Already tired of your now-out-of-date quarantine playlist? London-based band KAWALA is back with new harmonies and afrobeat tunes to brighten this 2020!
Escaping all genre definitions, KAWALA are a folksy, indie-pop, afrobeat ensemble that loves experimenting with multiple vocal harmonies, finger-style acoustic guitars riffs and psychedelic beats.
What do you sound like?
KAWALA: “Like all the worst parts of indie, folk, afrobeat and pop combined to make something quite bizarre.”
They reached online popularity in 2018 after the release of their upbeat single “Do It Like You Do”, boasting over 11 million streams on Spotify and a happily contagious music video on YouTube featuring dance acts from people of all walks of life.
In the last two years, they released 3 EPs: “D.I.L.Y.D” (2018), “Counting the Miles” (2019) and their homonym album “KAWALA” (2020). Each EP is building on the other, developing greater maturity yet retaining the rhythmic and melodic elements that are at the core of the band’s distinctive sound.
“Ticket To Ride” is their latest single released in June 2020, which offers the perfect escapist mood to dream of far-away places and float into an atmospheric soundscape while we are stuck in the midst of this pandemic.
Elegance, experimentation, and a core rock attitude took the stage at Villa Ada Festival, where Daughter played their first show in Rome, on Monday night.
Located in the north of Rome, Villa Ada offers an enchanting venue to perform at night, as a small lake encloses the stage on both sides, and the surrounding trees are dressed up in gleaming lights. Such a location could only add to the already whimsical aura of British, indie/folk band, Daughter.
Heading from North London, Daughter has reached worldwide recognition after two self-released EPs, and two album, “If You Leave” (2013), and “Not To Disappear” (2016). Their signature sound is hypnotic, multi-layered, and deeply enticing: Elena Tonra’s vocals merge seamlessly with guitarist Igor Haefeli’s arpeggios, and drummer Remi Aguilella’s beats. When live, their attitude gets rockier, their presence heavier – also supported by their forth touring member, the multi instrumentalist Lucy Parnell.
The setlist presented in Rome offered a balance between their latest and debut album, lasting over an hour and a half. Yet, time seemed precariously suspended among their hushed melodies, bold crescendos, melting synths, and uneasy lyrics: “You better make me better,” Tonra obsessively repeats during Numbers‘ majestic bridge; “Buried deep within there’s a human/ despite everything I’m still human/ but I think I’m dying here,” cries Human‘s chorus. As also Tonra pointed out during the set, “[she] write songs about dying”.
Their energy, though, was definitely vital, and grew throughout the show, exploding in their last three songs: New Ways enticed the mind with its crescendo, Youth (their most famous hit) won the crowd over with its mantra-like statement “We are the reckless, we are the wild youth,” Fossa bewildered the soul with a dazzling, 3-minute instrumental outro.Wholeheartedly acclaimed by the fans, the band returned on stage to perform an additional song, Made of Stone, closing delicately their set with whispered voices, reverberating through the whole Villa.
As their last notes vanished into the air, that whimsical spell they had seemed to cast on time and space broke. With elegance they left, leaving behind memories of an experimental music experience, an ambient/rock soundscape worth wandering in if you’ll get the chance!
Forget the dazzling lights, the huge, deafening amps, and the ever-expanding arena fields. Today we are at the Crossroads in Garwood, New Jersey. This live venue offers nothing overtly majestic, and yet it does provide the setting for majestic performances: the space is small, yet cozy, dimly-lit, and yet inspiring. Active since 1996, the Crossroads has become a landmark for live music in NJ, and on May 1st it hosted two intimate, stripped-down performances by ex-My Chemical Romance guitarist Frank Iero, now touring under the pseudonym, frnkiero andthe cellabration.
Both shows had sold out in a few minutes after their announcement. On May 1st, on a heavily rainy Sunday, devoted fans invaded the parking lot of the Crossroads, lining up since early morning – the bravest ones had been camping outside for two days! Despite the bleakness of the weather, the atmosphere was serene: people introducing each other, exchanging past concert experiences, singing their heroes’ anthems, or drawing illustrations as gifts to later shower Iero with.
