of 13 songs on the album including Hold the Girl, Minor Feelings, This Hell, and so on. The album received ratings of 74% from users and 81% from critics. https://youtu.be/ikkfuGeAfYg Check in the full album> https://youtu.be/Zdr1AsgBFCU Björk - Atopos In order to give the Latin term fossore, which means "to dig," a feminine counterpart, Björk created the name Fossora for her upcoming studio album. The album's glitzy, fungal-themed artwork depicts the Icelandic artist's metaphorical descent into the ground, a process that was motivated by personal loss and epidemic isolation. The album's debut song, "Atopos," by Fossora, is driven by squelching, energizing rhythms that Björk has dubbed "biological techno," an apt description: Here, she creates a bizarre, joyful fusion of DJ Kasimyn of Gabber Modus Operandi's powerful beats, honking bass clarinets, and cooing backing vocals. The album received ratings of 84% from users and 80% from critics. https://youtu.be/9FD2mUonh5s Check in the full album>https://youtu.be/9FD2mUonh5s Jockstrap - I Love You Jennifer B Amazingly wild and creative experimental pop debut album by Georgia Ellery and Taylor Skye, whose seductive fusion of electronica, classical and theatrical strings, dance music, and clever, nimble sound combinations occasionally slip gleefully into reverse. Skye creates incredibly imaginative instrumentals and arrangements, while Ellery's voice soars high with a beautiful sweetness. The dreamy What's It All About? the organ-driven arrhythmic, squeaky whirl and swirl of Jennifer B with vocal samples. However, the crunchy-beat dance-music closer 50/50, as well as Concrete Over Water, a former Song of the Day, Glasgow, the oddball acoustic guitar and string arrangement that sounds like a psychedelic Joni Mitchell, and the vowel-pronouncing, crunchy-beat song of the day. And Concrete Over Water, of the most inventive and visually stunning debuts of the year. The album received ratings of 81% from users and 85% from critics. https://youtu.be/FfXwm3jwVbI check in the full album on Spotify https://open.spotify.com/album/4YFlC5Abaj48ERwaOPfpu8?si=JbWejWgtQ4msYVvm64BlTw Sudan Archives - Natural Brown Prom Queen The second album from singer-songwriter and multi-instrumentalist Brittney Parks evokes frenetic energy that is at once soothing to the soul and crushing to the body with its inventive technicality and bold poetry. Outside of vocal talent, black women musicians rarely receive the recognition they deserve for technical ingenuity in music-making. Aretha Franklin was a furious arranger who understood just where to put the instruments that made up the framework of her successes thanks to her acute ear for melodies. The singer-songwriter dances with herself at her own party while serving as both the guest of honor and the headline act on her second album, Natural Brown Prom Queen. She is a one-woman band who, over the course of 18 lengthy tracks, exudes frenetic energy that is both physically and emotionally exhausting. The album received ratings of 79% from users and 81% from critics. https://youtu.be/eaY8kI0oEpA Check in the full album>https://youtu.be/dut4WcHiPHI Alex G - God Save the Animals Alex G, a musician, singer-songwriter, and producer from Philadelphia, first gained recognition in his teens by posting low-fi music on Bandcamp. This is the 29-year-old’s album, and on it, he is bolder, stranger, and more immersed in studio experimentation than ever before. He also embraces cooperation with his bandmates and his partner, string player, and vocalist Molly Germer. God Save the Animals, like all of Alex G's music, blends autobiography and fiction, with poetic refrains slipping in and out as he thinks about ideas of faith and hope in all their manifestations. Though there is a sweetness that occasionally verges on becoming cloying, he cuts through with chaos and levity. Overall, it is a rich and deftly organized work. The album received ratings of 77% from users and 82% from critics. https://youtu.be/JFaMCIVHz2I Check in the full album>https://youtu.be/JFaMCIVHz2I Read the full article

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aquariumdrunkard · 2 years

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Radio Free Aquarium Drunkard on Dublab :: March 2022

Transmitting from a ghost station on the other side of Saturn, it’s Radio Free Aquarium Drunkard on dublab, a four-hour freeform excursion airing every third Sunday of the month. In hour one, New Happy Gathering with Chad DePasquale, a cartographic sojourn through psychedelic cumbia, Singaporean pop, Bahamian dance, Senegalese highlife, Brazilian art-rock, Greek guitar funk, Japanese fusion, and Yugoslavian folk. In hour two, Jason Woodbury’s Range and Basin, a collection of songs from Arizona for the Sonoran Vernal Equinox, spanning lo-fi techno pop to jangle rock and psychedelic freak jams. In hour three, Tyler Wilcox brings us Doom and Gloom From the Tomb, exploring freeform zones, music old, new, and in-between. And to close, Uncle Tio presents Groovy Glow-Worm and The Shit Kickers, a wild blend of funk, soul, and rocking grooves.

#aquariumdrunkard

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astroboyart · 3 years

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Source: Bandcamp

A musical group based in London, United Kingdom, called System 7, made an album based on Osamu Tezuka’s Phoenix.

The album, simply called Phoenix, was mixed in June and July 2007 and released on January 28, 2008. It is a mixture of different styles of music, including psychedelic dance, techno, progressive, and trance.

The entire album can be listened to for free in the sourced link; the album can also be purchased in the same link. A video was endorsed by Tezuka Productions for the fourth song on the album, “Song For The Phoenix”, viewable on Bandcamp.

