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furtho · 6 years

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Playlist 2017

Music posted on furtho.tumblr.com during 2017:

48 Chairs’ Snap It Around, spikily joyful new wave

ABC’s The Look Of Love (12″), classic early 80s extended remix

xAF Moebius’ Blau, minimal synth from 1980s East Germany

A-ha’s Soft Rains Of April (piano demo), exposing the inner workings of the gloomy pop gods

Akira Kosemura’s Luna, gentle piano arpeggios

Alex Kolobolis' Closure, lightly elegant, floating piano

Aline’s Elle M’Oubliera, icy cool Francophone indie

xAlliance’s At The Dawn, 1980s synthpop from the Soviet Union

Alligator’s Riviera, angular minimal wave from exciting new French duo

Analogue Dear’s Obrecht, haunting piano ballad

Anna Meredith’s Honeyed Words, swoopy gloopy electronic drone

Aphex Twin’s Aisatsana [102], Satie pastiche of quiet piano patterns

Arsenic!’s Pure Ideology, ramshackle but heartfelt dreampop

Arvo Pärt’s Summa For Strings, poised, eternally unresolved modern classical minimalism

Asuna’s Her Fringe, Ferris Wheel, Ruins Of Twisted Yarn, gently interweaving acoustic loops

Australian Testing Labs Inc’s Moto Moto, pulsing motorik tones, with suitably hypnotic video

A Year In The Country’s A Measuring, fractured electronic sketch

Bachelorette’s Blanket, the warm embrace of analog synthpop

Beat Mark’s Flowers, sweet-but-scrunchy-chorded indie from France

Best Picture’s Isabelle, modern rock ‘n’ roll, huh

Blankscreen’s Dead Planet, gripping spoken-word post-punk

Blue Plutos’ Disagree, ecstatic Rickenbacker-driven janglepop

Brian Eno & Harold Budd’s An Arc Of Doves, ambient experimentalism shot through with warmth

Burning Hearts’ In My Garden, welcome return of the Finnish indie titans

Caroline Devine’s Driftspace, Space Ham, something for everyone: field recordings, radio experimentation and an interview with an astronaut

Casiotone For The Painfully Alone’s We Have Mice, bedroom pop supreme

Caught In The Wake Forever’s Under Blankets, super-slow evolving drone

Chuck Johnson’s Balsams album, mystifyingly successful slide guitar meets ambient drone

Chumbawamba’s You Can (Mass Trespass, 1932), acoustic paean to Benny Rothman and the Kinder Scout trespassers

Cindy & The Gidget Haters’ Pogoin’’s For Me, shoutily engaging homemade new wave

Closure’s Slow Drive, Motorama-esque doom-indie from Jakarta

CM-DX’s Radiophonic Reprographics, paean to the office photocopier

Colleen’s Your Heart Is So Loud, musical box rendered as looping, enchanting lo-fi ambient

Cosmic Ground’s The Watcher, long-form kosmische ambient

David Evans’ Suddenly Woken By The Sound Of Stillness album, field recording on the Trans-Siberian Railway

Deutsche Bank’s Zero Gravity, seamless post-Komputer synthpop

dné's Asos Model Crush, homemade percussion coupled with delicious piano composition

Dominique Grange’s Les Nouveaux Partisans, Maoist folkpop from late 60s France

Echopet’s Strung, tightly organised short-form drone

epic45′s Monument (Isan remix), blissed-out synth remix

Even As We Speak’s Bizarre Love Triangle, charming jangly cover of the New Order classic

Fader’s Laundrette, bleak kitchen sink electronic ballad

Fieldhead’s Accents, contemplative modern electronics

Foliage’s Dare, glossily frantic dreampop

Francisco The Man’s Take A Picture (Bodies In The Sun), driving Alvvays-esque indie rock

Freezepop’s Stakeout (Donnerschlag remix), Casiocore classic

Galaxians’ Out They Minds, super-catchy funky disco-house thang

Get Smart!’s Just For The Moment, dark-but-trebly post-Joy Division pop

Ghost And Tape’s Vár, spellbinding clack-and-crackle ambient

Good Shoes’ The Way My Heart Beats, fuzzed up Buzzcocks-y guitar pop

Greg Haines’ Azure, dramatic slow-build ambient

Group A’s Initiation (Tom Furse remix), darkly relentless synthpop

Grouper’s Holding, hold-your-breath gorgeous lofi pianoism

Günter Schlienz’s Outer Corridors Of Space, light ambient arpeggios

Hakobune’s Airworthy, weightless drifting ambiance

Hand Of Stabs’ A Month Of Sundays, creepy improv weirdness from the back lanes of Kent