Around 1pm the tension rose dramatically as the doors finally opened. It took little time to fill up the venue. Fans gathered around the tiny stage, which actually looked like an intimate living room, furnished with a small table and an abat-jour. It felt like being home, and the performances really benefited from this familiar vibe.
Geoff Rickly, Iero’s old friend and frontman of successful post-hardcore band Thursday, first took the stage for a solo acoustic performance. The overall atmosphere was extremely casual, yet raw and authentic. He alternated music – both from Thursday’s past hits and his more recent solo mixtapes – with impromptu talk, addressing the audience. His vocals, foregrounded by the lack of extensive instrumentation, were impressive, rich in texture and emotion.
After an additional, nerve-wracking break, Iero finally made his way up on stage almost as casually as Rickly: he was followed by his family – his three kids and wife, Jamia Nestor. He was serenely drinking a cup of tea from a colorful mug with a fat cat stamped on. The audience went crazy.
Iero greeted his fans with warm affection, and then introduced his accompanying musicians, Evan Nestor, the lead guitarist, and Matt Olsson, the drummer. It was just a big family reunion. Right from the start Iero pointed out he would rather watch people in the eyes than staring at blank smartphone screens. The audience fully agreed. The show turned into an honest, joyous sharing experience, filled with music – both original songs from Iero’s debut studio album, “Stomachaches”, and covers – and spontaneous Q&As with the fans. The questions ranged from “What do you think of this band?” to “Do you feel the Bern?”. The kind of talk you would have among good, old friends.
Turning to the music, the acoustic sound really gave new life to Iero’s songs: the vocals were more limpid, the harmonies with Nestor highlighted, the overall vibe engaging, and yet it retained the punk, angsty attitude of “Stomachaches”. One of the highlights: Iero’s energetic rendition of “25 Minutes To Go” by Jimmy Cash.
Both shows lasted approximately 2 hours, and spanned from 2 till 10 pm. It was an all-day, music-enjoyment party. It is remarkable to note that, after each set, Iero took the time and patience to greet, talk to, and sign autographs for every single fan. He gave away his best smiles and hugs, and people truly appreciated his kindness. (Kudos to the Crossroads staff for the smart handling of the crowd!) Dazzling lights, huge, deafening amps, and ever-extending arena fields weren’t really needed to make and experience true, astounding music. Frank Iero and his friends proved how much simplicity and good heart pay off.
(*STAY TUNED: frnkiero andthe cellabration just announced they’re going to start recording new music within the next few weeks!)
When it comes to experimental music, there is a very thin line between noise and sound.
The real distinction between top and average artists lies exactly in their ability to play on the edge of such a line, neither pushing it too far nor lingering in the comfort, predictable zone. On March 2nd, 2016, Sonic Youth founding member Lee Ranaldo and Brooklyn electric guitar quarter Dithershowed us how it’s done: they managed to keep the balance and give an impressive, avant-gardist performance at the Ecstatic Music Festival hosted by the Kaufman Music Center in New York.
The Ecstatic Music Festival, defined as “a kind of heaven for show-goers in search of the ever-elusive, one-of-a-kind live music experience” by The Village Voice, is now running its sixth edition, and is currently taking place at the Merkin Concert Hall, a venue renowned for its cutting-edge programming.
The performance was held in an elegant, yet cozy auditorium; the pre-show atmosphere was relaxed, yet quite formal, more resembling a theater than a wild concert location; the audience mostly consisted of couples going out for an alternative date, nostalgic middle-aged Sonic Youth fans, and hard-to-please peop
e simply looking for something new to be impressed with. (They were not disappointed).
