Remuse Letter 3

//VINCENT here,
Remuser-in-Chief,
at your service, of course.
With more fresh music
and platform updates. //REMUSE

RECENT POSTINGS
DUSTINWONG
MAPACHE
AFRICANHEADCHARGE
JESSYLANZA

Dustin Wong — Orihime Hikoboshi

(One two three, four five six) Dustin Wong's Orihime Hikoboshi reminds us of Kishi Bashi's subtle vocal "ahhs" blending into the dissected strings and plectrum-like clicks and hops. Panning and pitch bend, as well as punctuated staccato-sequenced plucks of whatever strings are in this piece add a sense of droplets finally burgeoning themselves off leaves laden with the wet weight of large-drop slow rain. We can imagine the princess drifting in and out of the palace leaves, pads on air remind us of her grace as she floats in and out of reverie. This track, the most "songlike" track on Dustin's collection has a fair bit of happy terrain that would make for splendid sampling. With an eigthth of the track to go, we hit land, Dustin invokes a sonic drop, our ship runs aground, wretches on the sands, and fades into the misty recollections of a dream.

Mapache — What a Summer

Mapache brings springtime blossoms and summertime heat with this collection of irresistible, harmonizing and well-metered bouquet of sonic splendor. Some of the tracks on this album feel like instant classics. Delighted to hear it, many tracks on this album worthy of many listens. What a Summer captures a particular nonchalance and groove about those Summer nights that come and go, my oh my.

African Head Charge — Passing Clouds

The whole album A TRIP TO BOLGATANGA is great listening enjoyment and we highly recommend it — this track called PASSING CLOUDS is a bit more ambient and suitable for a variety of contexts. The original African instrumentation and vocalisation on this collection result in a splendid blend of mellifluous send.

Bongos, congas, hand drums, in the left ear with smooth brass, what sounds like two trumpets and a baritone sax chorded together. An electro-wet squiggle in the drum adds unique tension, bassy synth rolls in with hollow gallop-like snare-drum-esque metal marching forth - a clean take on the recurrent drum. Guitar strum in the relief drifts us back to the sax and horn chorus, the synth's loud falling action and panning echoed shakes and rumbles add a dimension of sound that makes one want to sway and bend.

JESSY LANZA’S MIDNIGHT ONTARIO

Opinionated pitch on the kick and low-pass filter sweep bring us into a breakbeat similar to Liar's Bruised Knee. The deep kick with upper-octave dry-pop that are doubled up and stretched out on beats 3 + 4 strikes like sunbeams on a lake where Jessy Lanza's vocal "falling like tears in rain" harkens to Alessia Cara's vocal from "Here" or FKA Twigs in any one of her beauteous composites. Midnight Ontario ends abruptly, in this case a favorable aesthetic decision as the track is sumptuous in its delivery and timing -- any more would risk fatiguing the listener, any less and the thought incomplete.

ECOTEK @ CHARLOTTE de WITTE

COVERS BORIS BREJCHA’S SPACE DIVER

THE SUPER-DIVINE PUPPY WHO IS SNARKY

SNARKY PUPPY