PARISWHEEL: DRAGON

‘DRAGON’ spends its first 2 and a half minutes experimenting; acquainting itself with all the tools available, so to speak. With thirty seconds left to go, it suddenly unleashes what the listener’s been eagerly awaiting: A flummoxing, gigantic chorus. Pre-explosion, we’re given sonical snippets of what’s to come; tribal drum hits; synths dripping with sweat; bold declarations of “I am fire breathing” from PARISWHEEL’s vocalist. But then it clicks. Everything falls into place like a layered brick formation - perfectly put together pop, albeit the kind you have to be patient with at first. 

Flights: Where the Willow Tree Died

A couple of days back, yvynyl blog posted about the unlikely discovery of two Nashville-based friends who had made a record in 2011. ‘Anywhere But Where I Am’, the first work of Flights (Eric Hillman, Brian Holl) is without doubt an as yet unsourced gem. It has the same isolated, intimate feel as Bon Iver’s ‘For Emma…’ (true to the influence, this album was also recorded in an abandoned area of Wisconsin) and a wealth of instrumentation that very few moden day albums can boast. Taking over a year to put together, it is something you play into the late hours, something you want to share with all your friends. One measly bandcamp donation later and I’m sharing with you one of the album’s stand-out efforts: ‘Where the Willow Tree Died’. 

Analog d r i f t: Manuel Antonio

It’s possible for me to be enamoured enough with a single second (or in this case, sample) of a song, so much so that I have to post it. ‘Manuel Antonio’, one of many works by Oklahoma producer Brad Holden, draws you in with a sweep (and it is, a literal sweep) of shimmering guitars. He repeats this sample every 5 seconds or so (if you scroll back through the rest of his souncloud page, you’ll see that this is a tactic he employs with several of his otherworldly works), until you’re well and truly shrouded beneath hundreds of layers of dreamy guitars and pent-up drum patterns. 

Joseph Stallion: Dimespiece

Every track on Joseph Stallion’s ‘White Lodge’ EP could have ended up as some sprawling, unfocused mess with beats clipped all over the place; half-baked ideas packed together and then shortly cut off. There’s enough ambition and enough variety for that to have been the case. Except, largely thanks to the vocals of Erin Ross - they sound part classically-trained, partly employed to support a beat like in the music of Grimes or Telepathe - Max Petrek’s warped ideas and melodies have something to focus on. Like ‘Dimespiece’, the track we’re focusing on here, the pitch-shifting, skyscraper sound is in the most part a distraction to some brilliantly thought-out songs. 

(Premiere) BE∆CH HE∆RT: Feels Like The Sun

I’m wrapping up a week spent being besotted with Isaac Mingo’s music by posting a brand new track of his. Earlier on, I’d been basking in the twisted, haunting sound of ‘Sky Shatters’, but now we’re all subjected to a warmer glow, one that rejoices in simplicities rather than mystery. Mingo’s voice is clearer, the beat is more conventional and the elevated synths go hand in hand with what most passers by might tag as a “chillwave” effort. ‘Feels Like The Sun’ is not all cuddly, beach-affiliated warmth, though. Take its dark closing section as an example. Once more, we’re given slight hints as to Mingo’s more sinister side.

Dark Mother: Glass Cast

The first time I saw Crystal Castles play live, they were supporting C.S.S. and they were mercilessly booed by a crowd of punters who just wanted to see Lovefoxxx in spandex. 6 months later, I was at underage festival, seeing Alice Glass adored by a group of young’uns at Underage Festival, who couldn’t quite believe what had just hit them. It was the first sight of what Crystal Castles performances have come to be; huge, ritual-like experiences in which people faint, climb over barriers, out-doing to be part of the intense excitement. 

I mention this, because I want to see this song played live. In similar circumstances to the ones I’ve just described. Play it on a low budget as a support act and you’re bound to get booed. Play it to thousands at a festival, once you’ve released a couple of cult successes, turn the lights out, and make it a ritual. Even if this doesn’t make it quite as far as the Alice Glass pedigree, it remains the most exciting song I’ve heard so far this year. 

Hat tip: Unholy Rhythms