Dither opened up the show. Resembling a string quartet, the four electric guitarists positioned on stage, and allowed no space for small talk: music began and it soon filled the entire venue – the acoustic was so refined that allow
ed for a 360° sensorial experience. They performed four songs, each composed by a different member, each retaining a peculiar feel, which ranged from Tibetan melodies, to more aggressive rock-ish rhythms or experimental classical sonatas. Drones, distorted notes, audio feedbacks, and white noises hit the audience; yet, among those seemingly chaotic and dissonant sonic textures you could definitely discern intelligent and amusing patterns. Indeed, they played extensively with dynamics, and based their music on suspended atmospheres, unexpected twists, engaging crescendos, and built-up, overlapping layers: it really felt like the sounds were just enfolding and evolving before your eyes. The result was a psychedelic, aerial trip.
Lee Ranaldo soon joined them on stage, and you could tell that a perceivable sense of anticipation arose in the audience. With the accompaniment of drummer Brian Chase, they performed three songs – the “Hurricane Trancriptions”, based on field recordings made by Ranaldo in New York during Hurricane Sandy in 2012, were the most striking – at such an intensity that you could easily mistake them for a full orchestra. Though, at one point, they really became one as Ranaldo turned himself into a conductor.
The show ended on a more pop, easy-listening note with new Ranaldo’s song, “Thrown Over The Wall”, which offered the audience some catchy hooks to sing along while going home. And yet, the overall purpose of the night was another: to create something new, challenge mainstream taste, and intrepidly walk on the edge of music.
Once you go dub, you never go back – at least, that’s what they say.
Starting off as a music producer and DJ gravitating toward the electronic and dubstep music scene, the independent English-based musician Fink has today turned to a more introspective, blue-ish, and acoustic sound. He did not completely leave his musical past behind, but managed to incorporate various influences into a more mature and nuanced sonority.
Want to know the whole story? Here’s how it all went.
Fin Greenall is the man behind Fink. He grew up in Bristol, and as both his parents were musicians (his father was a folk musician, his mother was involved with classical music), he developed a true interest in music from a very young age.
“The great thing about growing up in a house where music is a big factor… was the fact that music being part of your life was a perfectly natural thing,” Fink recalls in an interview.
Later on, he went to the University of Leeds and discovered a passion for dance and electronic music. He began his career as a music producer with the indie record label Ninja Tune and started producing his own music with the release of his first EP, “Fink Funk” in 1997. Until mid-2000s, he also worked as a DJ, and was thus predominantly associated with the dubstep music scene when he decided to drastically change path.
In 2006 he released “Biscuits For Breakfast“, his second full-length, studio album, which is strongly characterized by blues influences and grooves. From that moment on, his music has mainly relied on acoustic guitar, more genuine sounds, and introspective atmospheres. Traces of his musical electro background can be found in the structural rhythms of the songs, in their engaging beats, and in the experimentalist overlapping of the vocals.
In my opinion, Fink’s major strength and distinctiveness mainly lies in his unforgettable, warm, embracing voice. It is soothing yet at times disturbing, low and captivating, emotional yet sometimes unnervingly monotone. It has the perfect blues vibe.
Up to now his discography comprises 7 studio albums, 2 live albums and 1 EP. Interestingly, his latest album, “Horizontalism” (2015), marked a significant step back to electronic and dubstep music: the album comprises re-worked materials from the past album, “Hard Believer” (2014), and a few new dubstep remixes.
As usual, I will leave you with my personal musical recommendations for the week:
1. Yesterday Was Hard On All Of Us
My favorite one. It can easily get addictive. A simple, yet straight-to-the-point track, relying on acoustic guitar riffs and warm, soothing vocals. (The live version with the Royal Concertgebouw Orchestra is just amazing)
2. Looking Too Closely
Low-key track building up on a piano background, engaging beats, and deep vocals.
3. Hard Believer
This one really got the blues. The mood is dark, the rhythm super captivating.
4. Green And The Blue
Delicate and calming track. It gently guides you through a lengthy, introspective musical journey.
5. This Is The Thing
Acoustic, folksy/blues melodies. The vocals are foregrounded and warmer than ever.