A description of the album can be found on Bandcamp:

System 7 take their unique and personalized psychedelic techno style to a new and higher level on their album PHOENIX. System 7’s project is inspired by the manga graphic novel series 'Phoenix' by Tezuka Osamu - one of the founding fathers of Japanese manga culture. The project grew from a meeting a few years ago between System 7’s Steve Hillage and Miquette Giraudy and Tezuka’s daughter Rumiko Tezuka who has her own techno label Music Robita in Japan. Rumiko suggested that System 7’s sound would fit perfectly with her father’s Phoenix stories and his universal message. The resulting album release is a collaboration between Music Robita and System 7’s own label A-Wave. This project has led to an ongoing collaboration between System 7 and Japanese animation team Mood Magic – including manga animators famous internationally for work on 'Animatrix' – which has resulted initially in a superb promotional video clip for the first track on the album Hinotori. 'Honitori' in Japanese means literally 'Bird of Fire'. The clip uses 21st century Japanese manga animation techniques to transform the original Tezuka images in ways that work perfectly with System 7’s music track. This video has been endorsed by Tezuka Productions. The Phoenix music portrays, in a variety of ways, travel through time and space, life, death and rebirth, with each track inspired by characters or images from the books. System 7 have also worked on these tracks with a number of musical collaborators including Jam el Mar (of Jam and Spoon), Son Kite, Eat Static, Slack Baba, Daevid Allen of Gong and Mito from the Japanese band Clammbon.

#Osamu Tezuka's Phoenix #Phoenix #Hi no Tori #Osamu Tezuka #System 7

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takeosuzuki · 4 months

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"VERSION" PSYCHELIDEC | Psychill Music CLUBMIX Album

released January 24, 2024

This is an album of remixed club mixes of selected songs from the album released on bandcamp under the name PSYCHELIDEC.

No Beat version and Beat only version are also available.

I produced the remixes myself to be played by club DJs.

youtube

4th Album VERSION List

01_YAMAGATA (clubmix Ver)

02_signpost (clubmix Ver)

03_Blessings of Nature (clubmix Ver)

04_SilentWave (clubmix Ver)

05_crossroads (clubmix Ver)

06_different color (clubmix Ver)

07_Asian Rain (clubmix Ver)

08_primeval (clubmix Ver)

09_beyond the darkness (triphop Ver)

10_Eternal Processes (Dark mix Ver)

11_land of the rising sun (tech mix Ver)

12_One question (clubmix Ver)

13_peak out (techhouse Ver)

14_receptor (extended Ver)

15_the inner treasure (clubmix Ver)

16_the inner treasure (extmix Ver)

17_beyond the darkness (triphop beatonly Ver)

18_beyond the darkness (triphop nobeat Ver)

19_receptor (extended mix beatonly Ver)

20_receptor (extended mix nobeat Ver)

The album is available for download on bandcamp. I would be very happy if you could send me a comment to let me know what you think of it.

#psychill music #psychillout #club mix #techno music #psychedelic techno music #japanese psychedelic techno #japanese #PSYCHELIDEC #TAKEO SUZUKI #youtube #bandcamp #Youtube #Bandcamp

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morthern · 3 years

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Do your ocs have playlists?

They don't, but that’s a very good idea!

i think I can list some things that they would enjoy!

Grun: might like dramatic things like Florence and the Machine, Hozier, and Mitski. loves Dolly Parton.

Dimeti: loves party music, anything you can imagine a stripper would have as a setlist, but has a soft spot for Japanese city pop.

Blair: likes stuff like Rammstein, Turbonegro, Nine Inch Nails, but could also listen to more floaty stuff like Pink Floyd for a week in a row if he is feeling a certain way.

John Doe: classical music, opera, he doesn't care to keep up with the times when it comes to music. some things are timeless and he goes to concerts when he finds the time.

Ed: uuuh, ed probably listens to whatever people on youtube has as their outtro music and meme music, he's a child.

Luca: died in the late 80′s, classic rock is a big hit with him, but also things like the pixies, The Psychedelic Furs, Prince and well, you know you can pretty much browse through any late 80′s top of the pops and there would be something he’d like.

Apollo: anything really he doesn't know what music is but he is here to enjoy it!

Cade: his planet probably has something that's equivalent to techno?

#motalk #anon #asks #Anonymous

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zaptnews · 4 years

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NUMBERS MATTER 121

チハルMK 、おたこ、　川畑優、　AGF、　日野繭子、大西蘭子

Thursday 22 October – 9pm (UK time) | Free

IKLECTIK YouTube Channel: https://youtu.be/HXFmH46kVEQ

Why numbers matter: Japan, a country with a population of over 124.2 million, is ranked at 121 in the Gender Inequality Index (GII) published by Human Development Reports 2020. Japanese women got the vote in 1946 – earlier than China (1949), Liechtenstein (1984) and Switzerland (1993).

In the ranking chart of the Global Gender Gap 2020, the top ten reads as follows: 1: Iceland; 2: Norway; 3: Finland; 4: Sweden; 5: Nicaragua; 6: New Zealand; 7: Ireland; 8: Spain; 9: Rwanda; 10: Germany. The UK ranked 21, following Albania at number 20. Though Japan falls some 100 places behind the UK, the latter’s ranking at 21 is nothing to be proud of either. Clearly there is plenty of work to be done in both countries. Hence, NUMBERS MATTER 121 features four special projects led by Japanese women: Chiharu MK, Otaco, Yu Kawabata (in collaboration with German poemproducer AGF) and Mayuko Hino.

Footnote: In the Press Freedom Index published in 2020, Japan and the UK don’t fare much better than in the GII. Out of 180 countries listed, the UK is ranked at 33 and Japan at 66. The countries listed from one to ten are as follows: Norway, Finland, Denmark, the Netherlands, Jamaica, Costa Rica, Switzerland, New Zealand, Portugal and Germany.

