Abstract Electronic UK #2
Abstract Electronic UK #2 Ambient,Electronic,Experimental Part 2 of my monthly dive into contemporary experimental electronic practices within the UK, artists producing at the intersections between post-ambient and power-ambient composition, electroacoustic methodologies, and the frameworks of deconstructed club. These works explore timbre and texture as forefront compositional components and demonstrate advanced approaches to sound design and signal processing. Non-linear form, wonky rhythms, and process-driven compositional systems take precedence over traditional structures/form, rhythmic or harmonic progression. 21st-century work that draws from the spectral, noise, and post-industrial lineages of the 20th century. This approach to composition is shaped by an informal pedagogy transmitted through technology, online channels, production techniques and club contextualisation rather than through formal institutional structures or genre formulae. 1. BJ Holy: ‘Earth Sign’ BJ Holy is a multidisciplinary artist who seamlessly switches between roles: composer, producer, and instrumentalist. He effortlessly combines elements from electroacoustic, avant-club, ambient, and folk styles, performing live vocals, flugelhorn, and guitar alongside electronics. ‘Earth Sign’ (track nine from his debut album ‘Broken Horns’) offers just a snapshot of the record’s range. A structure built around an evolving motif alongside a patient build of texture that leaves you suspended, waiting for all the elements to converge (the drop), and for the full weight to be realised. With guest vocals from Charlotte Mandell, the pair move in call and response, their voices (at parts) intersecting in atmospheric bliss. Both vocalists recite abstract poetic musings, including fragments reprised from track three of the project ‘Clean Slate’: – “It’s my clean slate, perfect hideaway.” – “It’s my earth sign, it’s my third try.” Colliding fragments dissolve into one lingering question: What’s your Earth Sign? 2. Damsel Elysium: ‘Shoreline – Alex Faingold Rework’ ‘Shoreline’ is a cut from the London-based experimental sound artist’s 2024 EP ‘Whispers and Speaking’. Known for their multi-faceted practice, particularly their integration of strings, voice, electronics, and site-specific field recordings. Elysium weaves a textural composition that blurs the line between environment and instrument, grounded in their practice as an established cellist. Faint vocals like a siren song, electronic murmurs, and processed cello texture quietly bubble and recede. Tectonic audio plates shift beneath the surface, creating subtle drama. Saturated rhythmic stutters gradually move to the foreground, later swept away by sounds of the ocean. You’re taken on a real journey, like traversing a desolate landscape. Both Elysium and Faingold were in the short-lived band ‘Maine’. The release of their only album, ‘Barbary’ in 2023, strongly embodied my taste at the time, and I would still highly recommend it. It’s great to hear another collaboration from them, even in a different form. 3. MOBBS and Susu Laroche: ‘AXE’ Susu Laroche, one half of the currently inactive duo ‘The Fertile Crescent’ (with producer Oxhy), continues to carry the torch of a distinctly ritualistic strain of post-industrial in this collaboration with MOBBS. The ZEPO EP landed on Modern Love, a fitting home given the label’s history of atmosphere-driven releases from Demdike Stare and Andy Stott. ‘AXE’ is evocative, built on a driving, almost processional rhythm that thuds like distant war drums across the cavernous mix. Laroche’s vocals sit front and centre, layered chants upon a bed of vocal texture that sound plucked from antiquity. It feels less like a song and more like a rite, folkloric, a call to return to the primordial soup. 4. Myriad Myriads: ‘Fifth Shard’ Track five from the London-based producer’s ‘Shardcore’, an album intended to be the aural representation of taking consecutive keys of Ketamine. As K’s use on the dancefloor has exponentially grown, it’s a fitting concept. To give a curveball comparison, it’s not unlike DJ Screw and ‘Chopped N Screwed’ – where tempo drag, chopped repetition, and syrupy production aesthetics emulate the sensations of being under the influence of that purple drink. Every track on this project is brain nourishment (more so than K itself, which isn’t nourishing for your brain or for your bladder). This is my favourite ‘shard’ of the album, brittle and jagged synths sequenced with thematic wonky rhythms and motifs that stretch, condense, and resolve in the most satisfying way – replicating old Ken’s effects of time dilation. Like the Caretaker’s: ‘Everywhere at the End of Time’, but instead of slowly degrading memory, you’re moving closer to the K-hole. Released on ‘The Trilogy Tapes’. People’s Playlist by Eli Callingham Add Your Heading Text Here You Might Also Like Recent Posts
