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May 12th, 2 PM Pacific on CAMP radio: a companion mix to my upcoming ‘Seahorses’ album

While this ‘archive album’ is suffering the worst case of delay since my 8-bit album last year, I’m still set on getting it out there this month, hopefully before it enters the ‘late’ period. To coincide, I decided to guest on Vulpiano’s monthly mix series for the listen.camp online radio station with a dip into the sounds and styles that inspired the album. I always felt that electronic music and easy listening shared this understated knack for aquatic or underwater themes, so this was a novel concept to revisit.

That means lots of ‘underwater’/surreal production effects, synths that go drip-drop, library obscurities themed around marine life, steel drums and a handful of surprises. For instance: the latest Bebel Gilberto album, which sounds eerily close to mall-themed vaporwave, and one of the most underrated Siouxsie singles in “Swimming Horses” (just because). Plus, of course, two tracks from Seahorses itself. Those are latest single “Fish In Oceania” and “Blue Whale” (which I lift from the download-only version of Ocean Flower; it actually originates from the Seahorses project).

The mix will go up on CAMP’s Mixcloud in the following days. You’ll find ‘similar wavelengths’ on my old Curios From The Background series and the Neptune mix.

Seahorses working track list:

  1. Fish In Oceania – 2:00
  2. Floating By – 2:19
  3. Dorsal Fin – 2:21
  4. Manatee – 2:11
  5. In Our Submarine – 2:16
  6. A Wandering School – 2:03
  7. Mouthbrooder – 2:12
  8. Jellyfish – 2:03
  9. Sand Dollar – 2:37
  10. Blue Whale – 2:54

Download-only tracks:

Deep Trenches demo (0:45), Seahorses (2:15), Lullaby For Sad Porpoise (2:26)

Other updates:

  1. As for the ‘piece’ I mentioned working on with the Mouthbrooder post, that found it’s way to a rough and complex state. I’m not so sure what to do with it right now and sadly, posting it in some form here feels more doubtful than before.
  2. In this next month or so, I’d love to get back to more regular posts, since my extreme focus on That Piece led to delay for many ideas. Still, I think I have enough to juggle for May considering my plans for a special occasion in it’s last week. It’s nothing too big or fancy, but it’s a day I posted about on most previous years here!
  3. I’m in plans of the next ‘traditional MAM mix’, but it’s not happening until sometime in summer. It can say it has some things in common with the previous one..
  4. New RYM lists: [bitter]sweet / loving / emotional synthpop, Beautiful Robots Dancing Alone: existential trance, Lyrics I find interesting / relatable
  5. No plans for front page reviews at RYM right now. I have more important stuff on my plate; I did a lot already and the Dax Pierson review got a frustrating enough response to remind me why I ‘retired’ from it.
  6. The new album from the very 80s, very YMO-ish J-pop group Crystal is ridiculously fun and also beautiful, please listen to it.
My music

New EP for Netlabel Day: Liquid Forest

To celebrate Netlabel Day and mark my 2 years on Vulpiano, the first label to feature my music, I went as far back as I could tolerate. This entire EP comes from August 2015 just like “Garden” (which I lifted from Mint and Turquoise Trilogy). I made the songs on the FL Studio ‘replica’ LMMS since I couldn’t get Garageband on my old PC. I was a younger teen who ~played around~ with music more than made songs. It was “Sea Shell”, “Cold”, and “Garden” that told me, after three years of aimless experiments, maybe my music had potential.

Many things set these songs apart from what came before. For one, it was a transitional time where I was just escaping a long-hold paranoia, so this fragile sense of hope left a mark; as did my fascination with the ‘awakening’ feel of the early morning. Sonically though, it was my focus soft, trickling synth tones (a trademark for LMMS?). For that same trio of songs 2-4, I used the pentatonic scale and loved it’s soul-searching effect.

The result was this shy, secluded ‘virtual nature’ vibe that may remind you of Turquoise Trilogy. I figure my obsession with invoking forests and oceans began here. I felt I finally found a niche to focus on, so I stuck with this style for a few months.

“Sea Shell” came first. It was my attempt to stop fiddling with awkward loops and make a pure ambient piece. 70% improvised, yet it has more focus than most songs I would make for the next year somehow. It has this twinkly sea-side sound that would pop up in so many later songs; and this happened before I got into new age at all..?

My music

New song “Voltage” available for listen and download on the new Vulpiano compilation!

The Vulpiano Records 10-Year Anniversary album came out yesterday, which means you can stream and/or download my new song “Voltage”! Check it out if you liked Spires. I was aiming for a similar futuristic/metallic sound with this one but with a bit of trance music thrown in. Polishing it for this release was a daunting task that ended in overly-soft volume, but I’m happy with the composition. I’ll add it to my own Bandcamp and Soundcloud in the next few days.

My music

New EP ‘SPIRES’ is here!

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Vulpiano Bandcamp / My BandcampSoundcloud
Original post + further links from Vulpiano

Stream and/or download the full EP at the above links. As usual any listens and/or feedback are hugely appreciated.

Along with showing a more rhythmic side to my music, my main idea with this EP was forming a ’techno’ sound with more frequent shifts and build-up as I didn’t have much patience for the minimal approach in a lot of popular techno like Autechre and The Orb.

I wanted it cold and mechanical most of all (going along with the techno aesthetic), but as with most of my music, an aquatic/murky accent snuck into it (mostly on “Zemūdens”, whose title is the Latvian word for ‘submarine’). Crashing waves and giant towering structures came to mind, hence what you see in the cover.

If there’s any two things that inspired this EP most, it’s Laurel Halo’s Hour Logic and The Knife’s Silent Shout, to the point you can hear a few similar synth tones. I tried to build a dense atmosphere/backdrop behind the more prominent beats as you hear in those albums.