Programme:

“Paramnesia 2020” by CHIHARU MK “Tomodachi” by OTACO “Hamaderea Park ” by YU KAWABATA (sound) + AGF (visuals) “Toyosu 2020″ by MAYUKO HINO

Chiharu MK is from Sapporo. Primarily trained as a composer, she studied the acousmonium, that is, the sound diffusion system, at INA-GRM studio in Paris. Since completing her studies in 2002, she has become an internationally recognised electroacoustic sound artist, either performing or creating sound installations for festival, gallery or non-concert hall spaces in Europe, Hong Kong and Japan. For Intersect 2015, she commissioned the non-Japanese artists Francisco López, Sogar and Taylor Deupree to compose sounds for a 17.1 multi Channel Speaker System (consisting of seven speakers + ten screen speakers + one woofer) in Sapporo city centre’s underground walkway. Chiharu MK has also released three solo CDs: https://www.studio-cplus.net/

Chiharu MK’s new multimedia work Paramnesia 2020 is based on her original piece for Hong Kong Art Centre’s 40th anniversary multi-channel Sound Forms festival in 2018.

This film shows her performing the piece inside Glass Pyramid, nicknamed Hidamari – Japanese for Sunny Spot, it’s the centrepiece of Sapporo’s Moerenuma Park, designed by Japanese American sculptor Isamu Noguchi (1904–1988). Construction work on the park actually began in the year Noguchi died, and it opened in 2005. The film also shows Chiharu MK recording on Ishikari beach, just north of Sapporo.

Taking her name from tako, the Japanese word for octopus, Otaco is originally from Japan’s northernmost main island Hokkaido. An electronic musician and vocalist, Otaco is one of the most vibrant and engaging performers to emerge from the alternative music scene anywhere in Japan.

Now living in Tokyo, she operates a home studio set-up of a rhythm box with a synthesizer; she samples and syncs sounds into a computer, running them into real-time sequences to construct her outre pop-electronica songs and instrumentals. Her music can be heard at https://otacosan.bandcamp.com/music. Otaco also plays guitar when she leads Gotou, an occasional rock trio formed out of homage to early 1980s West Berlin groups Mania D and Malaria!. She appeared for the first time in the UK during Coding In GE 2018 festival for women and technology.

Antye Greie also know as AGF was born and raised in East Germany. She is a vocalist, digital songwriter, producer, performer, e-poet, calligrapher, digital media artist. In the last decade Greie has released more than 20 full length records and played over 300 live performances worldwide. AGF runs her own production company AGF Production – http://antyegreie.com She first worked with Yu Kawabata on her 2015 album A Deep Mysterious Tone, the third in AGF’s series of settings and poetry interpretations from different countries, this one featuring Japanese poets and writers including Noe Ito, Fumiko Kaneko, Shikubu Izumi, Blue Stocking editor and writer Hiratsuka Raicho, and more.

Yu Kawabata is a techno DJ active in Japan and Russia. This is Yu and AGF’s second collaboration. On their first, AGF set to music Yu’s reading of a waka poem, written by the 12th century court lady Yūshi Naishinnō-ke no Kii, enumerated as one of the Thirty-Six Female Immortals of Poetry. On their latest, Yu has created new music for a film by AGF. https://soundcloud.com/yukawabata

Since resuming music in 2011 after a ten year break to study Chinese medicine, Mayuko Hino has reclaimed her status as queen of noise.

A prolific live performer, Hino is best known for C.C.C.C. (Cosmic Coincidence Control Center), the group she formed in 1990 with Hiroshi Hasegawa, Fumio Kosakai and Ryuichi Nagakubo. In their early phase, the band grabbed attention by combining noise music with Hino’s sadomasochism performances using bondage ropes and dripping candle wax. Hino has since been a member of Mne-Mic, DFH-M3 and her most recent group Transparentz with Akira Sakata, who split up in January 2020.

Whether solo or in her various group projects, Hino experiments with the function of noise music as a transdisciplinary medium, in the process to breaking the boundaries surrounding performance art: urban structure against man, art against non art, activity versus rest.

In 2018 Mayuko Hino performed at Iklectic’s Coding In GE Festival alongside and in collaboration with Ramleh. The same year she released her second solo album Lunisolar. In addition to self-made instruments, Hino plays noise with her six-theremin oscillators (in bright pink), a unique device specially made for her by Ryo Araishi (aka ichion)

This year Hino had planned to resume activities with C.C.C.C. to mark the US reissue of their first four albums, but unfortunately their plans had to be put on hold because of the pandemic.

“There’s a sense of momentum to be found in Hino’s noise; it’s rarely static… At the hands of Hino it seems astral travelling is as much out-of-this-world as it is an out-of-body experience… on Lunisolar she continues with the ever evolving atmospheric and psychedelic sound that energised the noise of C.C.C.C.” (Compulsion Online)

“Hino Mayuko makes no bones about her wide-ranging noisician flexibility here, nor her honored place in the contemporary Japanoise scene… Unlike a bevy of artists who just make ear-splitting sonic somersaults, Hino’s sound is more impressionistic and staggered in its delivery, incorporating a yin/yang of the industrial and environmental.” (Tone-Shift)

RANKO ONISHI (Mne-mic): voice

Performing artist Ranko Onishi was born in Hokkaido. She moved to Tokyo where she joined Shuji Terayama’s Tenjo Sajiki theatre company in 1980. She was a second year student of dancer Min Tanaka in 1982 and became a full member of Tanaka’s company in 1984. Five years later in 1989 she performed with Keiji Haino. She and Hino work together in the duo Mne-mic, featuring Hino on electronics, Theremin and synthesizer, and Onishi on voice, water and fogphone. Their album Gulf Stream was released by Alchemy Records in 1999.

