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Spotlight - Quiet Light

There's a serene purity to the music of Quiet Light, 23 year old Riya Mahesh's experimental music project. Mahesh’s work draws from an eclectic range of influences, her recent “essentials” being the likes of Portishead, Telepopmusik and Lana Del Rey - catalogued neatly on her instagram feed. But these diverse influences reign in to form a soft glow that is stylistically her own. Whilst she moonlights as a recording musician, she is also hard at work, studying for a PhD in Medical Science at the University of Massachusetts. I think it is clear from her discography that music is her downtime in the midst of a busy but fulfilling life. 

This balancing act is reflected in Quiet Light’s music as an array of flitting identities. Every album is based on a different theme with a mix of genres on display. But amidst the variety, Mahesh’s signature seems to be dreamlike textures that evoke familiar, precious memories. A typical Quiet Light track usually consists of an angelic voice layered over a distorted haze of nostalgia; a decisively chill sound presented as hot summer nights incarnate. 

With 5 albums and an array of singles/EP's posted on streaming services since 2020, Mahesh has an impressive output, despite her aforementioned commitments. Each project sounds like an organic culmination of her recent experiences.

Fourth of July borders on folk pop, with a vocal delivery and guitars similar to the likes of early taylor swift - It comes as no surprise then that this album is equated to the theme of "love"; each track a confession of the bliss and complexity of romantic emotions.

Blue Angel Sparkling Silver takes the same formula and mixes it with ambient soundscapes. It feels somewhat documentarian, sounding like the spilled pages in a journal of scattered memories, the finished product pouring out like if a stream of consciousness had midi support.

Going Nowhere is arguably her most well-rounded work. It includes the standout track Paloma, which accompanies an endearing music video of Riya dancing around the NYC financial district. Candid vocals meet steady, driving drum beats on this record, with accompanying synth and instrumental melodies playfully flickering through the lush soundscapes. The whole record encapsulates a blasé optimism, slightly euphoric in its carefree expression of hope.

And with a rare "winter" theme, perhaps her biggest sonic departure, is Pure Hearts. This record references early witch house a la Salem, opting for a purely electronic sound, with spacey synths and rare trappy drum loops.

With a steady output of music on streaming services since 2020, it feels like Quiet Light's auditory experiments are building up to something bigger. The next project never seems too far away, and it’s always exciting to see which direction the Boston-based artist will go in next - let’s wait and see.

[undergietan]

Hidden Gems - Cherry Bikini

Cherry Bikini were a hyper-sexual electroclash duo from the early 2000's. Spearheading the brief trend of sextronica, Sophie Boscallini and Arman Abagliani's music project has since fizzled out, but their body of work is a rare discovery that feels even more relevant today.

The pair released their first record in 2002, Self-titled, under Clear Blue Records. After a remix album and two full lengths, they began to release their music independently. Sadly, their sound never broke out of underground scenes, most-likely due to the explicit nature. Today, however, with sexual freedom at stake in the west, sounds like these should be weaponised as a form of resistance.

"When I'm feeling down, when I'm feeling blue, I like to stay home, watch art films and screw. But since I'm alone, I fantasise, about construction workers and big-muscle guys."

The American duo belong to the myspace era, when there was an abundance of hypersexual dance music being made in the underground. They were amongst the pioneers of a developing genre called sextronica. It was the first time in history that self-produced work could be released to the public en-masse via the internet, making niche and controversial sounds more available to the general public than ever before. Suddenly an influx of shockingly mature themes in music, to an increasingly sex-positive youth, could be heard through anyone's computer.

Their first and best album, Dream Days, is Boscallini's sexual fantasies put into music. The purposefully crass lyrics uttered by her detatched voice echo over dance beats. Wobbly synth melodies interject, leaving enough space between each verse to land catchy synth hooks. Whilst the sexual themes often dominate, there is a delicate delivery to the lyrics that add a touch of nonchalance to the overall package - at points to comedic effect. Many of their tracks are club friendly, with just a handful catering to more casual listeners.

