underground music – my sound(e)scape

Music On The Edge: Lee Ranaldo and Dither

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 Dither showed 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.

2016_03_02_Ecstatic_10 — Lee Ranaldo, Dither and Brian Chase (David Andrako)

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.

From the Beat To the Blues: Meet The Man Behind “Fink”

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.

6220100457_4fa4b00b0a_z — Fink live in Bruxelles | © Kmeron/Flickr

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.

22466397673_a9a968dfae_z — Fink Live | © JDUBOis/Flickr

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!

Useful Links:

(*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!)

As The Italians Do: “Be Forest” Got The Coolest Shoegaze Sound

Ever wondered what the Italian shoegaze scene sounded like? “Be Forest” got the perfect answer!

tumblr_ncqd6mrVv91rx0tu9o1_1280 — Be Forest | (image source)

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.

beforest_sito_flavia-6-2 — Be Forest | © Flavia Eleonora Tullio (image source)

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.

Useful Links:

A Late-Night Indie Playlist To Make The Best Of Sleepless Nights

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 personal late-night playlist. And remember, when insomnia comes in, put some good music on!

Where Poetry and Music Collide: “Flatsound”

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.

Mitch Welling, aka Flatsound (image source)

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.

3. We’re fighting again: Typical Flatsound tune. Soft vocals, electro beat, lo-fi aesthetics, bittersweet lyrics.

4. You said okay*: An astonishing mixed recording where he recites one of his own poem emotionally and desperately over an instrumental background.

Feel free to share your impressions of Flatsound, and get to know more about him by following these links:

Low Roar’s Soothing Tunes to Match your Autumn Mood

It’s that gloomy and yet fascinating time of the year when leaves keep falling all over the place, a windy weather finally takes over summer heat, and fireplaces start to warm every household. Now, picture yourself cuddling up in your comfy bed, over soft embracing blankets, with a cup of hot tea on your right, and a good pretentious book on your left. What’s missing? The appropriate soundtrack to welcome autumn season.

Let me introduce you to Low Roar’s melancholic and soothing sound, which will pleasantly accompany your mood in the transitioning atmosphere of the autumn.

Low Roar started as a solo venture. Ryan Karazija was the former singer of Audrye Sessions, an indie rock band based in Oakland and active from 2002 to 2010. When the band broke up, Ryan moved to Iceland and self-recorded his first album Low Roar, in 2011. A second album, 0, came out in 2014.

Low Roar is the result of Ryan’s struggle to settle in a foreign country. While trying to adjust to the new climate, environment, and job market, he started recording Low Roar to both give voice to his concern and counter solitude. It was also a way to “support his family by writing a song each day” (All Music). The whole album, then, melodically expresses ideas of change, moving, and transitioning to a new life chapter.

Today, Low Roar counts 4 members: Ryan, Logi, Leifur, Andrew Scheps. They are signed to Tonequake Records, and are currently touring Europe.

Their melodies are capable of evoking dreamy, melancholic, blue feelings. Their rhythms are repetitive, yet embracing, as they gently carry you to another dimension. The suspended, ethereal atmosphere of Nordic environment seems to have largely influenced their sound.

Speaking of instruments, acoustic guitar’s arpeggios structure the whole songs; strings and keys contribute to the delicate background atmosphere; the harmonica gives certain songs a much more folksy rhythm; the addition of special, electronic effects enhances the timelessness of the music. Moreover, the voices play an important role in the making of the sound: Ryan’s leading voice has a monotone feel, yet manages to instantly capture your attention. It creates a catchy sonic pattern, and is softened by background, secondary chorus.

In Low Roar the instrumental part prevails on the voices, the overall mood is much more agitated and gloomy, the tone softer; 0 presents a stronger vibe, a more cheerful feeling, and more prevalent lyrics. Following a contemporary trend, 0 widely implemented electronic and synthetized effects.

Here are my recommended tunes for the week:

1. & 2. Patience; Give Up
Emotional, delicate, embracing music to get lost in your thoughts.