Archive for 2022
We knew Anieszka had a great voice, but this new one just affixed that notion immovably in the cement, a singular tone light as oxygen. It’s unimaginably breezy but visceral as the 3am dew in the air, thick enough to feel on your skin and clinging with condensation afterwards. I could swim in it, should I wish to forego the new pool we’ve developed on our balcony, shoutout rainfall, shoutout floods. It’s not all Anieszka though with the guy Beso Palma (who gave us this Kaytranada type heater on his own recent project) producing this thing with subtle clanks and all the dimensional space that vocal needs to shine. Oh, and he puts some voice down too, before the twin vocals twirl together like rope. Hell of a record from the two Sydney siders that showcases what each of them have done so well on their separates.
Embedding from youtube? We hate to see it but unfortunately I couldn’t find this one on bandcamp and soundcloud and Unearthed doesn’t yet have an embedded player (that’s on me soz).
If you split Melbourne producer duo Close Counters clean down the middle, half of what spills out across the table is called Turbo Chook. Don’t let it get everywhere, get as much of it into a glad bag for safe keeping as you can because its a valuable commodity, this over-tweaked poultry. Kaytranada-esque grooves, delicate key lines and spliced chords are a wonderful goo, viscous and warm underneath the verses of Cruz Patterson. If you look back a good five years you might recognize Cruz as the vocalist from jazzy Perth act Koi Child that were a bit of a thing around their one and only LP in 2016. On his lonesome he’s done features for the likes of Shockone and SUPEREGO but this is my favourite of his collaborations to date. This is a prime rib hookup, two artists giving each other their best cuts.
Imagine Picasso sculpting the Mona Lisa and then going right ahead and sculpting the Mona Lisa 2: Lisa With A Vengeance. That’s effectively what Elsy’s done with River Nile, springboarding off the pure strength of 2021 single Nilotic into something that, impossibly, hits even harder, faster and just as magically produced by her own hand. We’ve known from early releases that Elsy has a sizeable fortune invested into that singing voice but she this feels like the first record where she’s spent some of that currency alongside her bars of gold. Where Nilotic was #7 in my best songs of the 2021, I’m predicting an even higher placing for River Nile. Elsy’s rich run of form will extend into her forthcoming EP upon which you’ll find both singles thus far, out April 1. You bet your ass I’ll be copping the 12inch.
This one came out a few months back and I’ve given it a right old rinsing since. Here’s the thing, I’ve realized recently that I’ve let myself be cornered by the desire to only write long and well, which admittedly I’ve only done one of, and it hasn’t even been that long. Today we’re keeping it short and terrible, just some bad words and a song by Melbourne vocalist Ricky Crisp. He cites Laroi, Postie, James Blake, Joji and influences and I reckon you’ll hear all of the above come through in his vocal. He’s particularly taken some vocal production cues from James Blake which I appreciate deeply. Credit to the crispiest.
Artists you need to know rn
| 1. 1300 |  |
316 |
| 2. Voidhood | |
259 | 3. jamesjamesjames | |
186 | 4. Zan | |
174 |
| 5. Sesame Girl | |
147 |