Curator Keiko Yoshida’s notes for NUMBERS MATTER 121

While researching texts for AGF’s 2015 CD A Deep Mysterious Tone I developed a profound interest in women’s history in Japan. AGF and I first met and begain talking about her project while she was taking part in my hometown Sapporo’s International Arts Festival in 2014. For the album she compiled and set to music Japanese writings and poems from the ninth century to the present day, and commissioned the female electronic musicians Ryoko Akama (UK), Kyoka (Germany), Tujiko Noriko (France) and Yu Kawabata to read her selections. She had met them at European festivals, and as she got to know them she learnt these female electronic musicians are not treated very well when they’re back home in Japan.

Indeed NUMBERS MATTER 121 took seed in these discussions on women and Japan with AGF. In some ways it’s also a sequel to “Coding in GE”, the 2018 Iklectik festival offering a platform to female electronic musicians, for which we got funding from Sasakawa Foundation UK, and in which Otaco, Mayuko Hino and AGF participated.

Another question addressed in NUMBERS MATTER 121 is the subject of decentralisation. I consciously asked musicians from outside Tokyo to participate in this project.

Currently working on a photo story book about 1980s London and Berlin.

Please support the project buying an e-ticket (#nameyourprice). ** https://buytickets.at/iklectik/439711 **

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hatredofmusic · 4 years

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I need Need NEED these old Ecstasy Boys albums but there is literally no way to listen without owning them and they are all hundreds of dollars. Also, Shiro Amamiya - “Spiritual World”. I am confident they are historic and amazing deep house records. With song names like “ Supernatural Space For Child (Spiritual Temple Mix)” and “ Anarchy In The House (Psychedelic Def Mix)” and “ Satori (Non Vocal Ethno Techno Mix)”, how could these records possibly NOT be brilliant? They’re not on youtube, not on spotify, not on slsk, literally no where on the internet. The Ecstasy Boys are so fucking underground that it sure seems like these records have never graced the internet, and with price tags like that, I’m hardly surprised. What the fuck am I supposed to do? Just NOT listen to the Ecstasy Boys???

I have their Strictly Rhythm record, but that one’s cheap enough... these older records, “Mandala” and “This Is Paradise”... I must listen to them. Do I have to blow my Trump check on historic / expensive Japanese house records????

#Ecstasy Boys #The Ecstasy Boys #Deep House #Japan #Japanese Music

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plane-okra9862-blog · 4 years

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Hey peps, I made on a music playlist on YouTube. It’s aim will be exposing subgenres of mainstream music. These hidden gems from small and big artists have a great beat and catchy lyrics. The genres include: future funk, European french/swedish pop and techno, japanese city pop, american alternative hip-hop and pop and psychedelic music and south korean techno and classical pop.

I will be updating the music list on YouTube, some there may be some new genres/subgenres.

#music #funk #pop #europe #america #japan #south korea

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gretafullwood05-blog · 5 years

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The Distinction Between Techno & House Music (And All the things In Between)

The second half of the Nineteen Sixties ushered in the era of music festivals — culminating with the granddaddy of all of them, Woodstock, in August 1969. Rock monsters Led Zeppelin are one of many greatest, hardest rock bands ever, and the 4 individual members are all some of the greatest gamers of their technology too. Robert Plant, John Paul Jones, John Bonham, and Jimmy Page stand head and shoulders above their contemporaries as particular person musicians, and their skills mixed to create a few of the heaviest rock of their technology. Actually, Communication Breakdown is commonly cited as the first heavy metal track. Whether or not you imagine that or not, the band's affect is undeniable and their standing as British rock gods is untouchable.

The music of the 2000's showcased a wide range of genres and it reflected quite a lot of the pop music that got here from the nineties, with many of the identical artists and bands remaining popular between the 20 years. For a decade crammed with much suffering when it comes to the September eleventh attacks, two wars in the Middle East, and an economic downturn, plenty of the music had to strike a high quality steadiness between upbeat and optimistic while nonetheless reflecting the full report ache that many experienced. Among the extra common genres of the last decade included Dance-Pop, Indie Rock, and Emo. We welcome all students, whether or not they pursue a significant or minor in our discipline, to become a part of our music household. Given the excitement of activity taking place in Lang, and facilities to rival many bigger universities, you will by no means want to depart. And with the library open till 1 a.m., and apply rooms open on a regular basis, you really do not have to. Trap music is a genre that is starting to gain quite a bit of momentum by way of the ever growing sub-genres of dance music culture. Though this new discovered hype in direction of lure music, or EDM Lure Music as some might call it, has lately emerged, there is a historical past behind the origin of the Lure style that's all however new.