Hidden Rivers’ In And Out Of Days, light-of-touch chiming ambient

Hiroshi Yoshimura’s Green, supremely delicate ambient sketch

Holden’s Ce Que Je Suis, melancholy francophone indie ballad

Huerco S’ A Sea Of Love, weightless electronic dreamscape

Iko’s Digital Delight, minimal wave from early 80s Canada

I Tpame I Tvrame’s There’s No Place To Call Home, hypnotic Albanian minimal synth

I’ve Lost’s ... And I Saw Her Again, Then She Was Gone, minimal ambient guitar drone

Jeff Parker’s Slight Freedom, extraordinary long-form guitar loop/improv/ambient

Jess Garon & The Desperadoes’ The Rain Fell Down, classic bittersweet indie jangle

Jim’s Twenty-One’s Throwaway Friend, exhilaratingly ramshackle indie

Jóhann Jóhannsson’s The Cause Of Labour Is The Hope Of The World, socialist-inspired modern classical soundtrack

John Cage’s In A Landscape, solo piano elegance

John Maus’ The Combine, characteristically doomy synthpop

July Skies’ See Britain By Train (Pevsner version), sepia-tinged ambient post-rock

Justin Hopper & Scanner’s Low-Tide Crow, under-stated poetry/ambient collaboration

Kero Kero Bonito’s Trampoline (St Etienne remix), infectious dubby reworking of the London-based J-poppers

Kinder Meccano’s Atomic Energy Lab, playful arcade game-inspired experimentalism

Kirill Nikolai’s Dolly Dances, patterns of modern classical piano and strings

Kraftwerk’s Autobahn, extraordinary live performance on US TV in 1975

Letting Up Despite Great Faults’ Pageantry, driving oomph-laden electro indie

Liquid Liquid’s Cavern, much-sampled infectious post-punk rap

Look Blue Go Purple’s Cactus Cat, frantically-strummed love letter to a feline friend

Lubomyr Melnik’s Butterfly (live in Copenhagen), constantly ebbing and flowing modern classical

Luke Howard's Digits, captivating blend of bleep and piano

xMachinone’s 火の雨, electronic chimes as gentle lullaby

Maraudeur’s Value The Death, gloomy minimal post-punk

Mark Fry’s Aeroplanes, elegant folk ballad

Mechanical Cabaret’s 304 Holloway Road, synthpop commemoration of Joe Meek

Memory Drawings’ The Nearest Exit, creaking, creepy ambient folk

Mica Levi’s Love, synth strings drone from the soundtrack to Under The Skin

Middex’s Low Life, experimental minimalist noisepop

Milkmustache’s Submarine, dreamily aquatic janglepop, complete with memorable video

Mitra Mitra’s Indecisive Split Decision, minimal synthpop from Vienna

Morten Lauridsen’s O Magnum Mysterium, towering performance of the modern choral classic by the Los Angeles Master Chorale

Nonconnah’s I Hope Every Week Changes My Life (demo), uncharacteristically light ambient guitar drone from ex-Lost Trailers

Norihito Suda’s Light Snowfall, beautifully judged drifting ambient

Ø’s Twin Bleebs, ultra-minimal techno experimentation

Olivia Chaney’s Eternity, sensational acapella recording of Rimbaud’s poem put to music by Emily Hall

Ourselves The Elves’ Wounds, restrained, slow-paced indie jangle

Pale Spectres’ D[r]iving, infectiously uptempo janglepop

Parliamo’s Lucy, youthfully exuberant Scottish jangle

Percussions’ Digital Arpeggios, hypnotic long-form technopop

Peter Maxwell Davies’ Farewell To Stromness, modern classical hymn to Orkney

Plinth’s Solicitude, chiming ambient electronics and piano

Polypores’ Deep Undergrowth, darkly pastoral drone

Pye Corner Audio’s Black Mist (long version), characteristically hauntological electronic pop

Relmic Statute’s Just A Thought, lo-fi electro-acoustic loops

Rhythmus 23′s Guerra Fría, Cold War-inspired minimal wave from Mexico

Robert Fripp’s Night 1: Urban Landscape, eerie ambient loops constructed with a Roland guitar synth