Abstract Electronic UK
Abstract Electronic UK An introduction to the contemporary experimental electronic practices within the UK, artists producing at the intersections between post-ambient and power-ambient composition, electroacoustic methodologies, and the frameworks of deconstructed club (Lanark Artefax). These works explore timbre and texture as forefront compositional components (Flora Yin-Wong) and demonstrate advanced approaches to sound design and signal processing. Non-linear form and process-driven compositional systems (Roly Porter) take precedence over traditional structures/form, rhythmic or harmonic progression. 21st century work that draws from the spectral (Joshua Sabin), noise (Emptyset), and post-industrial (Drew McDowall) lineages of the 20th century. This approach to composition is shaped by an informal pedagogy transmitted through technology, online channels, production techniques and club contextualisation rather than through formal institutional structures or genre formulae. The studio as an instrument. Pt 1. People’s Playlist by Eli Callingham Ambient,Electronic,Experimental {{ reviewsTotal }}{{ options.labels.singularReviewCountLabel }} {{ reviewsTotal }}{{ options.labels.pluralReviewCountLabel }} {{ options.labels.newReviewButton }} {{ userData.canReview.message }} You Might Also Like Recent Posts
You Are Here
You Are Here Ambient,Electronic,Experimental Today, the balance between attention and distraction is more fragile than ever. We’re overwhelmed by information and trapped in feedback loops, caught in a collective noise that drowns out perspective and presence. But is it always necessary to be present? When can escapism offer clarity? And what might it really mean — to be here, now? People’s playlists by: Pilot Magazine Instagram {{ reviewsTotal }}{{ options.labels.singularReviewCountLabel }} {{ reviewsTotal }}{{ options.labels.pluralReviewCountLabel }} {{ options.labels.newReviewButton }} {{ userData.canReview.message }} You Might Also Like Recent Posts
ISHA – ‘What You’re Seeing’
To advertise press kit, bio, signed status, sold venue capacity, upcoming shows/releases and create your own TNAM Database profile/contact board – sign up interest to TNAM Club here. ISHA – ‘What You’re Seeing’ Release Date: Release Type: Exposure: Genre: Location(s): Signed?: Current Venue Capacity : Streaming /Socials You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
✦ ✧ ∗ Glastonbury Interview ❥ Violeta Vicci
Violetta Vicci by Venetia Jollands ✦ ✧ ∗ Glastonbury Interview ❥ Violeta Vicci “I love the enthusiasm of British crowds, and the ability they’ve got to stay really silent when captivated.” 26.06.24 Words by Jessica Blissitt What has your journey been like on the road to Glastonbury? How does it feel to be performing at one of the most infamous festivals of all time? My journey has been a fun one, full of exciting performances, collaborations and lots of trial and error along the way. I started playing the violin when I was four years old, born and raised between Barcelona and Switzerland by bilingual parents; At 18 I moved to London to train as a classical violinist at the Royal Academy of Music. The first time I played Glastonbury, I was still a student and a member of a klezmer, d&b band and we played an afternoon slot at The Green Fields. I don’t think I really understood the magnitude of this festival back then! A few years later I played The Park Stage with elbow, as one of their touring violinists. Two years ago I played The Other Stage with Fontaines DC, after arranging three of their songs for string quartet! I thought that was the highlight of my Glasto journey – until finally, this year, I get to perform under my own name and bring my fully immersive audio visual show to the Tree