“I think personally music is the biggest form of escapism for me & the biggest form of inspiration. I don’t really like reading poetry, but I love writing it, I think my musical identity revolves around experimenting with sounds & ideas.”
Experimental
India-born and currently based in LA, Kiwiani presents an immersive, ethereal approach to production, which at first feels perfectly in tune with the abstract artistic implications of the accompanying image.
close is ultimately an industrial, rhythmic ode to heavy beats and fragmented production, but it also features intermittent hints of soulful vocal melody; playfully incorporated amidst a fitting and consistently distinct presentation.
Tasmania’s renowned ambient composer and unrivalled creative producer in the electronic, atmospheric realm – Darren Harris gears up to launch his highly-anticipated new album Subliminal.
Something profoundly unique now, to recapture any wandering minds – to provoke thought on both the topic and style of the music. Artist and musician James Cantey leads us by way of a haunting two-note piano part, into the chaotic electronic-rock and choir-like depths of Tonight.
“The biggest ambition is to keep learning more and more from my own learning capabilities, but also meeting more musicians from the music scene and learning and growing further whilst watching what techniques they use.”
Marco Palmieri manages to be all at once creatively eccentric and defiantly aware of what audiences appreciate. Here we can get lost in the music with ease – the experience is about us, the listener, rather than purely about the performer. That’s a rare quality in modern jazz, and as such, this music feels original at the same time as really letting and even nudging your imagination to wander freely.
As things evolve, the intense distortion and fog of the vocal and fuller soundscape injects a clear redirection of character – another balancing of lightness and weight, amidst a strangely intoxicating or dreamlike audio set-up.
The immense weight of static appears as if like a sudden storm of power and presence. Those choir-like voices still linger amidst the outer layers though – a wealth of humanity clinging onto its calm and sanity, as the wires and weight of the future rain down around them.
Irish fourpiece Chiral note hints of influence from the likes of Tool, Rage Against the Machine and The Prodigy, but ultimately carve out their own unrivaled art-rock alternative, which proves both seductive and unsettling in its gentle to explosive unpredictability.
Unorthodox yet engaging production and design is a key strength from the outset, intriguing rhythms and tones backing up the implications of the title and image. Silent Killer feels tribal yet industrial, natural world sounds and distorted, heavier layers meeting with fragments of melody and provocation.
“An artist that always gets their way, sooner or later, ceases to be an artist. They forget the feeling of an empty stomach. The kind that hurts and is painful.”
Not often does a track achieve a worthy meeting of intentional artistic production and performative prowess. When it happens, the results can be addictively gripping – almost as if the music is pouring through directly from the listener’s own experiences and feelings. Boyhood masters this approach.