5. Improvisation. If classical musicians excel at rendering a written passage in musical fashion, their stumbling block tends to be improvisation. Within the inverse scenario to jazz musicians studying, classical musicians are usually uncomfortable when asked to improvise. And they need to be, because to improvise very well takes a lot more work than is generally understood. Falling within the style of alternative rock music, Indie Rock originated in the 1980s and has regularly changed the music trade. After a decade, it additionally gave beginning to a few sun-genres in associated types corresponding to math rock, emo, noise pop, post rock and lo-fi. Jazz is now a format of music that has grown much less fashionable with the likes of Sinatra, Dean Martin, Louis Armstrong and Tony Bennett changing into much less and fewer widespread with the young people. So the Rolls Royce Ghost is a automobile for folks with beautiful taste, people who choose to not purchase a Mulsanne, Maybach, S class, 7 sequence or the A8 (the Ghost is in a class above some of those choices). So nowadays Jazz is listened to by people with nice tastes, people who put on suits and gowns, gents and gentlewomen! It is not a standard music style and in the identical way the Ghost shouldn't be a popular automobile (for different causes). Though the Ghost and Jazz have fewer followers than different genres, they've many admirers and folks widely respect them. What distinguishes these sounds and scenes from lengthy-standing genres like techno or drum & bass is they no longer maintain to the notion of middle and periphery. They don't seem to be formed from the top down by a handful of wealthy, influential cities who transmit the culture while all people else is relegated to receiving it. If something, related membership scenes in places like London and Berlin need to their Latin American counterparts for inspiration. From this new ecosystem, an unbiased network of artists has begun to take form, and while London and Berlin are welcome to join the dialogue, they're certainly not dominating the conversation. The lure is a music subgenre that started in the 1990s in southern U.S. This music is characterized by sounds and lyrics that incorporate triple time division or double Hits hats. The word entice initially known as a spot where drug dealing took place. Lately this music has been mixed with EDM by artists who've remixed it and made its songs of more EDM like elements. Disco; fashioned from funk, psychedelic and soul; this type rebelled in opposition to the rock music of the day in a extra visceral, primal approach. All about body movement, dancing and the human spectacle, it stole colourful clothing and drugs from the Hippies, up-beat pushed rhythms from the Beatniks and combined them in a sexy, seductive libido-primarily based production praising dance and expressive human life. It's currently "useless".

Should you hover over one of the genres, youвЂll be given an example of an artist and tune that exemplifies the genreвЂs sound. If you click on that hyperlink, it can even play that music example for you. As you discover, take into account that scrolling down can have music thatвЂs more organic, up shall be extra mechanical and electronic, left will be denser and extra atmospheric, and proper is spikier and bouncier. van der Merwe, Peter (1989). Origins of the Widespread Style: The Antecedents of Twentieth-Century Standard Music. Oxford: Clarendon Press.Progressive rock is the best genre of all. It's the style that takes the most expertise to listen to and the one the requires the very best style in music. It's a particularly underrated genre. You have received bands like Pink Floyd, Yes, Genesis, Rush and King Crimson. What's not to like about this genre. I can not consider pop is above progressive rock. Pop music takes no expertise, nor any good style in music. Identical goes to digital. Progressive rock may be very unique. It's important to actually know how you can play. I assume people relatively go together with what is mainstream, relatively than what's actually good. Learn to listen to 20 minute songs with more than four chords. Study to listen to lengthy instrumental part like Shine On You Loopy Diamond, Roundabout, Echoes, Shut To The Edge, 2112, Supper's Ready, Musical Box, etc. , not simply three minute-easy to take heed to-songs. Progressive rock makes you truly hear and concentrate. It is true music.J-pop might be the toughest genre of Japanese music to categorize or describe. As is the case for "pop music" within the United States, a great deal of different sounds are inclined to fall underneath this label. Quite a lot of the bands are likely to have a cutesy, "bubble-gum" pop sound whereas others tend to exhibit a more edgy dance, r&b, or funk sound. The teenager idols of Japan are simply as massive (if not bigger) because the Britney Spears and Nsync's of the U.S. The members of bands resembling Morning Musume, Tanpopo, Luna Sea, and Da Pump are worshiped as popular culture icons. The love for these icons is so nice that the demise of sure Japanese pop and rock stars in recent years reportedly devestated some younger fans so much that they took their own lives out of despair.

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moonsandmelodies · 5 years

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My Top Albums/EPs of 2018

I'm pleased to report that I’ve found quite a few enjoyable new releases this year. It's hard to have a 'definitive' outlook as there remains so much for me to catch up with, but here are the highlights from what I've heard so far.

(To keep things from getting redundant here, my 2018 halfway list's honorable mentions won't be featured here. Read that list here if you're curious about them.)

Top 8 Albums

8. Steve Hauschildt - Dissolvi

ambient techno / progressive electronic / ambient

Hauschildt is known for his role in the defunct drone/ambient group Emeralds. I'm yet to 'get' the appeal of Emeralds, but I've enjoyed a great deal of songs from Steve's solo career, which veered away from his droney roots into more melodic territory. Dissolvi is more transparent/airy in texture than his last few albums, and often less inconsistent. This is great knowing how one of my main issues with his other albums was the lack of consistency. There's a mild techno element here through the subtle use of rhythms, which gives the songs an interesting aquatic pulse.

Dissolvi may be my favorite album of his besides the popular Tragedy And Geometry from 2011. While some songs loop or repeat too much, most of them have plenty of evolving layers to keep this a fluid and hypnotizing listen. This is most apparent on the 7-minute "Alienself", which goes on about 1-1.5 minutes too long but also contains some of Dissolvi's most impressive textures and atmosphere. Also notable is the title song, by far the most rhythmic and tense but retaining some needed subtlety through soft synth hums. A promising step up.

Listen to "Lyngr"

7. Tess Roby - Beacon

art pop / gothic / synth pop / dream pop

Balancing folksy vocals, synths and Durutti-like guitar, Tess Roby is like a lost 4AD/This Mortal Coil collaborator. It's not the most surprising she's on Italians Do It Better, but at the same time it's a bit different from what I expect from the label. These songs are moody and elusive, with a semi-gothic tone save for one or two more tender moments like "Ballad 5". They drift along subtly, but not without shifts in tone or instrumentation. At eight songs long it ends pretty quick but at the same time this keeps it digestible and interesting. My favorite has to be the sinister folk/synth combination of "Borders".