stage. It’s a totally different experience, and it feels pretty amazing to be honest. Your third and most recent album ‘Cavaglia’ is described as reflecting the ‘pristine Swiss valley’ on your website. Do you perhaps have a song in mind that could describe the chaotic landscape of Glastonbury? Haha, possibly the song Diavolezza could relate to the Glasto chaos – however, I think my album Cavaglia, which is seeped in alpine field recordings will work perfectly in harmony with the Woodsies Area, bringing this mountain landscape to the gorgeous old British Oak and Beech Forests of Somerset. In your mix from Classical to Electronica, what can we expect to see from your set at Glastonbury? Will it be a carefully curated list, or can we expect a few pieces of improvisation? Both actually: It will be a carefully curated list from my album Cavaglia, with two fully improvised sections and links in between the written music. I really like taking the listeners on a journey with a laid out path, including surprises and new additions along the way. I love the fact that a live performance is different every time. Through your musical career, you have performed in many amazing places, and I’m sure that every audience is incredibly unique. So, in your opinion, what is one thing you like about British crowds at festivals, and what is something we could learn from our European counterparts? Yes, you are right, I have performed extensively in Europe, US and around the world in countries like Chile, Mexico, South Africa and Australia. Different countries certainly have different type of audiences! As a solo artist I’ve mainly performed in the UK – I love the enthusiasm of British crowds, and the ability they’ve got to stay really silent when captivated. It’s a lovely, very welcoming mix of people, who aren’t afraid of letting go and having a great time! View this post on Instagram A post shared by VIOLETA VICCI (@violetavicci) With so many incredible gifts as an instrumentalist, which instruments will you be bringing with you to Glastonbury? I usually tour with my violin, which I use together with my fx pedal board, midi pedal and my voice. I do love to perform the Octave Viola live, because it has a gorgeous deep sound and I used it quite extensively last year, when I was performing with Bat For Lashes. The only downside of festivals is that there is usually barely time for sound check and limited set up time, so simplicity is key! Many argue festivals are a great place to experiment with new music. If you were intending to move in a different direction with your music, what is a genre, idea, or thread that you might like to follow with your music? I’m writing my next album at the moment, and I think I’ll possibly explore the more electronic side going forward, as well as start experimenting with writing lyrics. This is a big step for me..and in a way it is a totally new idea to my fully instrumental/choral music so far. Aside from my solo project, I have already written a few pop songs with my psychedelic indie rock band, TTRRUUCES and would like to do more of that too. I also love writing and arranging string parts, which I’ve done for Fontaines DC, Grian Chatten’s last album, as well as the upcoming Sorry album. That type of work really inspires me and opens my eyes to different influences. Who knows what the future will bring! As a violinist, you may be aware that there has been a recent fascination in bringing classical composers into modern rave remixes on social media. If you have or haven’t come across them, what are your thoughts on the idea? And do you think it would be interesting to see a whole stage of Glastonbury dedicated to classical-rave in the future? I’ve not actually come across them on social media, but I think contemporary festivals are programming classical acts more and more, and there seems to be a shift where the ‘contemporary classica/cinemaitc/ ambient’ genre acts as a bridge between more traditional classical music and contemporary music. Hell yes, I’d love to see Glastonbury dedicate a whole stage to classical raving in the future 🙂
ʚ ͜ ̩͙ ︵ ̩͙ ୨ New Single Release ୧ ̩͙ ︵ ̩͙ ͜ ɞ RUBII “Night Drive”
