Make Believe Melodies Logo

Category Archives: Music

Split-Second Bliss: ΔKTR’s suburbanfunkessentials

I’ve been thinking a lot about samples recently — mainly, the dilemma that so many artists stir up in me when they create songs that are just slightly edited versions of obscure tracks. On the one hand, it seems lazy and obscures the original. On the other…this has always been part of dance music, and it leads to a lot of younger folks learning about older artists, which is great.

Something that doesn’t leave me conflicted is ΔKTR’s suburbanfunkessentials, a set of quick-hit dance numbers built exclusively from samples, but structured in a way where you never have to let any of those moral quandaries into your noggin. That’s because the Yokohama producer uses seconds-worth of samples, slicing them up and rearranging them in such a way where they take on new meaning without losing the warmth. Opener “ihavenothing” reads like a lament, but on listening sounds far more sun-glazed, even if the only word repeated is “nothing.” And so it goes, ΔKTR constructing brief but blissful numbers from small snatches of samples, resulting in off-kilter cuts (“positive afterimage”) and hyper funky (“nextmovement”). At moments it teases vaporwave, but ultimately avoids cliche and just creates its own good-time vibe. Get it here, or listen below.

In A Trance: Prince Graves’ “Secret Valley”

Ami Kawai is half of Tokyo band She Talks Silence, and she also has a solo project under the name Prince Graves. Her first full-length album, Half Awakening, comes out on May 24, and ahead of it she has shared the hypnotic “Secret Valley.” It’s a lithe number, centered around repeated words and small electronic ripples, the music building up slowly as the song unfolds, but Kawai’s voice locked in the same delivery that brings to mind someone in a serene state of mind. Which alone would make for a pleasant background chant, yet “Secret Valley” adds tension late in the song, when electric guitar creeps in and cuts at the song’s seams a bit, never ripping it apart but adding unease. Listen above.

New Woopheadclrms: Kamechiyo

Wasabi Tapes just keeps on bringing the textural bliss. The label’s latest release comes from Woopheadclrms, and it is 20 tracks of frantic, tactical noise, featuring rushing water mixed with sudden synth twists (“Bonfire”) and instructional voices clashing with bell chimes (“Misonikomi”). Kamechiyo sounds a bit more anarchist than other sound explorers like Toiret Status or DJWWWW — those two Wasabi Tapes artists manage to find melodies out of the clutter, while Woopheadclrms feels a bit more all over the place — but the quick pace of these songs and the whirlwind mix of sounds makes them intriguing in a different way. And, at their best, Woopheadclrms creates hyper-speed cartoon music, such as on twinkles-gone-nightmare dash of “ONODA” or the animated-splat of “My name is Muhammad.” Get it here, or listen below.

New Broken Haze: Nizmo EP

Since helping launch Beta Pack a while back, producer Broken Haze has embraced a piston-pounding, all around aggressive sound that seemingly draws inspiration from the world of cars. The Nizmo EP is the latest exploration of this HD-like approach to hard-hitting dance, featuring four new songs full of trunk-rattling beats and shiny synthesizer notes. Opener “Fairlady Z” establishes the vibe quickly, recalling the sliced-up intro to his last release TRD, with a series of quick-hit noises leading up to the more pounding main passage. Things get a bit more neon-soaked on “Skyline GT-R,” letting the synths luxuriate a bit more before the drums hit. Broken Haze continues to show that his work stands out from the electronic masses in Japan with this EP. Listen above.

New Noah: “Back”

Ahead of a few opening gigs with Liima, Noah has shared a new song called “Back.” The usual adjectives apply — sparse, delicate, fragile, etc etc. — but what stands out is the ability for the song to simply stand on its own. Noah’s work to this point has mostly been centered around EPs and 2015’s stunning Sivutie, and what makes all of those click is how songs work together. “Back,” however, is its own little world, finding Noah drifting over faded piano notes, woodwinds and a few lonely saxophone notes. And then the beat hits, and the song transforms, still as private as before but with a sense of urgency added in. Listen above.