Tagged By electronic

PREMIERE: Super Magic Hats – ‘BRB’ (Kitty cover)

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Super Magic Hats

Savvy to the task of remixing, err….‘emo-bounce’? Super Magic Hats aka. local electronic producer Rob Masterton has done it. He’s covered Kitty’s ‘BrB’ (with vocals courtesy of Bonnie Morrison), minus the bad underwear and ‘bae’ refs.

Masterton grew up on the Isle of Man in the UK, but now resides in Melbourne. Kumori is a criss cross between electronica and all variations of it. This kinda stuff usually slants towards more a introspective body of sound, but the general vibe on Kumori is all glitchy positivity – almost as what you’d imagine Tim Shiel giving a motivational talk to be like. Once you get past the intro in ‘Slopes’, listen closely. You can kind of hear ‘Time of My Life’ over the instrumentals….‘cause that’s how all good electronica is meant to make you feel, amirite?

Kumori was released recently via Washington based Hush Hush Records. The EP is available for download or on cassette to add to your stack. The tape version features and extra track and the cover below. 

If you like what you hear, you can revisit SMH’s older releases over at his Bandcamp.

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SEQUENCE: Lower Spectrum

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Photos by James Whineray

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When sound artists aren’t soundtracking the future / pulling knobs they’re busy doing other normcore shit like walking their dogs and putting dried fruit into plastic bags at Kalula’s. Lower Spectrum (Ned Beckley) went for a walk with photographer James Whineray around Fremantle the other week. Special appearances from Comida Do Sol, Benny, James, Lucy, Pesto the dog and Booyeembara Park.

Lower Spectrum is Triple J Unearthed’s Feature Artist all this week. Listen to more of Ned’s spectral work here, or order the latest EP, ‘Traces’ on vinyl or CD over at his Bandcamp profile.

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(View full photo set below.)

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WATCH: HEAVY – ‘Coming Out’

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Self-described as “Weed and Vaseline Gangstas”, Auckland’s HEAVY follow up their excellent EP ‘Tasty‘ with a video for ‘Coming Out’.

HEAVY are a hip hop duo whose music is defined by droning basses, mangled vocal samples and some damned tasty rapping. It’s hazy and smooth, while lyrically being anything but shy. With almost all their material clocking in at under 2 minutes a piece, there’s something very punchy about their ‘get up on a pedestal fo’ these fools’ attitude.

The video is a disorienting endeavour filled with outfit changes, jewelled lips and slow-mo snack foods. It’s equal parts glamorous and grubby, with an unsettlingly slight divide between the visuals and the duo’s warped vocals.

Watch the video above and download ‘Tasty’ right here.

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INTRODUCING: Zaped

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Zaped is the side-project of Brisbane-based producer, Jordan De Pasquale, whose specialty is lush and layered electronica. The Palindromes front man has moved from a live band setting to a more intimate configuration for Zaped – and ‘intimate’ has to be the best descriptor for the music De Pasquale’s making under this new moniker.

‘Paradise’ is his newest single and best creation to date; an ode to the highs of passion and the desire – or the need – to attain a heightened state of pleasure. This is a song thick with atmospherics and a comforting yet exhilarating feeling; one that ascends to lofty peaks then gently places you back in reality.

From the beginning, a stark and beautiful piano loop helps set the tone for what is both a sensual and melancholic affair. Quivering drum samples help shape the opening moments of this meandering, synth-driven track before everything comes together in a peak that’s equal parts delicacy and power. Phenomenal singer Georgia Potter adds enormous amounts of energy and passion with her sublime RnB-influenced vocal.

This melodic composition is a step in the right direction for the producer. In a genre packed with talented contemporaries Zaped has some stiff competition, but with tunes like ‘Paradise’ he should be able to fill a spot in the upper tier nicely.

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WATCH: Scraps – ‘Projections’

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Laura Hill has been performing under the name Scraps for some time now, consistently putting out some of the most interesting soundscapes in Australia. Her music is like 80’s synth-pop seen through a surrealist kaleidoscope lens.

Her vocal delivery changes from high-pitched, angelic wails to robotic, deadpan monotony. With this in mind, her brand of electronic pop seems equal parts sunshine and danger. The blips and beeps form an amazing dichotomy with the pulsing and sometimes unsettling beats that she works with, together creating a vibe of dystopian satisfaction.

A perfect example of this juxtaposition is the clip for ‘Projections’, her latest creation, which was filmed at Brisbane’s notorious Toowong Cemetery. The song is another classic effort from Scraps, with retro, VHS-style footage of Christmas lights from years past interspersed with a graveyard performance.

It’s safe to say that Scraps is enthralling; anyone who enjoys beautifully skewed music will like this song. Her back catalogue is extensive and is filled with ethereal oddities; any newcomers are in for a real treat.

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INTRODUCING: The Night Terrors

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Alongside contemporaries like NO ZU and Zanzibar Chanel, The Night Terrors incorporate all the elements of shlock horror, trance and kraut experimentalism into a weird chemical reaction of awesome. All of that is explored in The Night Terrors new record Spinal Vortex, out on Homeless Records (Bits of Shit, Sex Tape, Cuntz). 

The Night Terrors rocket through sonic territory at a break-neck pace – like the Batwing if it was piloted by Kraftwerk. Careening through walls of electronic-tinged instrumental post-punk, Spinal Vortex does this all in just under 40 minutes.

Spooky malevolence and violent synth uprisings stalking palettes of sheer theremin…this band has it all.

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LISTEN: Sarsha Simone ‘Gold’ EP

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I feel there could be a turf war between Melbourne and Sydney soul soon. Down here, we’ve got a knack for big brass; as Saskwatch, Clairy Browne, and The Cactus Channel have gone on to reflect the city’s penchant for gritty live shows. And in true form, Sydney’s hit back with something slick. That person behind it all is Sarsha Simone.

Previously front woman of Dojo Cuts—a revivalist funk outfit—Simone has brought out the Gold EP: five tracks that serve up a mix of neo-soul, hip-hop, and contemporary RnB. But, Simone’s voice is hard to place.  It’s raspy in part, but it’s smooth as well — almost like Winehouse’s raw voice on her debut Frank. You can her this more clearly on Jazz Soul Scent, Simone’s recent collaboration with French artist DJ Moar. And, in the vein of your neo-RnB revivalists, she can rap to boot.  This could raise ire in others, but she seems to rap in a style that’s akin to spoken word poetry on tracks like ‘All Night’. And of course, you could look to the likes of Candice Monique for further comparisons.

The EP ticks all the boxes of the RnB tragic. Gold presents themes of lust, sensuality, and sultry nights out in language of the genre. You’ve got your usual dose of heavy bass, with Simone directly addressing you on tracks like ‘Move’.  And while it’s safe to say that Hiatus Kaiyote has broken the ceiling for local neo-soul, this EP doesn’t seem to following its direct path. On ‘Gold’, the EP ramps up the electronica, with vocal lines distorted and melodies that break out of RnB’s DNA.

But, ‘Goin On’ seems to be the front-runner. With a bass line that subtly references funk, this track illustrates why future soul has become as big as it is now. This reminds me of ‘Everytime’, a track from British producer Eric Lau, precisely because production takes a back seat to vocal agility. Here, Simone’s voice is allowed to fully branch out as you’re enveloped in her vibrato.

On the whole, Gold is a tight release that knows how to play to its strengths. Considering the sheer amount of acts that have spawned from the neo-soul trip, Simone’s yet another welcome addition to a scene that’s hitting its stride.

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