Returning with a quite different thought process to music previously featured – the Swedish creator david shouji surfaced recently with the triphop track tachi.
The only sadness in the latest reveal (available on bandcamp) being that tachi only lasts for less than three and a sixth minutes.
Prior to going anywhere near the play button – turn down the lights and draw the curtains to become fully immersed in the bending bubbles of lava lamp wax which reshape as they almost reach touching distance, only to float away in abstractions of interlocking multi-dimensional fractals.
I fully enjoyed the experimental diametric of previous material featured, I equally take delight in this far more amorphous flow – ergo – it will be intriguing to discover in which persona david shouji will next appear.
Makeout Point is the dark-indie quintet of Alma Broman (Bass), Andreas Gustafsson (Guitar), Shiva Kazemi (Vocals), Simon Hjort (Drums) and Theo Brus (Guitar) from Stockholm in Sweden.
An introduction was made last month, my apologies for the late response to this, though with some fortune this coincides with a more recent track for me to hear along with the time to dig further in to their catalogue, which dates back just over a year, and I have discovered a direction of travel which I necessarily find myself engaged more by with each new song, each being of more gothic temperament than the last.
The most recent – Audrey (the featured track) – drips moss from the speakers as one dark guitar feeds through the room akin to a stalactite dripping from a cave roof as the other bends and echoes through the cavernous space as a shifting rhythm bass changes the shapes of sound with percussion delivering expanding and contracting compaction like a grinding ice-pack as the memorising vocal floats, as if a fleeting shadow, through the arterial system.
I apologise for the lateness of initial introduction, to some extent, though am equally delighted my administration is so poor, else I would not be in a position to say with such certainty – keep an ear out for Makeout Point in the future.
Danielle Martin is an acoustic-soul creator from the USA.
The combination of delicate instrumentation, be it pianoforte or acoustic guitar, and richly expressive vocal gives the music a compelling lustre which holds the listener steadfast as delicate fronds of instrumentation lays the filigree around which the vocal weaves a tapestry of multifarious texturing.
From the recent LP Wanderlust – the penultimate track of the seven – How Much I Care For You.
On hitting play on their latest single Every Man Is A Pyramid Scheme (available on bandcamp) the listener can easily convince themselves there are more than two players in Faux Bandit with their headbanging rock of tight riffs, driving percussion and snapping vocal.
Fast creating a stir in their local live circuit, Every Man Is A Pyramid Scheme, can’t but help to underline their abilities and open new opportunities. Necessarily, retaining a tight reign in studio performance, the listener is drawn to the conclusion that Faux Bandit is a band to see on stage as even through the speakers the fizzing energy is palpable while the switched on lyric and musical delivery sear through the room.
It was back in 2015 that 吉田ヨウヘイgroup last featured and whilst there is similarity in sound their music has become even more logarithmic in construct and the listener finds themselves pulling out a slide-rule just to remind themselves they can still remember how to use one whilst calculating the relative distribution of the flute, tenor and alto sax, piano, bass guitar, clarinet, bass clarinet, vocals and drums contained within the album, while always tuned in to the absorbing compositions which draw fractals around the room.
The second track of the dozen tracks on the LP is トーラス.