Unfortunately, there is no sign of the band in recent memory. They seem to be a relic of internet past, with most sources resurrected by the way back machine. But in the current trend of Cupcakke remixes and libidinous club classics (See: Miss Bashful and OnlyFire), Cherry Bikini's sound would slide in perfectly. Furthermore, these expressions of hypersexuality in music are arguably very necessary in contemporary society. In recent years, American puritanical sentiments seem to be leaking into the mindset of even younger generations. For example, the online discourse debating the necessity of sex scenes in cinema dominated twitter feeds in recent years. Not to mention, widespread slutshaming in conservative social bubbles such as the so-called "manosphere". These instances unfortunately indicate a pervasive discomfort with displays of overt sexuality. But with increasing threat to our sexual freedom and rights, especially in America, music is a great way to push back against this puritanical agenda. Henceforth, sextronica like Cherry Bikini's is massively overdue a comeback.

All of Cherry Bikini's albums are available to listen to on Apple Music and Bandcamp, with some deep cuts floating around on YouTube.

Best tracks: Just Fuck Me, F.U., U Make Me Come, Dream Day, Red Sweater, Come and Take It, Big Muscle Guys

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Do Not Expect Too Much from the End of the World - Film Review

Radu Jude's Do Not Expect Too Much from the End of the World successfully underlines the common struggle of the modern working class under systemic neglect. The film follows the enigmatic Angela (Ilinca Manolache) through a series of wild goose chases around the city of Bucharest as she slaves away to film a workplace safety PSA. Meanwhile, she posts cathartic outbursts online, digitally masquerading as a monobrowed man in parody of Toxic Masculine web-neanderthals.

Jude unapollagetically satirises the farce of late stage capitalism, lacing the present day with a series of interludes from an old film about a female taxi driver. Similarly shot in Bucharest, these interwoven scenes from Angela Merge Mai Departe (1982) directly ask us to compare the past to the present with a call to question: what has changed? With the whole world seemingly taking a step back, it would seem that the answer to that question would be: almost nothing.

Soundtracked by contemporary Romanian radio, Angela, adorned in a reflective dress, acts as a mirror, ricocheting hypocrisy left and right like a discoball in the hot sun. With stellar cinematography reminiscent of the likes of Godard, Do Not Expect Too Much from the End of the World ruthlessly sheds light on the countless injustices of the 21st century, leaving no survivors.

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What I'm Listening To - September 2024

This is the start of a series where I curate a short list of music I’ve been playing on repeat each month. Here is a list of the 6 albums/singles that dominated my September.

No. 1: Tomu DJ - I Want to Be

I’ve been listening to California-based producer Tomu DJ since they released their record Feminista in 2021. I was working in a restaurant at the time and obsessively manning the aux to keep things interesting when days felt monotonous. It was quite a challenge to choose appropriate but stimulating tracks to play when my usual taste can border on abrasive. Tomu DJ’s music was a perfect antidote to this, and his style has hardly changed by the sound of his new record, I Want To Be.

I Want To Be mostly follows the same formula of steady beats, with very deliberate drum arrangements that drive the music forward. Whilst I would describe the album as “chill” and somewhat downtempo, the drum hits don’t fade into the background, they demand to be heard, which I think is the main selling point of his music. On I want to be, the melodies are cute, nostalgic and intentional. Nothing feels like an afterthought. He opts for less to create something that is perfectly thought out in its simplicity.

Amongst his usual tracks, there are also several features on this record, the most notable being that of Brooklyn based rapper Petty Getty, who shows real promise on Tortfeasor and with her own releases. If I had one criticism, it's that the other collaborations seem to interrupt the flow of the record. I definitely prefer his other, more sonically-consistent records like Feminista, but on I Want to Be, when it hits - it hits.

Main tracks: Pretty, The Truth, Tortfeasor.

No. 2: Bassvictim - Basspunk

With the sounds of the late 2000’s coming back, compartmentalised into the blanket of indie-sleaze resurgence, Bassvictim are one of the more promising emulations of this era. Blending bassline, witch house, dubstep and indie-electro pop, Bassvictim offer a natural next step to a post-hyperpop world. 

