Discovering Fakear

Discovering Fakear

So a good mate at Ninja Tune put me onto Fakear a few months back after his release of debut album ‘Animal’ in June 2016. I was on a music discovery hunt for a bit of travelling entertainment for the long journeys during a jolly around France for the Euros. Five games in six days would see my bladder put to the test along with my logistical and organisational skills. The amount of planning I put into moving my mates around France was monumental, so a beautiful soundtrack to calm me down was much required. Sending out a new music request returned some gems like Sepalcure– ‘Folding Time’Maribou State‘Portraits’ and Four Tet‘Randoms.’ The latter being an excellent pay what you feel album offered on Band Camp, an amalgamation of unreleased tracks with stems used in recent crowd-pleasing remixes. A favourite of mine was CHVRCHES “Leave a Trace” edit which used a stem from “Moma” the first track on Four Tet’s album.

Fakear fits in when travelling on trains, after big nights, calls for more downtempo than Four Tet. A friend forwarded me on the ‘Animal’ album was the first I’d heard of Fakear. A young French producer who amalgamates of deep European House heritage with sonic textures of UK and American electronic underground.

I feel that Fakear has produced an album that pushes the emotional capabilities of electronic music forward. “La Lune Rousse” shows mastery of tempos a song well placed to move both dances floors and minds, “Light bullet” is a beautiful collaboration with the gleaming fellow ninja Andreya Triana“Sheer-Khan” is a richly textured electronica and “Silver” deep downtempo soul track featuring Rae Morris.

 

I will be following his career, Really enjoyed the sound of this young producer who’s crafted an album featuring the very best of a new generation of electronic music.

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2B – Human Shazam

2B – Human Shazam

Reading through my Twitter feed, packed to the rafters of music blogs and shit jokes, a story jumped out at me. Someone has commissioned a game show based around the popular music identification app Shazam. The show commissioned by Fox named ‘Beat Shazam’ (simple yet to the point) will pit contestants against one another to “name that tune.” Winners will then go on to face the mighty app in a fight to the death (or another “name that tune” challenge).

Upon hearing this news, I couldn’t hide my excitement, finally a chance to put my, up until this point, worthless song identification skills into practice. I felt slightly dejected reading on to find that the show would be in America, however, this is only a small hurdle on the long road to world tune id dominance! For I know longer would be acclaimed by mates who regularly ask me what a tune is a few pills deep chatting breeze on a dance floor. For I could now show my pointless talent to the world. How do I apply for this show? Should I start a go fund me page? I feel this is as worthy a cause as any I’ve seen…..

I rarely brag, but my party trick is guessing almost all songs within seven secs of them starting, mind you that only from a collection of 20,000 songs, which of course are my own. I’m going to struggle on modern pop records. I haven’t paid much attention to pop after I left secondary school. Only recently keeping abreast as people play the same songs over and over again at house parties. But either way…… watch this space for 2B 2017 Shazam champion of the world (USA)

 

 

 

Not a Post about “Boys Don’t Cry”

Not a Post about “Boys Don’t Cry”

So while the world complains to their search bars about why the next Frank Ocean album isn’t out, I thought I’d take a time out away from the amazing work Franks PR team are doing and take a listen back to ‘channel ORANGE’.

I’m not that savvy with Frank Ocean. I know a little about him opening up about his sexuality, impressive in the 2012 worlds of rap and R&B which he frequents are not known for their tolerance of homosexuality. 

However, away from this story, all I knew were a select few tunes. I was given on a mixtape by my girlfriend at the time (I know, who still makes these). One song resonated with me and that was “Thinkin’ Bout You” which I first heard as a Ryan Hemsworth Bootleg (tricky to find). 

Absolutely blown away by the high notes that Frank hits to perfection on the breakdown, shivers still rolling down my back. 

A Mr Ocean kills it with one of the greatest artists of my generation IMO, “Pink Matter” (feat. André 3000). Andre adds his typically cool Atlanta flow. Andre doesn’t necessarily work within Ocean’s thematic confines, but his flow bumps against the elastic beat.

Of course, centrepiece “Pyramids” can’t go without being mentioned, but I rarely am drawn to songs which are incessantly played on commercial media. It’s a fantastic song, but I am only now enjoying it now it’s not being rammed down my neck. 

Nearing the end of the album is “Forest Gump”. A playful homage to the very much loved hero, much like Drake’s “Practice”, with a distinctly playful concept. A very accessible lighthearted song with catchy melody is very dissimilar to what came before it.

This brilliant album ends with “End”, God knows how he came up with that one. The Latin jazz feel of the track brings about a smooth conclusion with the help of a female voice whispering “You’re special… I wish you could see what I see”.

p.s. Def Jam has done Prince level censorship on ‘Channel Orange’ so couldn’t post videos :/

BadBadNotGood – IV

BadBadNotGood – IV

I first heard of badbadnotgood when my housemate dragged me along to an intimate gig at the Harley. I miss that venue. A venue in Sheffield where I’d witnessed an eclectic mish-mash of incredible artists ranging from Giggs to Floating Points to Joe Goddard.  

After their performance, I was hooked. The band has produced nearly an album a year since, working with many incredibly talented and acclaimed artists in hip-hop and elsewhere. 

The latest instalment hasn’t failed to impress, an album packed with beautiful collaborations like the ones fellow Canadian’s Kaytranda and Charlotte Day Wilson. Taking elements of Hip-Hop, R&B and Jazz from their previous work to create a perfect accompaniment to a sunny afternoon. This may be described as jazz, but I have been won over by this bands accessibility. The Ontarian’s (is that right? I hope that’s right) have worked with the likes of Odd Future, Frank Dukes, Ghostface Killah, Earl Sweatshirt and started over their love for jazz. It’s themselves and artists like Flying Lotus, Thundercat and Kamasi Washington who have opened me up to exploring jazz. Such a huge mass of untapped music left to be explored. 

Although a fantastic album, it doesn’t contain the same energy which drew me to the band during their live gigs. I haven’t seen them since 2013 when their shows contained a youthful energy characterised by ‘Since You Asked Kindly’ from the album III 

 

Upon writing this, I realised I haven’t given the album ‘Sour Soul’ collab with Ghost Faced Killah my full attention. The soundtrack to tonight, sorted!

Album Review – Beaty Heart

Album Review – Beaty Heart

Beaty Heart have elevated themselves with their second album ‘Till the Tomb’ a seductive electronic and funky take on indie. South London trio have produced texture-laden of electro-pop album befitting regular radio play (during the limited summer months Britain has to offer).

Beaty Heart’s sound has significantly evolved from the self-proclaimed muddled of early years, jumbled afro-pop- inspired psychedelia has been refined with smart layering of enslaving riffs and catchy samples.

Glorious energetic opener “Flora” highlights the bands’ new accessible feel while maintaining quirky identity. “Glazed”, a song fitting of a romantic dream sequence scene felicitous in its delicate falsetto and smothering of r&b style finger snaps.

From humble beginning’s in Tonbridge Wells, childhood friends Charlie, James and Josh ventured to South London amalgamating into artist collective, over years experimenting with many creative exploits before finding their identity as Beaty Heart.

On the back of supporting Jungle on there worldwide tour, it is evident ‘Till the Tomb’ shows influence from the Mercury nominees clean, funky ways. The Album evokes a sense of festivals fields sound-tracked by Glass Animals, Foals, Hot Chip etc.

Not a rare sound, with occasional dips into shallow pop, Beaty Heart have succeeded in producing an ambitious album, which through seductive electric samples and rhythms continues to suck you in with their trademark weirdness.

6/10