ʚ ͜ ̩͙ ︵ ̩͙ ୨ New Single Release ୧ ̩͙ ︵ ̩͙ ͜ ɞ RUBII “Night Drive” As the weather warms up, RUBII’s latest release, Night Drive, is the perfect song to accompany those summer nights. 07.05.24 Words by Isabel Jackson https://www.youtube.com/watch?v=4hkBOt6nJtc Birmingham-born creative and singer-songwriter RUBII, explores different hip hop genres in her music, combining influences from past and present in order to create her own captivating style in the UK’s alt RnB scene. Serene vocals, accompanied by jazz and RnB-inspired instrumentation is RUBII’s signature sound. Known for hit single ‘Jealousy’, which has amassed over a million streams on Spotify, her latest single Night Drive is set to become another success for the singer. The songs melodic guitar instantly transports you to summer, while the gentle strumming of the guitar alongside her easy-going vocals makes it emblematic of artist’s musical style. RUBII effortlessly blends genres, and her inspiration from jazz, RnB and hip hop is evident in Night Drive. The song and its feeling transports the audience to exactly where the singer is, on a summer nights drive, while the lyrics themselves indicate that the song is perhaps about much more than that. The lyrics seem to explore issues around self-development, relationships and having to be able to let go of control. Lyrics such as “usually at the wheel but this time I will let you drive,” and “I like control so I tell you go left and right”, highlight issues around letting go, and being able to develop in a relationship letting go of control, restraint, inhibitions etc., – no more holding back just embracing the relationship. The artist is exploring her inner turmoil, and her lyrics show an openness and candour in reflecting on her own development. While “put your pedal down and let’s go”, and “I can’t hit no brake”, indicate a feeling of personal development and growth within the artist, beyond just in a relationship, and perhaps also a reflection of the artists musical development, as she continues to define her place in the UK’s RnB music scene. As the days are getting longer and, hopefully warmer, I will definitely have this on repeat all summer long. View this post on Instagram A post shared by 𝕽𝖚𝖇𝖎𝖎 (@aka.rubii) You Might Also Like
˚ ⁀➷New Album Release ˚ ༘✶˚ ⁀➷: LI YILEI “NONAGE”
⁀➷New Album Release ˚ ༘✶ : LI YILEI “NONAGE” “Growing up has always been a solitary journey, marked by forward-looking anticipation, anxiety, unripe potential, aspirations, and closures.” 19.03.24 Words by Isaac Phelan https://www.youtube.com/watch?v=Qw-VvhpZpcU In the realm of music, few endeavours are as deeply personal and evocative as exploring the corridors of one’s own childhood. London-based Chinese composer and multi-instrumentalist Li Yilei returns to Métron Records with their latest album, “NONAGE,” a poignant reflection on their youth. With a blend of introspective compositions and innovative soundscapes, Li Yilei invites listeners on a nostalgic voyage through the realms of memory and emotion. “I remember pressing piano keys like touching flowers, reading scores like looking at paintings, writing like how I would talk to myself, greeting death like how I would greet life.” Through a masterful combination of samples from old Chinese TV shows, mechanical toys, bird whistles, broken accordions and an array of acoustic and electronic instruments – some of which were personally designed and built by Li – “NONAGE” emerges as a testament to the power of music to capture the essence of childhood,offering moments of contemplative transmigration where past and present intersect. The Album artwork created by Li even includes photographs of the ‘Umbrella Wind-chime’ – one of the custom instruments built by the artist and used on the project. “This album can be viewed as an extended form of poetry and sonic landscape, an extensive dream.” The first part of the album explores the carefree and playful instances of early life, which is contrasted by the exploration of “Trauma” – the keyword that the second half of the album examines, seeking reconciliation, mending, and growth. Listeners are encouraged to engage with this album as if it were a dream, in the form of non-linear poetry. At the heart of the album lies the Chinese title “垂髫,” which translates to “childhood” or “dishevelled hair.” This evocative phrase encapsulates the carefree phase of life when children let their hair down, both figuratively and literally. For Li Yilei, “NONAGE” serves as a doorway to revisit this