keep it symbol

I share music I discover and like 

[mugentapes]

RushHouronMilkdistrict:cleared, by SHÖLÅ

track by SHÖLÅ

First single out now everywhere go stream!! Click on Bandcamp to buy digital copy!!

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This one is a slow burn. 

Sampha’s smoky voice serenades over a constantly evolving instrumental, addressing a number of topics which evoke feelings of guilt such as a past lover, his relationship with his brother, and his relationship with God. This song was actually co-written by Kanye West.

Initially minimal, Sampha is only accompanied by a simple, driving beat and a ghostly organ melody. As the song progresses, more synthesised instruments are introduced, increasing the song’s atmosphere. It is at this point in the song that a shift occurs. As Sampha’s lyrics become more desperate, the drums become more rhythmic. The song’s pace increases, arpeggios and piano’s envelop the instrumental, along with Sampha’s harmonies. The song concludes on a lush array of sounds that impacts the listener briefly, and swiftly departs as it fades away into the distance.

A chilling ballad with an energetic ending and ambient instrumental, this song is a must listen coming into the winter season.

^reference to another Sampha song I might (might not) do a post on.

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Camden Malik is another member of the enigmatic Slums crew, whose music I have previously covered with songs from members such as Standing on the Corner and Slauson Malone. This outstanding track has been on repeat since I discovered it. So of course a post was necessary.

‘Dreams’ lulls you in with fantastic production from London’s very own Jaso. Employing chaotically chopped up soul samples and lofi drums, Jaso effectively creates a psychedelic feel that compliments the meditative topic Camden Malik speaks of on the song.

Despite what the melodic refrain, ‘Please don’t leave a nigga’, suggests, Camden Malik is in no way desperate on this track. Effortlessly riding the beat with a persistent flow, Malik asserts his work ethic towards his dreams, with lyrics that reflect on values such as loyalty and integrity. 

The introspective yet motivational lyrics and dreamy beat make for a song that can only be described as good for the soul. Further proving to me that Slums is a group that will soon become a force in the music industry.

edit/random thought: If they ever make a Vagabond anime (and do the artwork justice), they should have Slums do the soundtrack. The themes of self-fulfilment that usually run through their songs and the lonely vibe would suit.

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(via https://open.spotify.com/track/1YkLG68De9CuzDIfYifCw9?si=eCk8kID4SQ_CqVNSCqKLRQ)

This song is an old school R&B jam. Timbaland utilises his smoothest production on this track; the gliding guitars and synths are accompanied by a groovy ensemble of percussion typical to any Timbaland song. Timbaland adds more fun to the track with his signature beatboxing vocals atop a lot of the drums.

The late Aaliyah is the vocal lead of the song. The lyrics, written by Missy Elliott (who also provides ad-libs here and there on the record), speak about a classic 2000s R&B love affair. Aaliyah’s silky vocals mixed with Timbaland’s groovy production make for an intoxicating baby-maker of a song.

This song is on my ‘constantly en route’ Spotify playlist: 

https://open.spotify.com/playlist/2nApvKnw84bOpoJse7WHzY?si=-DZssTv4T2OcvdtcyJOk9w

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1 year since this song came out, a part of one of my favourite albums of all time. 

It’s kinda corny how this song (especially the second half) makes me feel. It came out at a very transitional, happy and distressing period in my life, I loved it on the first listen. Listening to it gives me both a melancholy nostalgia but also anxiously excited for what the future has in store.

This song never fails to revitalise and uplift me.

It’s like if a Zelda Heart Container was a song.

[henrycastro]

HENRY CASTRO! - KETCHUP! (FREESTYLE)

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GOOD Music’s 070 Shake’s track ‘Nice To Have’ speaks about a longing for intimacy, with romantic lyrics that complement Shake’s emotional auto-tuned crooning. Similarly, the deep, bass synth arrangement supplies the track with a nocturnal atmosphere. The sprinkles of distorted guitar plucks as well as high pitched chimes ensure that the song isn’t all doom and gloom, but rather a melancholy celebration of love. 

The second half of the music video slows down the entire song. A nice touch, as it enhances the feeling of intimacy and creates a trance-like feeling.

[francisca--mendes]

Done in collaboration with Beatriz Gonçalves.

Done with super 35mm film using lensless techniques.

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Woof Woof is the title track of alternative-pop artist ARTHUR's 2018 album. The song, much like other tracks on the project, are short and sweet. ARTHUR's distorted, cartoony voice and dark, insecure lyrics sound like the robot WAL-E spiralling into an existential meltdown. This is contrasted against the simple and lighthearted instrumentation of bright guitars, bass and synthesizer organs.