Listen to "Borders"

6. Noname - Room 25

jazz rap / hip hop / neo-soul

Noname is someone I've been meaning to listen to for some time now. And my first thought, of course, is 'why didn't I listen to this sooner?' Room 25 is full of blissful jazz groove, even subtler in execution than the likes of Nujabes and Digable Planets (check this out if you like either one). The excellent live band she assembled for the album enhances this effect with it's free-flowing style, one that tends to disobey common verse-chorus structure. The smooth keyboards (piano, e-piano) and Noname's own unique delivery are sure to lull you into a peaceful daze.

I do think Noname tends to mutter a little too much, which can obscure the lyrics, but she has a great flow that blends in very well with the music. She includes plenty of guests and sung sections for these songs, but they don't disrupt the album's flow. They're fitting and natural rather than thrown-in. One great example of this is the way "no name" begins with one brief rap verse before 2.5 whole minutes of singing. If someone else tried that, it could've wound up boring, but this may be the loveliest moment on an already rich album. 'Your life is your life / Don't let it pass you by', the voices repeat over strings and piano until it (and thus the album) ends. I'll be very interested in Noname's next move.

Listen to "no name"

5. Music House/Various - Scandi Disco

electro-disco / synth pop / electropop / synthwave

'If you’re bored of the sheer quantity of 80s retro music out there, maybe don’t listen to this. But if you’re like me and love this music enough to still give the continuous new releases a chance, I recommend this recent library album. I enjoyed almost every song on this one, a bit surprising seeing how there’s no hype at all surrounding it. I found it only because I was looking through other, older releases by this label, Music House, and this happened to be their most recent album. Everything about this album is shiny, stylish and fun with plenty of energy and melody. The production is impressive as expected from a stock music label, and while it has a prominent modern polish they tap into the huge potential and legacy of electro-disco very well.'

Listen to "I Can Feel The Fire"

4. Reni Jusis - Ćma

dance-pop / electropop

If you've followed me for long enough you may know I've become a big fan of this semi-obscure Polish singer/producer. However, her '16 album BANG! was a let-down. It hopped on all of the worst mid-10's mechanical bass-drop trends I hoped she would evade. I sighed and moved on. But that's when a single ("Tyyyle Milosci") popped up in May. A GOOD one, too, a reflective ballad-like song lacking BANG!’s pitfalls. A great surprise, but I didn't know what to expect from an album. But the press release claims the album is Reni's return to dance music after the 'experiment' of BANG!...

And like I hoped, the album is much more uptempo than BANG!. Shimmering pop anthems, hypnotic melodies, and of course, the abundant synths are all here. All kinds of pleasant textures pop up, forming some great transitions and grooves. Even in more 'experimental' moments (e.g. "Ćma"'s dizzy end cool-down; tracks #6 and #9) there's the kind of spacey atmospheric touches that popped up in her 2000's heyday. It would've been fine if she didn't bring that part back. I thought it was too much to ask for - but there it is!

Ćma has plenty of flaws. A few songs are inconsistent, the huge repetition lowers replay value, and her delivery gets bombastic at times. Many areas would benefit from some tweaking. But I finished Ćma feeling relieved. She did come through with some jams, and she revived the sound she does best. It's a big step up from BANG!, and for that I'm grateful. I recommend this to anyone looking for good modern electro-pop this year.

Listen to "To Tylko Podróż"

3. U.S. Girls - In A Poem Unlimited

art pop / psychedelic pop

As I wrote in the 2018 halfway list:

'While I did find the previous U.S. Girls album Half Free a bit inconsistent, In A Poem Unlimited feels like a step up. There were only about 2 or 3 tracks that I didn’t enjoy here. The album has a warm semi-70s feel thanks to the band put together for it. There’s also a sense of eclecticism that’s executed better than on a lot of other albums with similar ambitions. The voice of Meg Remy, the one true ‘member’ of U.S. Girls, can be quite twangy and takes a bit of getting used to at first, but it’s somewhat grown on me since then, and it got some time to shine here. This is most often when she does a kind of nervous falsetto like in two of my favorites, “Rosebud” and “L-Over”. While the many styles that Remy explores here aren’t much new (70s funk, jazzy rock, general quivering psych weirdness, a bit of synth pop), the variation of it all and the will to experiment helps keep things interesting, and most of them evade the boring cliches that tend to pop up in so much music lately.'

Listen to "Rosebud"

1/2. Suiyoubi No Campanella - Galapagos

j-pop / electronic / art pop / downtempo

Cult J-pop group Suiyobi no Campanella released this 'EP' in June, though I don’t get why it’s considered an EP, since it’s the length of an album. It did receive some deserved acclaim upon release but since then, I've heard little about it - seems it didn’t stick. I’m wondering if the promotion as a mere ‘EP’ is part of it - were they wanting to keep a lower profile for this? If so, why, when it’s this elaborate?

The first thing I noticed was how much these songs morph and change, often in unexpected ways. “Bamboo Princess" sets the scene. It begins wistful and hushed but soon evolves into a thrilling chorus of strings and horns. The song also seems to reference an ancient Japanese folk tale. "Matryoshka" relaxed mallet groove mutates and evolves many times through it’s duration. Despite all this, the last two songs calm things down. "A Cat Called Yellow" is a gorgeous end to the album that sounds like both a farewell and a lullaby, covered in this blanket of thoughtful ambience.

Matching the creative song structures is a wide-ranging palette of sounds. There's percussion, sampling, aquatic keyboards, mallets, clean guitar, synth bells, some kind of keening violin ("Bamboo Princess") and even hang (a recent creation similar to the steel drum). It's cold and tropical all at once. Listening is like dipping into the water at a beach resort, watching all these colors blur into the water.

Galapagos has some of the most impressive production I've heard all year. These are more tapestries than songs, and I mean that in the best way possible. This album is an ideal summer-evening mood piece. It may be winter now, but you should listen to it ASAP anyway.