cherished period – a space to confront the spectrum of emotions, from fear and fearlessness to love and despair, grief and glee, curiosity and mistakes. Initially conceived as an archive project, “NONAGE” will now make its debut on March 6th, and promises listeners an intense journey of rediscovery – to revisit the innocence, wonder, and complexity of childhood through the transformative power of music. From the whimsical melodies of “Go, Little Book” to the haunting ambience of “Thé Noir, Rêvasser, Retrouvailles,” “NONAGE” serves as a poignant reminder of the enduring impact of childhood on our lives. In the hands of Li Yilei, this concept becomes not just a distant memory, but a living, breathing landscape waiting to be explored anew. View this post on Instagram A post shared by LI YILEI (@li_yi_lei_) You Might Also Like
｡◃◈New Single Review◈▸ : Amie Blu “everything about her”
｡◃◈New Single Review◈▸ : Amie Blu “everything about her” On February 15, Amie Blu released her single “everything about her”. This is her first release since her 2023 EP crumbs in my bed. 27.02.24 Words by Joyce Lian https://www.youtube.com/watch?v=ZMnzhtN0vRQ The new single highlights her signature smooth style, but also features a new sense of lightness that her previous works have not. The song’s lyrical topic is most fitting for a release date following Valentine’s day, as Amie Blu croons about the hypocrisy of a hurt individual, who mistreats Amie in the same way they have complained about an ex in the past. Amie’s deeply rich, yet gentle, timbre expresses her heartbreak amidst the disappointment from seeing this hurt individual become everything they claim to hate. Amie’s soft and ethereal vocals are supported by an equally mellow instrumental. A simple drum beat accompanied by a pleasant strumming emanates throughout the entire song, while a twangy melody carries listeners into the first verse and reappears during the choruses. The chorus instrumentals pack just enough punch such that there is a satisfying build up, without sacrificing the overall serene energy that the song brings. Accented by soft backing vocals and gentle reverb within the instrumental, the vocal and instrumental performance culminates in a delicate and soothing song. “everything about her” perfectly melds the wistful lyrical content with a straightforward, yet interest-grabbing instrumental, and the result is an easy-listening song that is equally catchy as it is beautiful. The relative simplicity of the song showcases Amie’s vulnerability in her lyrics, while still leaving a sense of calmness. This song is a perfect addition to both a chill late night playlist or a slow morning playlist. View this post on Instagram A post shared by Amie Blu (@amiebluu) You Might Also Like
NEW EP RELEASE – Bel Cobain ‘Radical Forgiveness’
NEW EP RELEASE – Bel Cobain ‘Radical Forgiveness’ Bel Cobain cuts through the noise with her radical energy and vivid storytelling in new EP ‘Radical Forgiveness’ 11.12.23 Words by Amalia Castle https://www.youtube.com/watch?v=WXcMQ7KEX_8 Last week, East London-born singer-songwriter Bel Cobain uncovered her highly anticipated 5-track EP ‘Radical Forgiveness’ , after teasing with the addicting jazz infused drum and bass release ‘Unlikely’ and poignantly honest ballad ‘Pressure to Exist’. Bel Cobain’s sonic evolution, over the past five years, has led her to a place where integrity and consciousness find the perfect solace in her sultry vocals. The rising singer-songwriter has settled into an important seat within the UK’s growing Neo Soul and Jazz scene. Not shying from sometimes uncomfortable, but necessary, social and political truths, Bel’s most recent project is a true testament to her musical progression. ‘Radical Forgiveness’ sees her exploring the sounds of Jazz, R&B and Drum and Bass, while bringing a clarity to her message through her striking vocals and hard-hitting spoken word. This most recent release showcases the 22-year old’s perceptive understanding of not only the world around her, but of those far from her. Having crafted ‘Radical Forgiveness’ between London, Mexico City and Oaxaca at an artist residency, she tells i-D how inspiration spurred from the striking communities she encountered and their untamed creativity. ‘Wordly Bliss (Interlude)’ is an example of Bel’s evolved consciousness, where she dives into a commentary on the copious atrocities taking place in other parts of the world. She questions her own circumstances, in which she is warm and well-fed and she contemplates that with the current state of the world, for many, ignorance appears to be bliss. In the first track ‘Pressure to Exist’, Bel enters with her evocative vocals and keys that ooze a grounded, tender soul. Setting the tone for the EP, she crafts a sense of release and escapism through her expansive melodies. She looks back retrospectively at a breakdown she had in her late teens, recalling her search for answers;“Is this a breakthrough, or is it a breakdown?”