Other highlights on the album like Julie vs Robot Julie and Ivy League ( which explore existential themes of identity) are similarly structured. Particularly Ivy League, which is chaotic yet jolly combination of banjos, synthesized harmonicas and bouncy, electronic drums.

ARTHUR's whimsical take on such dark, introspective themes makes for some confusing emotions while listening. However, ultimately, the sound is refreshing and inventive.

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Since my last post was about a former member of Standing On The Corner, it’s only fitting that my next post would be about my favourite songs by the group. Especially considering i've had these next few tracks on repeat for months now. 

Bns is the first song on Standing On The Corner’s self-titled, debut project. This slow jam sets the scene for the entirety of the intimate and experimental album. Tangy guitar plucks start off the track, slowly followed by smooth keyboard riffs and a low frequency drum loop. Layered vocals sit comfortably over this instrumentation, whose pitch distortion and raspy tone form what can only be described as jazz-asmr (the song In+Out takes this idea to the extreme with someone literally chewing into the microphone). These elements gradually become more complex as the song progresses, culminating in a trance-like feeling akin to wrapping yourself in a soft duvet and sinking into your bed as if your last name is Kaluuya.

Girl is the highlight track on the SotC album. Driving the song is a lofi, cassette-tape drum groove, backed by the guitar’s silky chord progressions heard across the whole album. Rhythmic keyboard plucks and sawtooth synthesiser riffs weave in and out of the instrumental. Distorted vocals serenade romantic lyrics about, guess what?! A girl! The song finishes with a minute long keyboard solo which sails over the other instruments. The solo is then pitched down in the last few seconds of the track, giving it a more chilled out and melancholy vibe.

 Given the solo is such a highlight, Standing On The Corner did us a favour and made a track on the album called The Monkey on Your Back which is just the solo at the end of Girl. (*thank you*)

Finally, the last track I’d like to rave about is Vomets. This song begins with a lively, jazzy guitar riff and drum loop. However, the instrumental quickly shifts into a slower, more lowkey and nocturnal guitar progression. Finalising the song is a saxophone solo smooth as velvet. This track is a must-listen to anyone who is a fan of King Krule as it is very reminiscent of the Zoo Kid’s instrumentation

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Recently Slauson Malone, an ex-member of the underground group Standing On the Corner, dropped an album of psychedelic and weird songs feauturing many members of the New York underground hip hop collective “Slums” (I will probably make a post about them soon).

One of my favourite songs off the record is Off Me! And or the Wake, Pt. 1& 2. The song begins with a lofi trumpet sample backed by high frequency guitar chords. The distinct mixing of the song muddies the dizzying, incantatory lyrics Pink Siifu offers on the track. The song’s second half is similarly mixed, however this time Slauson employs plucky yet jazzy guitar riffs, similarly used on another highlight on the album: The Message. This track is very brief. However, the cyclical chord progression played by Slauson’s signature lofi guitar, along with the repetitive refrain create a sound that is comfortably claustrophobic.

Edit: Ok so for some reason this post is ny allowing me to attach links to the songs . However, both these tracks are on my “tinned sunshine” playlist on Spotify, which is primarily a playlist for Slums and underground New York hip hop: https://open.spotify.com/user/joemarchenkov/playlist/7nW96MZIrGhcklgfrM5P4t?si=E2VjrNLPQ2KHbw0Rhi2XlQ

tinned sunshine, a playlist by Joe Marchenkov on Spotify

Also, Slauson recently made a music video for both of these songs so here it is:

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Ok, so this is going to be my debut post on this account which I will turn into a music sharing blog.

This blog is strictly for music I discover and wish to share with whoever reads this. That means you will find music on here that is both underground and not so underground.

This first song, Lil Tommy by Tom the Mail Man, just appeared on my YouTube homepage 10 minutes before I wrote this post. Instantly, this track’s lullaby-like loop, which resembles the soundtrack to a water-level from your favourite childhood video game, paired with the bouncy drums you can expect from most trap songs creates an ambient yet light-hearted atmosphere. The hedonistic lyrics typical to any trap song are contrasted by an array of anime and Pokémon sound effects, as well as hentai moans. The music video accompanying the song is similarly whimsical, riddled with anime characters, nerf guns and colourful special effects. Despite the lyrical simplicity, Tom’s child-like energy and infectious flow make it hard not to Benjamin Button and vibe to this song. 

find this song on my ‘hatsu’ Spotify playlist: https://open.spotify.com/playlist/1FDiPLv7pNuu1E0Dsw8QuC?si=wdQoUJz6R4-gptvxRqKang