Being their first album, Basspunk seems like a good introduction to the sound and aesthetic that the London duo want to represent going forward. Think DIY vocals, lower-case helvetica, chopped and screwed samples, disposable camera photodumps, raunchy synth-basslines, the hipster side of tumblr.

I think it's important with music, especially net-genres, to present not only as something good to listen to, but as a subcultural lifestyle, and it feels like Bassvictim have really carved this identity for themselves with purpose. 

Best Tracks: Air on a G String, As Long As, Flop, L-On-D-On

No. 3: New York - No Sleep Till N.Y.

In a similar vein, but make it stateside - New York’s album from 2022, No Sleep Till N.Y. flirts with sounds from a similar era. The spoken word lulls of vocalists Gretchen Lawrence and Coumba Samba transports the listener back to a post-ironic Brooklyn in the early 2010’s. With infectious basslines and simple and clean synths, it poses an alternative to the maximalism of today’s indie-pop scene and back to the deadpan, pretentious mumbles of existential millennials. 

Electro-clash is truly back with even cleaner synths and a coat of fresh paint. Chopped and processed vocals lead a danceable beat with elements of reggaeton on LA (Feat. Mina) - of course the opening track would reference a city known to be the polar opposite of NYC - an interesting choice for a band bold enough to name themselves after the big apple itself. To me this is an apt signifier of the sense of humour that pulses through their music.

Excuses offers a nostalgic take on music from the golden age of soundcloud (2013-2016). I’m amazed at how they managed to make outdated future bass tropes listenable again in the year of 2024 - it’s a beautiful thing. But ultimately Skinny Jeans is the pride of the album, in my opinion. The duo beckon:

“Saw you on the subway I want to get in your skinny jeans Take off your pants and marry me tonight Skinny dreams”

The vocal fry is so necessary - skinny dreams indeed. I envision a crowd swaying to the lush, syncopated synths at a basement show in Williamsburg. This is definitely a band I have on my live-show radar. The vibes are immaculate.

Best Tracks: skinny jeans, L.A. (feat. Mina Galan), excuses

No. 4: Toxe - Toxe2

I first discovered Toxe from a friend who hosts an interview show in Tokyo around the same time her Blinks - EP was released. I was floored by how unique her sound synthesis was. Blinks, however, harbours much more negative space and has a generally experimental vibe that ties loosely to IDM. 

Toxe2 feels like a natural progression from her first 2 EP’s. If they were the studies, her first studio album would be a suite of a fully realised sound - a sort of sequel demonstrating her progression as an artist.

While the EP’s felt fractured in their variety, this album is consistent in its production. Her signature glissando-heavy synths litter the tracks with steady, faster beats and for the first time vocals in her Swedish mother-tongue. It has a decisively more electro sound, not dissimilar to early analogue pioneers, Kraftwerk. Where she expands on this is her much more experimental, complex rhythms that build to create a body of work that is both intellectually challenging and surprisingly accessible at the same time.

Best Tracks: Som En Sol, True, Eating Hearts.

No. 5: f5ve - Underground・アンダーグラウンド - Single

Possibly my favourite track of the year so far, f5ve go hardcore on their latest single, Underground - a J-Pop loveletter to a weekend of underground parties. Clad with an office siren aesthetic, the video oozes style and sophistication. The five idols dance in the Tokyo underground, layering cutesy lyrics with a happy hardcore beat. It feels like a much needed refresh of the J-Pop Zeitgeist, opting for a fast, club-ready sound with elements of nightcore. 

With only 3 singles to their name, the group are killing it with both their sound and visuals. Their first 2 hits are a decent introduction, but I think with Underground they truly cement themselves as ones to watch. Hopefully they continue to deliver a similar standard in response to the overwhelming praise from both popheads and clubkids alike.

If there is just one track from this list that you decide to listen to, Underground is a must-hear. 

No. 6: Free Jimi - I I I I Am Am Am Am - Single

As an apple music user, the one thing that keeps me from switching to spotify is the quality of the algorithm. I try not to rely on this as a sole form of discovery, but on multiple occasions it really delivers. I have no idea what rabbit hole led me to newcomer Free Jimi’s hyperpop-adjacent creations, but maybe Tim Cook is onto something. 

