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
｡･:* New Single Release ⋆｡: Fiyahdred “Bad Trip”
｡･:* New Single Release ⋆｡: Fiyahdred “Bad Trip” Fiyahdred drops ‘Bad Trip’ under SAFFRON on a mission to revive black & queer electronic music: 20.03.24 Words by Aude Flanda https://www.youtube.com/watch?v=CRLFnReBCz8 Last week, London based producer and DJ, Fiyahdred, dropped their latest single “Bad Trip” in collaboration with SAFFRON, a community supporting women and non-binary artists. This marks the 6th of a steady wave of releases since embarking on their new musical journey, showing no signs of slowing down. Born and raised in South London, Fiyadred’s distinct sound, Afro-diasporic meets UK Garage & Funky, is a direct reflection of their roots drawing inspo from their mum’s r&b, garage and loversrock collection, and brother’s stories of UK funky club nights. Formerly known as Bamz, they garnered a strong fanbase in the Funky and Amapiano scene by releasing under club Djembe. After a 2 year break, and a rebrand, Bamz – now Fiyahdred – set out on a path to create music more unapologetically, kickstarting with their first EP‘Anyway (Do it)’ in 2022. The artist soon gained recognition from major players in dance music and was dubbed ‘one to watch in 2022’ by factmag, and had several DJ mag features. Both sides of their art are equally praised, with radio appearances on NTS, Oroko and Balamii and gig highlights including Boiler Room & Glastonbury alongside other iconic artists like Karen Nyame KG and Ikonika. Now they’ve partnered with SAFFRON’s in-house label to bring you their new single ‘Bad Trip’ as well as an exclusive sample pack. A time capsule back to the early-mid 00s, Bad Trip is nothing short of a dancefloor banger, and complements the ongoing y2k throwback internet craze by blending UK Funky signature sounds – bouncy, percussion and boomy basslines with catchy trance-like synths. When asked what the future holds, Fiyahdred & labelmate Ikonika say it’s about restoring the legacy of electronic and techno music back to its black and queer originators, with an aim to unify the community through merging Afro-diasporic sounds spanning the UK, Africa, and Latin America. As part of this journey, Fiyahdred recently launched their ‘embers’ project on Wildfiyah presents, featuring an extended mix series on the last Wednesday of every month, with hopes to expand the brand to hold a safe space for like minded creatives. https://www.instagram.com/p/C4OQCZ0MMyw/?img_index=1 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
DEBUT SINGLE RELEASE – mary in the junkyard ‘Tuesday’
DEBUT SINGLE RELEASE – mary in the junkyard ‘Tuesday’ 07.10.23 Words by Caitlin Taylor Mary in the junkyard have been one of the highlights of the South East London music scene for a while now… After a string of festival appearances this summer (including a brilliant set at Wide Awake) and various performances at Brixton’s Windmill, it’s about time that they’ve finally released their debut single ‘Tuesday’ with AMF Records which showcases their poetic, almost surreal style of storytelling. Vocalist Clari Freeman-Taylor’s explanation of the song likely rings true to many who move to London and quickly realise how easy it is to feel isolated despite being around so many people: “I wrote ‘Tuesday’ when I was first experiencing life in a city and was feeling very small. It’s so easy to be swept along with the bustle and noise and feel like a worker ant amidst thousands of others. I wanted to write about my yearning for chaos and realness – we all have wildness within us that we might be suppressing and we shouldn’t feel like aliens because of it”. The beginning of the song is reminiscent of Big Thief’s Adrienne Lenker as Freeman-Taylor’s airy voice trembles while describing how she feels “like an alien here”. The song progresses and finally ends in a loud frenzy, reflecting the noise and overwhelming anxiety of London life. Speaking to NME, she explains that the interesting instrumental choices at the end come from bassist and viola player Saya Barbaglia’s classical music background: “Saya is also an incredibly talented classical musician. She can play beautifully over anything I write. The bassline at the end of ‘Tuesday’ is really honky-tonky, and I wasn’t expecting it! Saya and I used to play in string quartets together, and a massive part of that is about being able to read each other – it helped us to bond in such a special way” Despite both Freeman-Taylor and drummer David Addison previously being part of the band Second Thoughts, both seem to agree that they see much more potential with this new project. Addison says that “looking back at what happened before, and that tricky period of time, feels really weird” and Freeman-Taylor recalls not feeling like her songwriting was supported in the past: “I never thought my songwriting was good as it had been dismissed by others in the past, so for this new band to happen has been amazing. It feels like a rebellion against that whole previous era”. The creativity shown on this single definitely suggests they made the right choice to start anew. While unfortunately you may have missed their single release gig at The Windmill (where else?), tickets are now on sale for their headline show at Corsica Studios in March. They’ve also released a music video for ‘Tuesday’, shot by Herbie Bone the bassist of another up and coming local band English Garden, and featuring a yeti who ends up dying on the bank of the Thames as the band mourns it. Undeniably interesting stuff. https://www.youtube.com/watch?v=Uo2xhyGIzak You Might Also Like Alternative Rock, Experimental, Mary in the Junkyard, New Discovery, New Releases, South London
AUG FLASHBACK – PYTKO ‘Knees’
AUG FLASHBACK – PYTKO ‘Knees’ 27.09.23 Words by Charlie Bowden A slow churn of emotion and a smattering of drums are all that this song needs to inspire awe in its listener. “Knees” uses each second of its runtime wisely, tracing a cool and confident path towards true, maniacal musical might. In spite of its status as the title track to its own dedicated Knees EP, PYTKO’s concoction comes off as unassuming initially. It has to take the time to gather emotional momentum, but that time was certainly not wasted. PYTKO describes “Knees” on social media as her most personal piece of music released to date and it’s not difficult to see why. Lyrics run through the ghostly production like teenagers in a train station, acting more as accompaniments to the torrid ambience than statement pieces in themselves. A line such as “run ‘til the rich find us” would not feel so haunting without the quasi-industrial harshness of the liminal environment PYTKO produces around it. A listener can easily envision an uninviting space to match their thoughts while this track rattles around infectiously in the back of their mind. It’s a very universal song, an ode to surviving emotional hardship through pure strength of character. The choice of title is poignant here – though the atmosphere may appear psychedelic and otherworldly, the feelings are rooted firmly in reality, in the bones and joints that make us move past difficult points in our lives. PYTKO’s vocals are sublimely haunting for that very reason; they’re beautiful enough by themselves, but by conveying such a resonant message, her voice seems to transform into an aria as soon as it exits her throat, one that accepts what has gone before and forces the way open for new pathways to happiness. That is what has kept me coming back to this song after my first listen. “Knees” is about everyone, the common human trudge away from the dark and towards what we hope will eventually become light. You Might Also Like Uncategorised