Feel free to share your thoughts on Fink. And stay tuned for his next musical twist, you’ll be surprised!
(*This article is dedicated to Claudia – if it wasn’t for her, I would have never discovered and fallen in love with Fink’s music. Give her a round of applause, now!)
Heading from Central Italy, precisely from the seaside town of Pesaro, “Be Forest” is a young, talented trio with a strong female presence: Costanza Delle Rose and Erica Terenzi are the two vocalists; they also play the bass and the drums, respectively; Nicola Lampredi is the lead guitarist. They have been playing together since 2009, and received significant international recognition, both in Europe and the US (WWNBB).
To be honest, when I first stumbled upon “Be Forest” I though they were anything but Italians. Their looks, attitude, and musicality instantly recall the British shoegaze and dream-pop scene of the 80s. Indeed, their genre ranges from the aforementioned shoegaze/dream-pop to dark-wave (introspective version of the new-wave) and post-punk. Moreover, their sound gets widely contaminated with rock, ambient, and electro atmospheres.
So far, “Be Forest” have released two full length albums, “Cold” (2011) and “Earthbeat” (2014), and two singles, “Hanged Man” and “I.O.” in 2012.
Their first record, “Cold”, has a much more darker vibe and rock-ish attitude: the sound strongly relies on electric guitar and distorted noises; the bass and the drums play a dominant part in the construction of the songs. The melodies are definitely haunting, yet at times may convey a subtle feeling of uneasiness. The tracks present large instrumental sections where the vocals delicately blend in and create hypnotic harmonies by overlapping one another.
Instead, their sophomore album,”Earthbeat” has a warmer feel.
“Be Forest’s melodies have always had a dreamy lightness as their striking feature, but now it is possible to feel a new warmth“(WWNBB).
“Earthbeat” contains embracing soundscapes relying more on acoustic guitar and pop-electro beats. The engaging guitar riffs of the previous album are retained, yet softened. The overall atmosphere is suspended and dreamlike. The new-wave and experimentalist influence is much more evident in this record, which presents more mature, developed, and varied sonorities.
The band has just announced a new European tour that will kick off in January 2016, and will reach major cities in Germany, Luxembourg and France. Also, they will release a new single very soon, so stay tuned!
In the meantime, I will leave you with my personal recommendations for the week:
1. Totem
Embracing instrumental soundscape to indulge in during those winterly, rainy afternoons.
2. Dust
Dark, shadowy, rock-ish track with haunting vocals and guitar riffs. The result is magically ethereal.
3. Wild Brain
Hypnotic melodies and overlapping shoegaze sonorities will definitely make your brain go wild.
4. Captured Heart
Experimentalist track with new-wave influences, tribal percussions, and surreal vocals.
Feel free to share your impressions on “Be Forest” and the Italian alternative music scene. Whenever you are ready, press play and let the ethereal, dark, shoegaze journey begin.
A striking “Saturday Sun” emerged from cloudy Britain. A talented, creative, musical ensemble was born in 2010, in Dorset, South West England, naming itself after Nick Drake’s song, “Saturday Sun“. Combining folk and rock influences with moving, emotional vocals, they will take you by the hand throughout a whimsical musical journey.
Even though in 2015 they decided to take a break and pursue different musical paths – first together under the name “Athousandfurs“, now individually – their music is still definitely worth checking out. Also, it will be interesting to see what they will come up with in the future, so stay tuned.
“Saturday Sun” comprised three members: Alex Hedley (voice and guitar), Billy Merrick (guitar), and Allan Varnfield (drums). They released two EP, “Seagull” (2012) and “That Wave” (2015), and a full length album, “Orixé”(2013). Their first EP received great recognition on iTunes, and laid the foundation for the following record: it is a cohesive, flowing album that will instantly draw you in and let you wander among rock-ish, folksy and even some orchestral atmospheres.