I think what ultimately ties this list together, and is often a strong litmus test for superior taste in beats, is the strong visual counterparts on display from the artists included. The album artwork for this particular single not only matches the track perfectly, but is beautiful on its own; and just one scroll through Free Jimi’s instagram feed or website, you can tell all of the images on display were created with meticulous care and respect for the craft.

Aesthetics aside, the track successfully deconstructs multiple club genres but delivers a cohesive and original sound. It has an interesting quality in that it sounds hard and soft at the same time. An unobnoxious donk is met with soft, sparkly textures to neutralise the intensity of the tempo. I would love to hear an entire set with the same energy as this.

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FIVE AMBIENT ALBUMS TO LISTEN TO WHILST READING

Ambient music isn’t necessarily meant to be engaging, but that’s why I believe it to be an incredibly functional genre. It can be used in tandem with pretty much any activity without being overbearing or distracting. Perhaps the most appropriate action to accompany this music is reading; with this in mind, I have compiled a list of five albums to pair with any and all reading material. 

1. CEP - Drawing the Target Around The Arrow

Caroline Polachek was projected further into the mainstream last year with the release of her solo record, Pang. But aside from this she has a background spanning numerous genres under several different aliases. Initially rising to prominence as one half of the band Chairlift, and later releasing lo-fi pop as Ramona Lisa, it is her ambient work under CEP (Caroline Elizabeth Polachek) that is possibly the most underrated of her projects.

Drawing the Target Around The Arrow is a perfectly apt title for this minimalist record, as the unobtrusive sound allows you to focus your attention where it needs to be - right on the target. With an analogue feel, most tracks use one or two sine waves to relay simple and repetitive melodies. Some of them have a more musical approach, such as Singalong, whereas others go for a more droning sound, like Background. But all of the tracks on this record steer away from the attention grabbing form of pop music that Polachek is used to creating.

Fortunately, with all the negative space left within Drawing the Target, it leaves ample room to think - which is why I would listen whilst reading non-fiction or when studying for a test.

2. Hiroshi Yoshimura - Music For Nine Postcards

As one of the most prolific figures in the history of ambient music, Hiroshi Yoshimura’s works have recently regained popularity due to YouTube algorithms. Although the internet can sometimes give attention to questionable content, Yoshimura’s records definitely deserve the notoriety they have received. The 1986 album, Green, has clearly prospered most from this newfound recognition, sparking a reissue on vinyl, but I personally believe Music For Nine Postcards to be the superior collection.

Coining the term “Kankyō Ongaku” (roughly translated: environmental music), Yoshimura is a household name to any ambient enthusiast. To more broadly define this term, it is essentially a composition that is designed to blend into the background of a specific environment; due to this, it is often used in high-end stores, hotel lobbies or art galleries alike. It feels almost like a permanent fixture to the world, like the sound of water running upstream or the whistle of the wind.

Whilst Music for Nine Postcards is certainly easy to passively absorb, it isn’t completely subtractive, it also adds a natural comfort to any given space - It makes the act of reading enjoyable, relaxing and something to look forward to. Because of this, I would pair it with a book equally as calming. 

3. Rainforest Spiritual Enslavement - Ambient Black Magic

Dominick Fernow has released music under many aliases, Rainforest Spiritual Enslavement being his ambient project. With various field recordings of rainstorms, Ambient Black Magic relaxes you to the core; it sounds as if you are walking through a rainforest, only to stumble upon a fireside ritual. Each track has a lengthy duration guided by hypnotic tribal drum-beats. But when you read into the origin of Fernow’s Rainforest project, the context of these unchanging rhythms becomes far more thought-provoking. 

In an interview for Self-Titled Magazine, Fernow clarifies that, along with some of his other projects, RSE inherently deals with “fear and anxiety”. The Rainforest project is based on “natural and [superstitous]” fears, and is even more directly inspired by witchcraft in Papa New Guinea. But whilst it would appear that this album explores anxiety outside of Fernow’s own experience, he also insists that the work draws from his own personal feelings. In this case it would seem that the stories Fernow is referencing are just a vehicle to express his inner psyche. 