Rodney Cromwell’s Barry Was An Arms Dealer, bleakly infectious 80s-inspired synthpop

Roedelius’ Le Jardin, late 70s Berlin pastoralism

Ross Baker’s A Time After Computers (remixed by Cubus), experimental folktronic mix

Ruhe's Heritage, blissful long-form pastoralism

San Charbel’s Nacer Morir, laidback, homemade dreampop from Mexico

Sara Goes Pop’s Sexy Terrorist, bonkers 1980s agitpop

Sawako & Hayato Aoki’s The End Then Start Again mini-album, whispered field recordings and electroacoustics

Seazoo’s Shoreline, urgent indiepop with a big grin

Secret Meadow’s Endlings, Smiths-a-like pop from Indonesia

Skylon’s Skylon, heartfelt hymn to the Festival Of Britain

Sound Meccano & Jura Laiva’s Salty Wind And Inner Fire Part 1, spacious, airy electroacousticism

Spaceship’s The Imagined View, As Yet Unblighted, field recordings and drone from rural Kent

Spirit Fest’s Hitori Matsuri, charming bilingual down-tempo folk-pop

St James Infirmary’s Terry Marriagehead, under-the-radar 1990 janglepop gem

Stealing Sheep’s Apparition (Pye Corner Audio remix), squelchily hypnotic electro reworking

Susumu Yokota’s Tobiume, drifting beauty from the late Japanese electronica king

Swoop And Cross’ 10439, epically restrained modern classical

Sylvain Chauveau’s Find What You Love And Let It Kill You, melodic ambient dronepop

Tangerine Dream’s Live At Coventry Cathedral, remarkable 1975 footage of the electro-hippies in action

Taylor Deupree’s Fenne, drifting, take-a-bath electro-acousticism

The Bats’ No Trace, more janglepop from the kings (and queen) of Kiwi indie

The BV’s Neon, lofi guitar overload dreampop

The Creation Factory’s Let Me Go, infectious garage rock, stuffed to the gills with 60s stylings

The Donkeys’ Four Letters, unapologetic new wave powerpop from 1979

The Foreign Resort’s Skyline/Decay, Cure-esque dreampop from Copenhagen

The Harvest Ministers’ You Do My World The World Of Good, long-lost video for lovelorn treat

The Hum Hums’ London, pleasingly brief, polished-but-trashy powerpop

The Inventors Of Aircraft’s No Returns, slowly looping ambient

The Leaf Library’s On An Ocean Of Greatness, meandering ambient pop, stuffed full of ideas

The Luxembourg Signal’s Blue Field, big open-hearted indie jangle

The Mascots’ Words Enough To Tell You, Swedish Merseybeat from the heart of 1965

The Mells’ McCallister, blistering-with-a-touch-of-gloss dreampop

The Memory Band’s Norfolk Before Dawn, spellbinding country field recording

The Names’ Life By The Sea, epic Belgian new wave

The Royal Landscaping Society’s Goodbye, beautifully constructed janglepop from Seville

The Starfires’ I Never Loved Her, er-yes-you-did-really 1960s garage rock

The Wake’s Firestone Tyres, sprightly post-post-punk from Glasgow legends

Thomas Dolby's Oceanea, he's-still-got-it ballad from steampunk pioneer

Tobias Hellkvist’s Kaskelot (Segue remix), ethereal beats ‘n’ drones

Tomorrow Syndicate’s Okulomotor, kosmische pop musik from the heart of Mitteleuropa: Glasgow

Unhappybirthday’s Kraken, drum machine-driven indie from Germany

Un Verano En Portugal’s Hielo, frantic, blurred dreampop

Vacant Stares’ Ennui, perfectly-titled doomy gloomy dreampop

Vanessa Rossetto’s Whole Stories album, field recordings and musique concrète from the city streets

Vansire’s Driftless, echoing, distant dreampop

Werner Karloff’s Views Of Movement, thrilling minimal wave from Mexico City

When The Clouds’ The Dawn & The Embrace, managing to stand out even in the crowded category of Italian instrumental post-rock

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The playlist for 2016 is here. The playlist for 2015 is here. The playlist for 2014 is here. The playlist for 2013 is here.