Their strength lies both in the stunning musical ensemble, and in Alex’s unbelievably poignant, soulful vocals. He manages to create a remarkable contrast by alternating a delicate, hushed, falsetto voice, with a rougher, croaky, more raspy one. Personally, he reminds me of the versatile voices of Marcus Mumford (Mumford & Sons), and Josh Franceschi (You Me At Six).
At once “delicate and demanding” (Dayrotter), their music is an ethereal soundscape to slip into; their sound seems to take you to a contemplative journey into the woods, as the opening track of Orixé – Something In The Woods – evokes. The acoustic guitar riffs pull you in, the intense vocals keep you stuck, the surrounding musical textures embrace you completely.
If “Seagull” and “Orixé” relied on more reflective and rarefied atmospheres, their latest EP, “That Wave” has a stronger, more decisive vibe. The sound is more distorted, the drums more predominant, yet their emotional strength is retained – if not amplified – in Alex’s vocals. More space is given to instrumental parts – the tracks are lengthier – as well as to their rock-ish attitude.
As usual, I will leave you with my personal recommendations for the week.
1. Seagull
Pleasant acoustic musical journey. It is a great track to get acquainted with “Saturday Sun”, their engaging melodies, and Alex’s multifaceted vocals.
2. Blinded By The Truth
Mostly instrumental song. It starts off with a gentle piano-music background and hushed vocals, and grows stronger toward the end, as many more sonic textures get added to it.
3. I Want A Life For You
Heartbreakingly emotional track. The desperate vocals, and deep lyrics will strike a chord in you.
4. Interlude
Amusing building-up song. It delicately carries your mind elsewhere, shutting up the world outside. It is both relaxing and inspiring.
Feel free to share your thoughts on Saturday Sun, and stay tuned for more updates on their musical journey!
We’ve all been through some never-ending sleepless nights. The city sleeps, the clock strikes 3 AM, and you find yourself staring at the ceiling, wondering about the meaning of the universe. Somehow, though, these helpless, insomniac nights turn out to be poetic, relaxing moments to indulge in and lose track of time with: we get attached to the bittersweet allure of the night, and inspired by its peaceful stillness.
During these nights, music becomes our most loyal companion. It accompanies our silly ramblings, guides us through daydreams, and gently lets our mind wander. That’s why keeping a “late-night playlist” at hand is a must.
Today I would like to share with you one of my late-night playlists featuring lengthy, evocative and inspiring indie tracks to make the best of sleepless nights. They are mostly instrumental songs, ranging from post-rock experimental atmospheres to more introverse, ethereal dream-pop vibes and distorted, building-up shoegaze songs. Their feeling is quite dark, yet intense and uplifting. They will guide you throughout the night, so let the journey begin:
1. “Wait” – M83
M83 is a French electronic, post-rock band, based in Los Angeles. Their music relies on cinematic atmospheres, distorted sounds and emotional crescendos. “Wait”, from the album “Hurry Up, We’re Dreaming” (2011) is a musical journey on its own.
2. “Building My Own Coffin” – The Burning Paris
The Burning Paris was an American indie-rock/post-rock band from Boston, MA. They split up in 2003, but in 2006 they released an anthology, “Half-Truths & Indiscretions“, containing songs from their two previous EPs. “Building My Own Coffin” has a melancholic and engaging vibe, strongly relying on the dark texture of the cello.
3. “If You Only Knew What The Lost Soldiers Did To Me” – A. Armada
A. Armada is an ambient/post-rock band from Athens, GA. Their debut release, “Anam Cara” (2008), featuring “If Only You Knew..”, contains majestic building-up songs, ending with distorted, raw music.
4. “Quiet” – This Will Destroy You
This Will Destroy You is an American post-rock band from Texas. They have been frequently compared to Explosion In The Sky and their post-rock-ish atmosphere. Similarly to A. Armada, their sound grows stronger within the song, usually reaching an epic crescendo-core.