It’s odd that something so relaxing could be directly inspired by anxiety, but there is also an obvious darkness to the disorientating synths used throughout this record. Every beat of the drum and patter of rain conveys mystery in Ambient Black Magic, and this is probably the reason it is so enchanting to read alongside. I would pair this album with any unsettling or supernatural material as a way of bringing the subject matter of the book and the music together. 

4. Clarence Clarity - Dead Screen Scrolls

Dead Screen Scrolls is definitely the spaciest record in this selection; It uses intelligent sound-panning to create celestial environments. This formula makes you feel like you’re floating somewhere with no other distractions.

As another pop producer on the list, Adam Crisp is no stranger to sound manipulation. Whilst a lot of the aforementioned records focus on minimalism to accompany everyday living, Dead Screen Scrolls tends to take you on a journey with each track, allowing you to feel as if you are deep within yourself, but also deep outside of yourself. 

Being a producer for the likes of Rina Sawayama and Dorian Electra, his music is often densely layered and maximalist. It’s interesting to see how he has applied this to his ambient work, with excessively produced voices circling your periphery, rich bass tones and droning pads.

Out of all of the albums on this list, this is the most musically and technically complex, so it is also extremely enjoyable even when partaking in no activity. But if you do decide to read, this record would go nicely with books that trigger self-reflection - material that encourages you to look inwards is a perfect option.

5. Fief - I-V

If you spend time browsing music on Bandcamp, you’ll be aware of the many net genres that thrive on the platform. One of the styles that has proved extremely popular with niche crowds is dungeon synth. Despite being around since the 90′s, it has gained a wider popularity over the past few years in online cirlces.

Within the realm of this sound, Fief holds a beloved status as a culminative sonic formula of the dungeon aesthetic. Posting since 2016, Fief has a collection of five albums in total, each bring medieval and renaissance inspired melodies through the vehicle of synthesised lute and panpipes. It proves as a perfect companion for high fantasy novels or fairytales, whilst somehow retaining a unique and tasteful vision. The minimal droning sound of this genre allows each track to blend into the background, but also adds an extra layer of immersion for readers.

If you would like to sample more dungeon synth, check out The Dungeon Synth Archives on YouTube.

If you enjoyed this article and would like to sample some of this music, click here to listen to an ambient mix I recently put together, which features most of the artists mentioned above. Thanks for reading!

[undergietan]

CECILE BELIEVE - MADE IN HEAVEN REVIEW: LIFE IS DIVINE

Since her collaboration with SOPHIE as vocalist and co-writer on Oil of Every Pearl’s Un-insides, Caila Thompson-Hannant has now officially released her first project under the Cecile Believe Alias. Formerly known as Mozart’s Sister, the Canadian born songwriter and producer delivers a stunning mix of ambient electronic and post-genre tracks on Made in Heaven, solidifying herself as a truly underrated, multifaceted artist in the left-field pop sphere.

Prior to the EP’s release, Last Thing He Said to Me in Person was dropped as a single along with a music video. The track communicates ideas of indecisiveness within relationships, and how we navigate these complex emotions. Subsequently, right before the EP’s launch, Pick Up The Phone was also released. A breakbeat anthem that established the various sounds and styles we could expect to hear on the rest of the project.

Although songs like Living My Life Over toy with elements of drum and bass, and 7PM with trance, each piece separates itself from concrete structures to thrive in an unrestricted space between genre. These moments and emotions are sutured together by various ambient-leaning tracks, akin to sounds on Pretending and the latter half of Whole New World on the aforementioned SOPHIE LP - like the muddied distractions between moments of intense feeling. Celestial pads crescendo into screams on 7PM (Accretion Disk Edit), only to be met by verbal expressions of vulnerability on Disassociation. These ambient tracks are not merely filler, but listenable in their own right.

On reflection, Hannant has a knack for eliciting very specific moods with her production, and I feel like this will be her strongpoint going into future projects. What could be a typical pop song turns into turbulent expressions of sincere emotion, whilst still remaining structurally accessible. Pop is obviously where Cecile Believe excels, but there is nothing basic or uninteresting about the way she presents her work. 

