I don’t flick the switch too frequently when it comes to bouncy producer world because semi-decent ‘blipboys’ are a dime a dozen (and there’re plenty of other internet types ready to show love) but I really like the sonic articulation on this one so today’s the day! Some reasonably simple ideas expressed with highly literate production and a diverse palette of noise. Instead of an introductory build of steadily hastening 808s, this one is replete with marching band snares that indicate the same steady forward movement with more consistency and more creativity. Throw in some synth (a la Wave Racer) punctuated by cymbals which in turn lead to some watery keys (a la FISHING) and you’ve got yourself a jam that treads lightly on its toes. Sure there’s the obligatory pitch shifted vocal samples but if an Australian producer drops a track without pitch shifted vocals are they even an Australian producer? Science just isn’t ready to answer these sort of questions yet.
As for the image included here, it doesn’t appear to be any official Basenji art but the work of Hugo Muecke whose illustrations I’ve spent the last 10 minutes browsing. I’ve always said, if it’s good enough for Basenji it’s good enough for me.
Weird fact: Both Katy Perry’s Teenage Dream and Collarbones own Teenage Dream both make reference to Jesse Davidson, the 13 year old golden orphan from central Adelaide. Those may be some untruths (I especially don’t know if he’s from central Adelaide) but I do know that he rails on that vocal line like a prize fighter. There’s more attention to space than a teenager is traditionally known to pay but he seems a special sort so I’m not going to make a big deal about it. Not many words here, just an intro, a tune and an EP out in the new year.
We’ve got ourselves a real premiere here fellas, something never before heard by the common man. Before we get into it though, I had to guarantee 250 thou page views to get this exclusive so I’m going to need all five of you to share this round about 50 thousand times each. Cheers.
Leaks has been at this nigh on a year now and his past excursions into beat making have borne good fruit. The most recent of these was ‘I’m Glad You’re Still Here‘ wherein man of the minute Thomas Guide demonstrated his knack for generating beautifully aesthetic soundbeds. The beat clung to pitch shifted vocals like a teething child, but not a regular child, like a super developed teething child. Like a twenty two year old man, still teething. Like a full grown twenty two year old adult teething away like the womb wasn’t actually that far back. A fully developed beat hanging tight to that vocal but without any really strong topline. I know, agreed, a successful beat maker need not always concern him/herself with topline but so many of these producer(/vocalist) types have loftier goals than limited production and so too does Leaks, it seems. So sayeth this new song, anyway. The last was a warning shot to say “friends, I can string some sounds together very nicely indeed, maintain a safe distance and I’ll do you no harm’. This new one though, this is big business.
It’s called ‘Often It’s You’ and it sees the Leaks brand skyrocket in value with the addition of an unmolested vocal line delivered by, well, Leaks. Or Thomas, or whatever. It’s a rainy day anthem that doesn’t wallow too deeply in pessimism but holds to an ambivalent ‘sometimes’ sentiment. Beats are as they’ve been in the past (ie pretty swell) and the production is out of sight. It’s the same restraint that will stop this tearing up hype machine that’s also the most credible feature of the song. It all sees Thomas Guida move from super-bantam to featherweight and it’s now staring the Mundine’s of the music world straight in the teeth. With shifting weight classes come greater expectations but I’m confident he’ll deliver.
His second EP will be out through Zero Through Nine. Eventually. Just another coup for Melbourne, isn’t it. Keep yourself well oiled, there’s good things ahead from/for Leaks, mark my words.
‘Watch Me Turn Colourful’ sees a Morse code bassline carry an encrypted message of ‘All of you just simmer on down’ while smokey hi-hats just keep on keeping on. This is whiskey drinking music. This is crime solving music. These are some proper Carmen Sandiego super sleuth jams. No more than thirty seconds in Black Pews and I’d already helped vindicate Jeremy Hammond and convinced the global super-government that ‘Leaky Old Snowden’ was innocent of all charges. These are songs of justice and truth, piped to you direct from McKinnon, VIC.
Little while back I had feelings for a song by Yujen. It was called Heirloom. It was a staggered little number with chimes, an attractive round bass sound that was graceful in its simplicity and on the back of that good’n they’ve offered up another. I’ll just come out and say it: the part that’s going to be the headline for Yujen over the next few weeks is the guest Chetvox. The beardy-boy wonder Chet Faker is on this and feel for Yujen in that their (they’re a three-piece) reasonably long awaited resurgence is going to be veiled by bigboys vocals. Sadly, the beat end won’t even be the byline. Story two is that Chet just started his own label (interesting move on the back his own FC signing) with Jack Vanzet (aka Thrupence) under the name Detail Co. This new Yujen jam will spearhead things. I know I’m perpetuating the media misdirection by talking about the wrong aspects of this release but I’M GETTING TO IT, give me a sec.
As for the actual song itself
(See? It was literally one sentence away), it’s strong. I made much of Chets vocals but the guy has a way about him that’s crazy charming. Sophisticated in delivery and though we’ve never really seen his range challenged, his tone is nothing if not saccharine smoothe. The beat is swollen with bass and not the kind that kicks in and out but one that remains a constant, padding the whale sounds and snare snaps. It’s warm and it’s easy but it doesn’t smack me with an irrefutable hook or particularly modern beat end so while the listening is sweet that’s as far as I’ll go. Really promising, but then so was the last. Let’s see what’s next.