5. “I’m Sorry, I’m Lost” – Epigram
Epigram was an instrumental rock band from Toronto (they took an undetermined hiatus in 2011), strongly influenced by artists like Sigur Rós and Mogwai. “I’m Sorry, I’m Lost”, contained in their second album, “Reverie” (2010), is an emotional, soothing, embracing track.
6. “IO (This Time Around)” – Helen Stellar
Helen Stellar is an American shoegaze/alternative band, based in LA. This track relies on a strong cinematic feeling and soft blended vocals to create an ethereal soundscape.
7. “Distant Creatures” – The Daysleepers
The Daysleepers are an indie shoegaze/dream-pop American band based in Buffalo, NY. “Distant Creatures” is contained in their first full length album, “Drowned in a Sea of Sound” (2008). Its atmosphere is suspended, its rhythm terribly engaging.
8. “Totem” – Be Forest
Be Forest is an Italian shoegaze/dream-pop band. “Totem” is part of their latest album, “Earthbeat” (2014). Its sound is genuine, multi-layered and pleasantly hypnotic.
9. “Kettering” – The Antlers
The Antlers are an indie dream-pop/post-rock band from Brooklyn, NY. “Kettering”, contained in their third album “Hospice“, has a quite uneasy sound, delicate at the beginning, rawer towards to end. The hushed vocals and poignant lyrics will definitely draw you in.
10. “Heavy Feet” – Local Natives
Local Natives are an American indie-rock band based in LA. “Heavy Feet” is included in their latest album “Hummingbird” (2013). It comprises different influences from pop to electro and folk music. It can easily become addictive.
11. “Lullaby” – Low
Low is a well-established American indie-rock band, from Minnesota. “Lullaby” is contained in their debut album, “I Could Live In Hope” (1994). It’s a lengthy, almost entirely instrumental song, but it will keep you stuck for the whole duration.
What are your favorite tracks to listen to at night? Feel free to share your personallate-night playlist. And remember, when insomnia comes in, put some good music on!
Embracing your inner hipster has never been this fun. Through a balanced mix of vintage and experimentalism, pastel fancy art covers and unique ambient sounds, Snowmine will make you enter a creative, psychedelic and addictive music dimension you’ll hardly want to leave.
Based in Brooklyn, NY, Snowmine has been crafting evocative soundscapes since 2010. The band comprises five members, and four of them met at NYU while studying music: Grayson, the frontman, studied classical music; Austin, the guitarist, has a background in jazz music, Calvin, the drummer, in music technology (Village Voice). Their professed genre is ambient rock, but it gets constantly contaminated by many diverse influences, ranging from classical and orchestral music to afro-beat rhythms and synthesized electro noises.
The name “Snowmine” comes from a bittersweet story Grayson’s grandfather used to tell him: it recalls the beautiful and memorable snowy-night scenario during the Korean War, in which many young soldiers died because of hidden mines, covered in snow; Grayson’s grandfather remembers both the initial beauty and the dramatic sadness of that day.
Indeed, Snowmine’s sound is “pretty melancholy with darker textures”, and yet there is always a silver lining […] There’s always kind of an uplifting side, Grayson recognizes” (Village Voice; Earmilk).
Speaking of discography, Snowmine has released two albums, “Laminate Pet Animal” (2010) – the title can be read backward, as well! – and “Dialects” (2014). Wanting to preserve their own authentic sound, and preferring DIY recording, they self-released both albums. To record Dialects, they even set up their own label, Mystery Buildings, through crowdfunding (Village Voice). They have also released several single tracks: the latest ones, “Tidal Wave” (Oct 2014) and “Smoke Signals” (May 2015) present a more mainstream pop-electro feeling, and yet retain their typical ethereal vocals and experimental attitude.
What makes them stand out is the uniqueness of their sound. They always manage to create a contrast between the numerous, layered elements making up their music. They massively rely on psychedelic vibes and dance influences, but also on more classical and rétro harmonies. In addition to that, tribal rhythms, rock-ish elements, and ethereal, soft vocals contribute to the charm of their sound. Through the heavy use of echo guitar pedals, the evident introspective feeling, and the whimsical blurring of each musical component into one another, their shoegazing atmosphere reveals itself. Their sound is lively, eclectic, captivating, and widely embracing.
