Within the past twenty four hours the English rapper Winstan released the latest couple of tracks.
Frequently surfacing with new material each of different temperature, of the two that surfaced most recently Let Go caught my attention.
A track which challenges the desire of chasing ‘perfect looks and lifestyle’ as espoused by style magazines, resulting in plastic lives, plastic bodies and plastic intentions whilst extending the offer – that it is perfectly normal to just Let Go and enjoy the moment for the moment it is, not the moment someone else informs is what is meant to be ‘enjoyable’.
The English electro-wave creator Talk Less Say More released the LP Bonfire Night on the 21st.
Talk Less Say More
Throughout the approximately thirty eight minutes, eleven track, album (available on bandcamp), the listener is minded of the synthwave of the early ’80s of melancholic perspective with many tracks drawing references by title or structure, though never sounding like a pastiche as the compositions lay in moments of the 21st Century and an LP to be enjoyed at full volume to garner the pleasure of the speakers wandering around the room and hairs waving in the breeze.
My selection is the middle number – 3am Phnom Penh – which pulls in, to me, all the best reference points of the earlier influence which equally cast warning eye on the previous four decades experience, whilst now delivering a refreshing gambit that elucidates precisely how little much has changed in geo-politics in the intervening period.
The English ambient-rock collective Future Sound Cartel released the single Faking Music on the 21st.
Future Sound Cartel – Faking Music – artwork
Best not to hit play if you are about to head to something requiring adrenaline as to enjoy the song to fullest extent you will need time to allow the day to continue at unhurried pace for quite some time after the conclusion of the just under four minute composition.
Harking of reel to reel tape recordings Faking Music (available on bandcamp) has the warmth that comes through analogue recording in a track that drifts lazily through the room in an ambient psychedelic combination of synthesiser, guitars, percussion and multi-vocal that leaves the listener calmly reposed in a state of subjective intuition as the brain slows down to the weaving textures that flow through the ears.
The English melancholia project Aloric released the single It Doesn’t Matter earlier in the month.
Always of forlorn countenance Aloric approaches each composition with a different set of tools.
There is a slightly experimental feel and structure to It Doesn’t Matter which gives the just over four and two thirds minutes track a disorientation that enhances the sense of dark measure. The addition of Saxophone – performed by Juliet D. Rondeaut – that feeds in to the latter half of the composition (available on bandcamp), provides a haunting isolation which chills the marrow-bone of the listener for some little-while after the track has concluded.