ATC Hi-Fi Passive Series 2013:
SCM7 (Generation 3)
SCM11 (Gen. 2)
SCM19 (Gen. 2)
SCM40 (Gen. 2)
What a bunch of knobs
#recording #Rupertneve #chandlerlimited #gear #knobs #bliss
freshest jazz hip-hop instrumental I’ve heard in awhile
“Earlier this year, I found my past home movies. I started watching them & reminiscing. It inspired me to create this song. Cherish every moment with your family! The sound is also inspired by Nujabes & Uyama Hiroto music.”
Off my latest e.p “Moment In Time”. Download Here
Patsy Cline - Seven Lonely Days
In belated observance of what would have been Patsy’s 81st birthday.
The boys have grown up. #arcticmonkeys #am #awesome #black #slick #sexy
The Strokes - Comedown Machine
Such an air of mysteriousness that surrounds the New York 5. I feel that they are always underestimated or unconsciously ignored yet when they speak, play, record, they hold such authority and no one can say anything.
The Strokes had a great run with albums “Is this it?” and “Room on fire” and they had that hiatus or quiet-period and finally brought out “Angles”. Expectations were high and some were predicting their downfall but could not justify such wild prophecies since “Angles” proved The Stokes’ class and here they do it again with the “Comedown Machine”.
Songwriting and arranging in truly, a class of their own. They’ve looked back to the 80’s and possibly 70’s disco for some synth driven pop songs (“Welcome to Japan”) and their usual fare of good ol’ rock (“All the time”) and as a good album should, it ends with something completely out of left field (“Call it fate, call it karma”).
How good are the boys? Damn good and damn fine I say. Damn good.
I recently bought this album after belatedly discovering Bonobo’s music starting from the exquisite “Black Sands” and working my way backwards to “Animal sounds”.
So now I decided to stride on forwards and venture into Bonobo’s latest offering and as write this I am liquidating and infusing within the expansive and sultry sounds of this brilliant body of work.
As I worked backwards through Bonobo’s discography, Bonobo’s sophistication with the way he produces and engineers his sounds are apparent but this is not to say that his earlier stuff was any worse off, it was just different. Bonobo has become more clinical and focused on his direction and structuring of his songs and the way he texturises or layers the sounds are seamless and very natural. The combination between tribal-sounding percussive hits with the finely processed kick and snare beats create a meditative atmosphere that is finely edged with the sense of the silent deadly movement of something like a buddhist monk who is highly efficient in the martial arts. Wrapped around this are the intricately meshed sub bass, pads, strings, mallet instruments and vocals that intertwine within and without each other. He ever so smoothly slides one layer upon layer and with the same deft touch he silences certain parts to reveal the shimmering line of a trembling violin or the twinkling drops of a vibraphone/glockenspiel-type instrument.
All the songs work together to create a continuous stream of sonic pulsations. The vocal lines are dreamy and on the surface, unfocused but listen closely and it is an illusion for the vocals surge forward on its own path, overdubbed, treated with echo and reverb to fool the ears of us.
"First Fires", the first track of the album, sounds like an introduction and welcome to the "The North Borders". The song is the most direct in the album and will catch you with Gary Reverend’s sultry tones and the deceptively wistful nature of the song is somehow, "catchy". It is a web designed to ensnare and to wrap you within the deep of "The North Borders".
Let us not forget that Bonobo worked with Simon Green (who pretty much wrote all the songs), Larry D. Brow, Erica Abi Wright, Cornelia Dahlgreen and Szjerdene in order to create such wonder.
In saying all this, I feel that I would need to be in a particular mood to fully appreciate this album and from listening to this, it is not hard to know what kind of mood you would need to be in. However, in the helter-skelter pace of the modern world in which the ‘loudness’ wars are ever increasingly become shrill, it is an album that I most definitely will be coming back to for solace, to make it my own voluntary solitary confinement for 58 minutes and 43 seconds.