Here are my recommended tunes for the week:
1. Let Me In: Haunting and delicate tune relying on timeless vocals and melancholy atmospheres.
2. This One: Dense song building up on many sounds and layers. Charming vocals will keep you stuck.
3.To Hold an Ocean: Electro, engaging rhythm with a dark feel, and vintage vocal harmonies.
4. Silver Sieve: Progressive rock tune with captivating guitar riffs and psychedelic vibes. The sound grows stronger to include classical influences and an orchestral fade out at the end.
Feel free to share your impression on them. Just beware that once you start, you’ll be left wanting more!
Take a sound recorder, an old rusted guitar, some messy written journals, and the coolest vintage Instagram filters; then, add a bunch of raw uncontrolled emotions, authentic lo-fi music, and a hint of genuine creative talent: you can call the final product “Flatsound“, and yet deeply is how it will resonate.
Want to know how it all started?
Once upon a time there was a little boy who stumbled upon a magical device that could mysteriously record voices and sounds. He quickly fell in love with it, and began to carry it jealously everywhere he went. He recorded conversations as well as his own monologues; he recorded life. “It [the recording] was a part of my own life resting in my hands,” the now grown-up boy recalls. Since then, he hasn’t stopped crafting beautiful, uplifting, yet down-to-earth playbacks. He would have filled them with pretentious words, and mixed them with electro sounds to create a satisfactory output where to store his rawest, hidden emotions: the “only goal [was] to create something honest.”
Today, Mitch Welling, the man behind Flatsound, still lives up to this principle. He is able to offer listeners an authentic sound, relying on a lo-fi aesthetics and acoustic guitar riffs. He pours poetry-like lyrics onto them, manipulates them with synthesized background noises, and blends the final recordings with surrounding ambient sounds, which may range from phone conversations, to video games playing. The overall sound is intimate, and uplifting, yet at times desperate and sad.
His songs dramatically feel like private monologues, diary entires, and confessions to some lovers; thus, the lyrics are as important as the music – if not more. Even the titles of each album and many of the songs retain some poetic feelings: “It’s Sunday, April 19th and I Miss You”, “Losing The Interest and Trust I Had in You”, “The Act of Holding on and Letting Go”.
The rawness of the recording process as opposed to the perfectly polished studio sound is what grants Flatsound its authentic and credible status: I feel personally drawn to his music because it speaks truthfully and without filters; it just feels real.
His discography comprises 4 albums, 3 Eps – one, “Four Songs for Losing You“, has been recently released in September 2015 – and some more heterogeneous collections of songs that are hard to categorize: he defined, for example, “I’m okay” as a “a forty minute meditation / noise piece[, where] these noises and tones represent a period of self awareness and, most of all, healing”; as for the more standardized album format of “I Clung to You Hoping We’d Both Drown“, he described it as “a concept album of sorts. […] it’s a portion of my life. it’s saying i’m sorry and i miss you. it’s being too afraid to directly say i hate you. it’s whatever you want it to be.” His experimentalism is simple, yet mind-blowing.
Here are my recommended tunes for the week (plus a more unconventional one*):
1. Sleep: A song to get easily acquainted with Flatsound. Catchy riffs, captivating vocals and an overall engaging mood give it a more popular feel.
2. My heart goes bum bum bum: This song is extremely odd, and yet it can get stuck in your head for days. The rhythm is appealing, the lyrics definitely clever.
The performance was held in an elegant, yet cozy auditorium; the pre-show atmosphere was relaxed, yet quite formal, more resembling a theater than a wild concert location; the audience mostly consisted of couples going out for an alternative date, nostalgic middle-aged Sonic Youth fans, and hard-to-please peop
my sound(e)scape 