The EP ends semi-abruptly on the guitar ballad Already Come, which feels anti-climactic when compared to the multilayered sounds on previous tracks. But the songwriting and vocal processing still feels fresh and unique enough to gel with its counterparts. 

Overall, Made in Heaven feels pure, human and sincere in its entirety. It addresses insecurity, but also calls for self-love. The title track declares: “I’m suffering, I don’t know anything, but I know that you were made in heaven.” An overarching message that regardless of any unpleasant feelings we endure, these sensations are what make us divine.

Rating: 8/10

Highlights: Made in Heaven, Last Thing He Said to Me in Person, 7pm, Yellowjacket

[undergietan]

MUSIC FOR ISOLATION - 2020 RELEASES

Since lockdown measures began, the volume of our world has undoubtedly lowered. If, like most people, you need sound to fill the deafening silence, I’ve compiled a list of 5 albums to enjoy whilst stuck inside. Each album was released earlier this year and was selected to complement our current way of living.

5. For Relaxation: Chris Zabriskie - I Made this While You Were Asleep

If you’re looking for an ambient record to calm your nerves, Chris Zabriskie’s latest release is perfect for overactive minds. Littered with field recordings of cities and nature alike, it will bring you out of your home and into the world again - despite our current restrictions. With warm synths and colourful tones, this album is perfect for anyone struggling to sleep or focus at a time when our heads are in a state of collective panic. 

4. For the Escapist: That Kid - Crush

Whilst the 2000′s resurgence is certainly not a new trend in music, it continues to deliver fun and elating bangers from those who subscribe to its sound. That Kid’s Crush is one of the most recent to drop his mixtape faithful to the bubblegum-pop genre. With hypersexual bops that will transport you back to myspace and low-cut jeans, it provides a much needed escape from the bad start to the decade. The album includes influence from trance, breakbeat, club and happy hardcore, with features from LiZ, Ravenna Golden and Tama Gucci. It plays on the maximalist sound popularised by UK concept label PC music in the 2010’s. Just 9 tracks in length, Crush is more than enough to motivate you to get out of bed with its high-energy beats.

3. For Wallowing: Grimes - Miss Anthropocene

An obvious choice; Grimes’ latest album is based on fictional gods of the apocalypse. If you wanted to stew in your anxieties, Miss Anthropocene is a perfect companion. So Heavy I Fell Through the Earth is a downtempo anthem for when the weight of the world feels particularly overwhelming, but for some reason the enigmatic feeling of despair that the track radiates is so addictive. Delete Forever is a more personal account of the guilt that arises when self-medicating for our sorrows. And Before the Fever is a strangely foretelling ballad for the end of the world. The rest of the album continues to provide the perfect soundtrack for our dystopian anxieties. 

2. For taking back control: Shabaka and the Ancestors - We Are Sent Here By History

Shabaka Hutchings is now a household name for jazz in the UK. Their latest project, We Are Sent Here by History, is a deeply confrontational record, exploring the notion of “change” - the lifeblood of jazz music - and how we can learn from our past. Following years of austerity in Britain, and a rise in nationalism in the west, it seems like a relevant response to the cards we have been dealt in our current political climate, but also an invitation to break the rules. Littered with chants and spoken word, the record urges us to use our time for good. As the Covid-19 virus has helped to shine a light on the cracks in our society’s foundations, it feels like a perfect time for this record to drop. Listen to feel a little more in control. 

1. For Political Reflection: HMLTD - West of Eden

West of Eden arrived at a very opportune moment. The album released in February to critical acclaim due to its dark allegorical musings on the death of western cultural dominance. The record opens with the track The West is Dead, with lyrics alluring to the decaying corpse of western capitalism: lead singer Henry Spychalski breathily declares “and there will be no resurrection, no direction. Another lost erection” over spaghetti-western guitars and an overall gothic sound.

The events we have witnessed since the coronavirus reached pandemic levels impose an unprecedented amount of evidence for the broken systems in the west, and our leaders’ failure to respond competently to existential threat. But, as the album proves, these ideas were always visible even before the emblematic smoke was lifted.