#ambient #indie #indiepop #guitar #electronic #acoustic #playlist #drone #electroacoustic #synth #synthpop #electropop #minimal wave #janglepop

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supere1113 · 7 years

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Stuff I wrote down while making ‘Identity’

the following is some stuff I wrote down about the tracks on ‘Identity’ as I was making the EP. These were recorded between the months of October 2015 and probably January or February 2016.

Hey, guys! I know I put a lot of thought into the songs on "Identity", so I thought it best to give a rundown of each song on the EP so that everything is interpreted as intended and you guys get to know more about, and hopefully make a deeper connection with them! "Here we go..."

Not quite a hard-hitting b@nger, not quite a soft song, track 1 is an opener that strives to describe me in a radio-length pop song.

The title track of the EP, "Identity" is my attempt at fitting myself onto a song that people can listen to and get a good gist of me and who I am. I'm a child of God first, and also an artist with four main areas of specialty. My first interest was Architecture/Engineering and overall design, second is music, Third is writing and fourth is photography! I love to mix them up all the time, too! For instance, this song (and all the others I've written) is a result of my music skills intermingling with my writing skills. Outside of that, "Identity" sort of paraphrases my life and adventures up to now and what had allowed me to become who I am right now. I also elaborate on my musical identity, particularly in the bridge. I love so many different types of music that I have decided to identify as a "genre-bender" or "genreless" artist. For me, just about any musical style or influence is fair game in my recording process. These songs represent the first opportunity for me to experiment with the concept of blending genres! I wanted the production to be relatively uniform in tone, so I played the instrumental parts with the same effects but in varying styles within the given sonic arrangement. I was inspired by the flow of the amazing Alessia Cara's vocal delivery in songs like "Seventeen" and "Four Pink Walls", Ed Sheeran in general (but especially on "x"), as well as some smaller but still significant influences from Melanie Martinez, Halsey, Beck, The Notorious B.I.G. and Drake. Okay, I threw a little Justin Bieber and The Beatles in there as well! Lolz! I don't know how prevalent this is to other people, but the percussion part is probably the most dynamic element in the entire song as it not only changes styles within itself while complimenting the rest of the instrumental, but follows with the lyrical content and vocal inflections and volume changes. Because of its self-contained dynamic-ness, "Identity" took the longest time to produce and became the most thoughtful and intricate songs on the EP. Main message of the song: I am an artist of many disciplines, a loving soul and a musically eclectic individual; not to be categorized easily... And just trust God; The words I keep with me. I even have those words engraved on the inside of my "blue class ring"! Track 2 is simply, a lighthearted joke.

I was thinking of rhymes last summer and the two lines, "Got my pants ripped up, uniform like Goku/More fire songs than my Avatar Roku" ultimately evolved into "That Hype, Doh..." This song is really me showing my fun, seemingly careless side in a jokingly cocky, hip hop-based, hopefully mainstream-worthy song. I start by just spitting random rhymes and references (from Green Day to Harry Potter) laced with substance for a while before delving into a bit of real stuff. The chorus is meant to be laughed at and to "bring up that hype, doh..." at parties and stuff. The production has a lot of Beck influence as well as N.W.A. and alternative rock influence. New and old Taylor Swift influences can also be found in the chorus and super intricate drum beat. I used an array of different rapping styles to create something all my own. Main message of the song: There doesn't always have to be a point to things. It can be just for fun or just 'cause you want to. Jokes are almost always in style. With track 3, I wanted to put in a softer number because I am not all heavy and powerful on the inside.

There's a good amount of "softness", so to speak in my heart, and "The UnderLyer" really embodies that part of me for this EP. I often carry myself as a strong, pretty much invincible character; not to say that I'm not that way most of the time, but I am also not stone cold and apathetic in the least. Lyrically, the song takes a positive, adult stance on a lot of rather dark subjects that I and many others wrestle with in our minds. In terms of musical influences and production, "The UnderLyer" is essentially like The Red Hot Chili Peppers and Ed Sheeran made a live performance at a pub or a bar. It features loop-pedal-based sounds (a signature of Ed's) and live production techniques as well as a prominent bassline that (at least to me) is reminiscent of the groovy, laid back style and flow of the Chili Peppers. The title actually came from a phrase that the vibe of the original bassline evoked in my head; the type of atmosphere and persona that the song could take on. I also wrote the lyrics to the bassline and "The UnderLyer" is actually the only song on the EP that was written and produced this way. I obviously don't have the best time/content dial because the song was originally meant to be about 2 minutes and 34 seconds in my mind before I extended it to probably 3 minutes and 30 seconds, but it finally comes to an end at 4:27. I aimed for this time after I had fleshed out the lyrics because I have a weird relationship with numbers that evoke personas in them for me and those three just look really cool together; like Charlie's Angels or something (it also matches the exact song length of "Hotline Bling" by Drake almost perfectly). Now, wait, for the segue... Main message of the song: If you're going through rough times in your life, internally or externally, stay positive and keep going through until you get to the end. It will get better. Track 4 is a rebellious song about a rebellion that isn't really a rebellion. It's only meant to make a statement.