. Having spent most of her life in London, Bel recently decided to move away from the chaos of the capital to the Kent coastline, prioritising her connection with nature and spirituality. Her escape to the tranquil pace of the coast shines through in the slow burn of ‘Pressure to Exist’ and track four, ‘Came Over Me’. As ‘Unlikely’ plays, immediately a new story unfolds. Carried by an exhilarating drum and bass rhythm and a jazz-heavy bass, we hear Bel’s haunting vocals deliver the story of a paranormal encounter she had during her time in Mexico. She intertwines her experience with a poignant commentary on the injustices towards Mexico’s own indigenous people as she sings “feeling sorry for my people who got rigged by the systematic default”. At the EP’s half-way point, Bel strips it down with ‘Worldy Bliss (Interlude)’, which intros with a striking, moody bassline and her ghostly distorted vocals. She holds this same enigmatic energy in ‘Came Over Me’, as she speaks closely to the listener. This time however, injecting a sure sensuality into her cadence and painting pictures of lonely late nights calls that often lead to a momentary bliss – whether it’s good for us or not. Bel wants her listeners to know that ‘Radical Forgiveness’ is more than just an EP, it’s a message bigger than her. “I want to make sure that if there’s anything I leave, it’s a clear message for people to wake up, smell the coffee and do something about it. I’m on radical energy,” she tells i-D. Ending the EP on that same high, she finishes on the hopeful, lo-fi dance track, ‘Awakening’ calling listeners to join her on a path to a higher understanding of the world around us. You Might Also Like
NEW SINGLE RELEASE – Meadow Meadow ‘Talulah’
NEW SINGLE RELEASE – Meadow Meadow ‘Talulah’ 02.11.23 Words by Max Persad Following on from their 2 EP’s, Members Pete Darlington, James Green, Maya Bovill and Holly Hardy known as ‘Meadow Meadow’, released their new single ‘Talulah’ in anticipation of the full length set ‘You Are So Alive’ arriving on the 24th of November https://www.youtube.com/watch?v=T1fnE2TWTwk ‘Talulah’ is quite the juxtaposition. Using upbeat rhythms, pulsing strings which is further accompanied by melodic keys and throbbing synth, the lyrics tell the story of healing and finding yourself again after a toxic and abusive relationship. However, the two accompany and complement each other with incredible beauty as the listener is transported into this melancholic but hopeful acousmatic world. Speaking on the track, Pete identifies that this is a song which is ‘inspired by stories from the women in my life, this is dedicated to them’. It also includes a verse from bassist Maya Bovill which is a welcome touch and adds so much variety and delicacy to the track. The first verse from Pete offers a helping hand to women who are struggling in relationships with lyrics such as ‘your heart will grow again’ and ‘you will heal slowly’. It’s so profound to have a male voice offer a tender shoulder to lean on in this sense, its deeply moving. Maya’s verse then responds to Pete in a duologue type fashion, she speaks of this support and how she lost herself leading to quite a poignant and touching listen. At the end of the song, the drums perk up and take on a melodic mind of their own which gives the sense and feel that everything will be okay and help is just a comforting expression away. From this experience, Meadow Meadow have some incredibly calming and inspiring work and it’s exceedingly exciting to see what more this talented quartet can produce! You can catch Meadow Meadow touring in the UK on their first headline run from the 2nd of February to the 19th in 2024. You Might Also Like