New Electronic Music: Angel Eyes + Liars + Oscar Key Sung x Naysayer & Glisun + Snakadaktal x Just Kiddin + SBMRGE + Fielded

Usually, this shit will start off mad, cool, and chilled out. Fuck that. Let’s get weird.

 

Angel Eyes-Heave

Please, just…fuck, please don’t get Angel Eyes mixed up with Angel Haze. Just…just don’t do that to me. When I see shit like that happen, it’s like someone hearing ‘Under Pressure’ by Queen, and then they start rapping ‘Ice Ice Baby’. Its so wrong on so many levels.

Anyway, rant aside, Angel Eyes, another stunning ¬†ambient project from this sunburnt land (another way of saying I have no idea where this enterprise is actually from) have released a new track called ‘Heave’. And its eleven minutes long. Shieeet. Although ‘Heave’ comes with a warning that it’s ‘…not representative of anything I’m putting out in the near future…’, its a fine fucking thing to listen to. Heave it does, wishing and washing its way through a Terminator blowjob sound, as mechanical failure sets in and oblivion rears its ugly head. Even though it’s probably the longest song you’ve heard since Green Day put out ‘Jesus of Suburbia’, you’ll finish it, and immediately want to play it again. The same cannot be said for ‘Jesus of Suburbia’.

 

Liars-Mess On A Mission

Liars? By the sandpaper-tounge of Matthew McConaughey! Aren’t they, like, a post-rock band or something?

Actually, when they can put out this sort of scream-rave track, who even gives a fuck? This thing is both grating and gyrating, the kind of thing that would get played in the token club scene of any indie movie. This is the kind of thing made to sweat to, rotate your head to and abandon logic to. If this song were a celebrity, it would be Jennifer Lawrence-pretty sexy, and I have no idea why I adore it so much.

As a matter of fact I do: that sudden pause between the dull ‘Fact is fact, and fiction’s fiction’ and all out screams of oblivion amidst intense beats that drop to the floor harder than Point Break extras during a bank robbery scene. Liars=1, Jennifer Lawrence=0.

 

Oscar Key Sung-All I Could Do (Naysayer & Gilsun Remix)

Although the original, with its anthemic chorus, and super-sensual vibe, is undoubtedly never going to be beaten by the remix game, Naysayer & Gilsun have certainly had a fair go at trying to better Oscar Key Sung’s stand out single.

Aided by wispy loops and the gilded female moans, N&G add a rythmic balance to the track that it may or may not have been missing. This is less the sort of thing you sway to and more what you’d empty-mindedly grapple with on a dance floor. The seething beats, the sharp edge feel-it all combines for a damn good attempt at Oscar Key Sung’s crown jewel.

 

Snakadaktal-The Sun II (Just Kiddin Remix)

Damn, this song was made to be danced to in a dingy-lit nightclub just off of Oxford Street at 2 in the morning. And that, ladies and gentlemen, is a compliment of the highest order.

Just Kiddin get this remix just right, adding some silky smooth layers of danceability to the track without treading into weird rave territory. With the high hats, wind-in-your-ears synth, and bass line that puts the listener in a funk chokehold, this kind of remix reminds of artists like Touch Sensitive and Kavinsky. And that fucking rules.

 

SBMRGE-Masked

We’ve already heard from Pilerats Records via their debut release of Sable’s ‘Feels So Good’, and the new lable show no signs of slowing down, having just released their third track by an artist known as SBMRGE. Listening to this track, there’s no doubt of the influence of SBTRKT. If you hadn’t picked it up from the name, then just a small snippet of the smoother-than-cream-made-of-silk soul of the track should convince you pretty quick smart.

However, there’s also a little of that Australian vibe through artists like Kilter and Yahtzel. However, with SBMRGE’s smoothness, he trumps those guys brash knob-tweakin’, and comes on top this round. You go SBMRGE!

 

Fielded-City of the Dayzed

At the very beginning of the track, Fielded (aka Lindsey Powell) immediately splits shit up by infiltrating a quiet, timid voice with rushing, raindrop-like xylophone sounds. However, that voice comes back in a big way very quickly, amping itself into some sort of Mariah Carey-influenced brand of The xx. Woah, right?

‘City of the Dayzed’ has just some of the strongest female vocals I’ve heard in a long, long time. If it were behind some sort of cheesy, bullshit thing, this track would’ve both been lost on me, and gone to the top of the Billboard Charts for approximately a week, and thousands of radio hosts would find a way to mispronounce Ms. Powell’s name. Instead, the shuffling, trembling music we get instead provides a lush background that completely allows the song to hit its absolute fucking peak.

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