“Restraint”(制御)という単語をDe De Mouseと結びつける事などないと思っていました。彼の音楽は通常、ボーカルを切り刻み、その切れ端をスピード感のあるビートの上に乗せるようなスタイル。任天堂DSの音楽ゲームだったら最大級の難易度ですね。ドラムンベースの影響が薄い曲に限っての話ですが。新作Sky Was Darkからの曲、”Floats And Falls”は何と9分もあるのですが、今回はただ速いだけではありません。逆にスローなこの曲では、シンセが上手く曲を展開させて行きます。ボーカルのみにスピード感があります…というよりは、跳ねるようなスタイルがそう聴こえさせるのかもしれませんが。
“Floats And Falls”は5分が経過したその時点で既に完成された曲なのですが、それだけで終わらないのが今回の注目点。曲は不意に展開し、ビートが消えてボーカルとシンセのみのパートになります。その後も次々に新しい音色が加えられ、曲を終わりへと導きます。長くも飽きのこない、優れた工夫が施された作品だと感じます。De De Mouseの曲の中でもダントツで平和な、広々とした空気感を放っていて、彼の新しいスタイルを象徴した、新しい始まりを感じさせる曲になっています。ビデオは以下に。
This month’s Music Alliance Pact has arrived! As always, MAP finds 30-plus blogs from all over the world sharing one song from a domestic act with the rest of the bunch. Make Believe Melodies represents Japan, and this month we are putting the spotlight on ultra-pop specialist Yoshino Yoshikawa and his “I Feel You, I…
Miila “Santa Baby” Well, this is definitely putting your own personal stamp on a Christmas classic. Miila, stepping away from the Geeks for this bit of yuletide joy, covers “Santa Baby” by playing a version built around molasses-slow guitar and some simple-but-ominous drum. Miila herself sings it pretty straightforward, but her voice sounds slightly muffled…
In which Tokyo producer Kenie_T…who on SoundCloud now goes by knie with a block symbol between the “k” and “n”…realizes Vocaloid doesn’t have to be just a replacement singer. The productions released by this artist over the past few months have been warm and dizzying, yet it’s on “Papapa” in which the digi-voice of Sekka…
Being prolific does not equal being good, but Kyoto’s Madegg makes it easy to think the two are simultaneous. Despite scaling back on how much music he uploads into the wild…a couple years back, you could hardly go a day without seeing a new song courtesy of the young producer in your SoundCloud feed…he’s still…
This year saw a first from techno-pop trio Perfume – a dud. “Mirai No Museum,” a song written for a Doraemon movie, was greeted with mostly shrugs and “ehhhhh, hope the next one is better” from the group’s usually rabid fanbase. It did alright sales wise, but failed to ignite even real hate from anyone…
This isn’t the first time Nagoya’s POP-OFFICE have covered a song…but these two latest renditions highlight what they do so well better than what they’ve done. First, they take out Sparklehorse’s “Gold Day,” itself an understated, sadness-tinged number that’s best described as very pretty sounding but with a frown hidden deep within. Well, POP-OFFICE blow…
“Restraint” isn’t a word I’d normally associate with producer De De Mouse. His music usually dices vocal snippets into half-second squeaks, and then he rearranges them into speedy patterns that at times sound like something you find on the hardest difficulty of a Nintendo DS rhythm game…and those are the tracks lacking drum ‘n’ bass influences. “Floats And Falls,” from De De Mouse’s new album Sky Was Dark, clocks in at nine minutes and he doesn’t spend all those seconds creating sonic whiplash. Rather, the majority of “Floats And Falls” is a slow build up, the beat moving at a slower pace for a De De Mouse song as the synths surrounding it go through subtle changes. The singing remains the only really fast element of the song, but over everything else even it sounds more like a bounce.
The first half of “Floats And Falls” passes and it sounds like all that build up is about to pay off. Then, right before the five-minute point, the beat drops out and all that’s left is those vocal samples and some synth. The song goes into an even longer movement seemingly moving towards something, De De Mouse adding new sounds as the track progresses. At times it can drag, but he adds enough small details to make this fake-out worth an attentive listen. This is the most ethereal song he’s ever composed, and shows he can turn his rapid-fire style into something spacious with only a few alterations. Watch the video below.
A challenge I’ve personally felt as of late is trying to find a balance between new music — you know, the daily “what new thing is new artist doing now, that is new” — and those pockets of sound that exist outside of any narrative, but are thrilling even without a hook. Nagoya’s Bicco Beat…
Not much commentary on this one – Toss And Volley make schizophrenic electro music that’s both kind of danceable but also really strange. Imagine Black Dice reducing the volume about 60 percent and trying to play a dance club. Just listen to the songs on their MySpace page. The tracks range from the skipping madness…
Long-running Kobe producer Takeshi Kouzuki’s latest is a good number to zone out to while staring at your laptop screen (or maybe I’m revealing too much about my Sunday night). At nearly seven minutes long, “Computer Lovers” is a mish-mash of jittery percussion and dusty synth notes, all rounded out by some audio popcorn and…
Producer Takaryu’s first full-length album Resources doubles as a snapshot of the many ways electronic music in Japan has gone over the last five years. Takaryu has been around since about 2014, though the bulk of work they’ve shared in that time has been remixes alongside one mini-album. So Resources gathers songs that have appeared…
All artists have the subjects they keep coming back to, the thing that pulls out some of their best work every time. For producer Yoshino Yoshikawa, that might be cats. The latest in his feline–leaning collection of songs, “Dancing Cats” switches things up ever slightly by not being as outright chime-rich as other songs he’s…
In general, the lamest aspect of Vocaloid music culture in Japan is how it seems like few creating music using the singing-synthesizer program actually try to do something out of the ordinary with it. I mean, this is a voice you can do whatever you want, but the bulk of songs popping up online sound…