On "Y I Don't Care", the drum beat part at the beginning can be interpreted as us as a generation being steadily brought up in a good way I guess, before getting increasingly tripped up, hated on, desensitized or otherwise negatively affected before going into the main beat. When it hits, it can symbolize the collective members of Gen Y saying, "Enough is enough." Not really angrily, but forceful enough to push away all the opposition from those that find our differences from them unsettling. Honestly, the song only sounds menacing and fight-nightish because I'm trying to effectively get a point across and being seemingly aggressive unfortunately seems to be the language that most people understand best. "You mad, bro?" Hate to burst your bubble but I'm not even angry. I originally thought that "Y I Don't Care" would be no more than 5 minutes in length the way I wrote it, but the topics that I had put in it extended it to a near 6 and a half minute song! I even had to take a few lines out at the end because I thought the song was running too long and that I'd lose the interest of my listeners (so I definitely see myself revisiting and/or revamping this song in the future). But don't let the length drive you away; this song keeps you entertained from beginning to end! I'd say that all the songs are genre-benders in their own right, but this one is the genre-bender. Too many influences to count, but Linkin Park, Demi Lovato, Kanye West, KISS, Paramore, my man, Michael Jackson and the later work of the Jacksons are among the biggest. "Y I Don't Care" can actually be seen as an oddball anthem for Millenials. It's long and epic, brimming with strong messages that most younger people can relate to and a little chant-worthy at times! We are different and we force others to stretch their understanding in order to understand us. We "put their minds on the brink!" Main message of the song: We're gonna do what we want to do in life, and it doesn't matter if it's different from what's been done before. We are the future of humanity, so it's gonna happen either way. "Y I Don't Care" is actually my favorite song on the EP because lyrically, I feel it comes from the heart a bit moreso than the other tracks. It also has the coolest instrumentation of any of them in my opinion! "Identity" is probably my close second, though as it is a song all about me and who I am.

Track 5 is a closer, a reiteration and a thank you.

Crazy how many of these songs were written last summer! I wanted "What I Sound Like?" to be the closer, but it really acts as a dawning of my music career; a strong sign that much more is to come! Even if the song or any of my songs don't get really big, I'll still be making music because I honestly do it for me first; which leads me into even further elaborating on my musical identity. In addition, I want my songs to inspire people. If I can do it (as in whatever I set my mind to), than you, the listener, can do it too. "What I Sound Like?" also encourages the people of the world to learn and grow as people, while staying young at heart. There's a reason why Echosmith wants to be like the cool kids; 'cause being a kid is cool and everyone knows it. I also take some time to thank the listeners for checking out this music I've put out. Some of the bigger influences are the beautiful Tori Kelly, Linkin Park once again, 2Pac, Foo Fighters and... Ya know, after awhile, all the influences I was drawing from start to blur together and they ultimately evolve into the song that you end up hearing. Just about every aspect of "What I Sound Like?" was short and fast-paced. It was really the song that went from 0 to 100... real quick. 99.999 something% of the song was recorded and mastered in one sitting! (Most of the vocals were done in one take, as well) I finished the song in less than 5 hours in one night and it actually became the only real radio-length song on the EP at 3:21. I was happy about that because it shows the diversity of my music in the context of song length. Also, for the first time, I didn't feel as if I was over-writing song lyrics as much. I still filled the song with plenty of info though, so I'm also very proud of that! Main message of the song: I like all types of music and I like mixing them up together, you can do it too if you want, and it's okay to stay young on the inside.

Well, thanks for reading and thanks for listening if you have. Ask me any other questions you have using the hashtag #EvansIdentity and I'll try to answer them.

Thanks again, have a great day and good bye!

#EvansIdentity

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