Listen to "Matryoshka"

1/2. Fishdoll - Noonsense

wonky / dream pop / electronic / downtempo

'Fishdoll, an exciting new artist from China, manages to recall everything I miss about electronic music of the earlier 10′s. First I thought of ‘wonky’ producers like FlyLo and Teebs who had such interesting and creative taste in electronic production and samples. Take a gander at the amazing operatic vocal/harp sample that ends “Beijing Well” or the spacey fluttering chords on most of the songs, for example. Secondly, Fishdoll adds subtle effects to her own voice that say, Grimes or Washed Out became popular for, creating a similar kind of airy surrealism.

It doesn’t do enough justice to Fishdoll to make so many comparisons, though, since this album really does feel unique. Which is exactly why it's one of my favorites of the year - it’s an electronic artist doing something unique and doing it well.

I’m looking forward to Fishdoll’s next musical move, and I’m convinced Noonsense deserves more than a bit of Bandcamp popularity, which seems to be all it got upon release.'

Since writing this in the first halfway list, I was also asked to write a brief review of Noonsense for the Rateyourmusic front page in October, which you can find here.

Listen to "Bubbling Bop"

Top 5 EPs

5. Barker - Debiasing

minimal techno [?]

A lot of the hype around this one deemed it 'techno without the drums'. Sounded like a nice idea on paper, but I didn't expect Barker to pull it off this well. I guess I'm too used to the tedious repetition so many techno producers tend to throw into their creations. But while these songs may lean a bit on the minimal side, their steady evolution help keep this EP sounding interesting at very least. Barker also puts a lot of emphasis on my favorite part of techno, which is all the hypnotic synths and chords and effects.

Every song revolves around thoughtful-sounding arpeggios, graceful in a way. "When Prophecy Fails" and "How Hard I've Tried" are almost shy. They sound like the sensitive core of a giant mechanical structure. Overall this is one of the better examples of techno I've come across for sure. I recommend this if you're like me and looking for techno that's not so grounded in repetition+bass drum overkill.

Listen to "When Prophecy Fails"

4. Ravyn Lenae - Crush

contemporary R&B / pop / neo-soul

A brief but warm and breezy EP from an up-and-coming R&B vocalist, who happens to be hardly any older than me. My very obvious favorite is the dynamic and catchy single "Sticky", but the other songs keep up that song's pleasant retro soul style and with such a short length it's very digestible. I'll be interested to hear her next project.

Listen to "Sticky"

3. D A V I I C I - W sercu pozostaje tylko to co wypalone ogniem

synth pop / hypnagogic pop

'His sound is similar to that of Adonis listed below - a kind of lo-fi trippy synth pop, but it makes sense since they’re on the same label. This EP is a bit more ghostly and empty, though - D A V I I C I puts his voice through what sounds like autotune to a very weird, bordering-on-creepy effect. This is most noticeable on the songs “Skruszone serce“ and “Czas przez pryzmat“ which are also my favorites of the bunch. I have to say that while I like the idea of ‘hypnagogic pop’, it’s often bored or disappointed me; D A V I I C I and Adonis, though, have impressed me to an extent I didn’t expect.'

Listen to "Skruszone Serce"

2. Elysia Crampton - Elysia Crampton

latin electronic / huayno / folktronica / experimental

I'm not familiar with Elysia Crampton's previous work but judging from this I'll have to change that. This EP has a wild mixture of layers and styles thrown in, ensuring that it never gets boring. There's complex percussion, fuzzy distortion, a varied choice of samples, the occasional regular synth ("Orion Song") and, oddly enough, a bit of airhorn.

These are windy, intense sounds, anchored by the kind of frenzied rhythms that suggest a journey on horseback. "Orion Song" is my favorite for combining this with simpler but still majestic synth patterns and a surprisingly peaceful outro. It ends quick at six tracks but it's obvious from the get-go she packed a lot of creativity into this EP. It has an ear for adventure that I love to hear in electronic music.

Listen to "Moscow (Mariposa Voldora)"

1. Adonis - Wiosenna Ofensywa Nie Trwa Dłużej Niż Do Letnich Wakacji

'I only came across Adonis through Bandcamp recommendations and he’s still a bit of a mystery to me [Update: though he did thank me for including this on the halfway list in a Tumblr message!]. This is in part because all the info and lyrics are Polish. But I’m glad I found this EP, since I enjoyed every one of these five songs - while I’ve been blasting the incredible title track all June. In a similar situation to Scandi Disco, it may not be very new, since it’s pretty much a collage of 'alt 80s’ sounds, but if you love the sort of music that entails (e.g. synth pop/shoegaze/dream pop) like I do, I certainly recommend it.'

synth pop / hypnagogic pop

Listen to "Wiosenna ofensywa nie trwa dłużej niż do letnich wakacji"

Honorable mentions

Ariana Grande - Sweetener

pop / contemporary R&B / pop soul

Listen to "Breathin"

Angelique Kidjo - Remain In Light

afro-funk

'I was very intrigued when I learned Angelique Kidjo from Benin was to revamp the entire Remain In Light album by Talking Heads. According to her interview in LA Times, she heard “Once In A Lifetime” long ago and recognized the African influence in it’s sound, which is what eventually led to this cover album. Although part of me wishes some covers were a bit closer to the originals than they are, most of the interpretations are still very interesting and enjoyable with an excellent sense of energy and rhythm.'

Listen to "Born Under Punches"

Empress Of - Us

synth pop / electropop

Listen to "When I'm With Him"

George Clanton - Slide

synth pop / chillwave

Listen to "Make It Forever"

Lena Raine - Celeste

video game music / electronic / chiptune / downtempo

I forgot to mention this game OST in my halfway list somehow, but it's worthy of honorable mention at very least. It has a distinct style that reminds me a bit of the BGM you hear in Steven Universe - very colorful and spacey at the same time as varied; sometimes relaxed, other times epic. 8-bit bleeps and more modern synths blend with the twinkle of piano often. The best example of this mixture, to my memory, is the bright and productive "First Steps". With so many songs it's hard to evaluate how well it works as an album, but it's more understandable for a game soundtrack as I figure some of these sound better in context. Whether it works that way or just misses the mark, there's no doubt this is an impressive piece of work.

Listen to "First Steps"

Pastel Ghost - Ethereality

synth pop / dream pop / gothic

Pastel Ghost doesn't tend to explore new ground with her songs. It's not surprising and I don't think she needs to do that all the time, per se. The issue here is more that those same cliches are even older now than they were in 2015. Read: excess 808 hi-hats, your usual stompy goth-club bass patterns...

But I realize this was more of a grower for me than Abyss. While the vocals and rhythms were disappointing, the synths only got better. Here, PS does a great job of layering distinctive timbres together and forming rich textures and harmonies out of them. I love those twinkling aquatic tones in songs like "Tears" and "Underwater" in particular. She hasn't lost the more distinct part of her sound that first drew me to Abyss, evolving it all at once, which is what matters most in the end.

While Abyss was all about being spooky and sinister, Ethereality is murky and bittersweet. You could say the 'pastel' caught up with the 'ghost' (ba-dum-tish!)... It's not a huge change but it takes you elsewhere, like the depths of an ocean rather than a gloomy forest. Songs like “Emotion” and “Possession” just wash over you like a waterfall thanks to the production - there’s a crystal-clear quality to it that makes this an easy listen even in the lesser moments.

Ethereality, right down to the silly title, could be less predictable, especially in 2018 after there's so many others doing this sort of thing. A lot of the vocals are too breathy and twee, moreso than before. But it's hard for me to ignore the skills on display. Her ear for melodies, synths, etc. continue to distinguish her from the pack and I continue to enjoy her take on this music.

Listen to "Sakura"

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viandnyl · 2 years

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#005-Crumb

Crumb Band

Based in NY

Genre:Rock

Instagram：@some_crumb

Q: Can you describe the city where you live and based?

Jonathan (drummer): I live in Los Angeles. Because of its sprawl, it’s difficult to describe succinctly.

Q: What kind of music is being popular right now where you’re based?

J: All my friends out here love thrash.

Q: What did prompt you to start playing music?

J: I forget how I started classical piano, but once I discovered the drums I realized it was possible to enjoy an instrument.

Q1：What is important to you when making music?

I think regardless of genre or instrument, the most important element to me is the performance.

Q2：What is the story behind your artist name?

We fell in love with the sound of the word – “Crumb” just sounds so good.

Q4：If you could give any advice to your younger self, what would that be?

You’re gonna make it ;)

Q：What was the first song/album (and from which artist) you bought, and why did you buy it?

The first album that really made me realize that I liked music was the 101 Dalmatians soundtrack…there was a hip hop song on there that I would play over and over again. Naturally, the next step was to ask my mom to buy The Eminem Show. I’m sorry mama!

Q: What kind of music are you creating now

J: Techno, metal, light psychedelic beats, and surf.

Q: Where do you get your inspiration from?

J: Myself, Crumb, and other drummers and artists.

Q: Do you have any mentor? And why she or he is your mentor?

J: I don’t have a formal mentor, but there have been a few drummers who I’ve studied with during the pandemic -- Maison Guidry, Brandon Donald, Riccardo Merlini, and Brian Evans. I look up to all of them for different reasons and feel like they’re helping me unlock new styles, techniques, and ways of thinking about drums and music. They’re all truly unique players and great teachers.

Q: Do you have any social issues that you pay attention to recently? And why?

J: Been learning more about the homelessness crisis in LA recently.

Q: What aspect of your personality haven’t been changed since your childhood?

J: I’m still creative and playful.

Q: Do you have any fashion brands that you like?

J: I follow this Instagram called “PROLETA RE ART” - they’re a Japanese based company that makes really crazy custom denim. Kind of looks like some dragon scales. I really want a pair of pants.

Q: Any music genres that you are really into right now?

J: Black metal, deathcore, UK garage, surf.

Q: How/what equipment/gadgets do you use to listen to music? (earphone, headphone etc)

J: I’m either listening to music in my Mazda or through my Vic Firth isolating headphones when I’m recording demos.

Q: Please tell me a reason for your 3 recommend tracks for ‘MOOD NOW’?

“Bedroom” by Ian Isaiah:

I just can’t get over how good this song sounds. I love all the synth and 808 sequencing, the perfectly strange vocal effects and harmonies, and of course the lyrics are inspirational. The arrangement leaves a lot of space for me to imagine additional drum parts, so I’ve been having fun playing to it.

“Digested Desire” by 200 Stab Wounds:

My friend Colin from the band “Lance Bangs” just introduced me to 200 Stab Wounds. You can hear their attitude on the track. They’re loose, they don’t play to a click track, and they fucking groove. The vocals are somehow sandy-smooth to my ears. I can’t get enough.

“Bateu (feat. Fatnotronic)” by Yuksek:

The best part about shopping is Shazam’ing the music inside stores. I found a song off of this album at Dover Street Market in LA -- the whole album is worth a listen, but the vocal countdown in this song is just fun.

*This interview was conducted on VI/NYL #005, which published on Dec.30th, 2021.

*All photos are courtesy of the artists.

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