From Dred Collective comes a smooth footwork track full of repetitive synth chords and a vocal sample that hinders on hilarious and slightly true to our society’s attention spans to social media. Download the track for free on soundcloud.
Forthcoming from new label Hope Sick Cola is flowerkingdom by Christchurch native Yeong Rak. This release merges together many different influences, from footwork to cartoony vocal samples that hinder on anime vocaloids. If you know anything about the label heads of Hope Sick Cola: Shisa, Cat Sperm and Nekophiliac - you’d notice that they hold a significant sound of underground music that hovers around a broad spectrum of genres. We sat down with Hope Sick’s newcomer to understand a little bit more about what he’s about and where his d’chrone EP will take us.
When did you first start making music and what are some of your inspirations producer-wise for this release?
I started making Cybergrind in GarageBand when I was 13 in about 2009 or so - that was awful but I met some cool people from Myspace in that scene that I still talk to on a regular basis. Lately I’ve been inspired by ZOOM LENS, mainly Aegyokiller and Uio Loi, and some japanese footwork like Paisley Parks and Satanicpornocultshop. I’ve been in love with their sounds for about a year now and I think it’s had an impact on the way I think about and approach music in general, and especially on this release. Actually I’ve been taking some inspiration from Haitian and African music too. You’ll hear some samples of that pop up on the release here and there.
What is your definition of cybergrind?
I always thought it to just be grindcore that was made digitally. I think for some people having some element of electronic music is a must but I didn’t do much of that. Maybe I was just making regular grindcore the whole time…
How did Hope Sick contact you for their third release?
Nekophiliac sent me a message on Twitter asking if I could be the third release for him and Shisa’s new label Hope Sick Cola and I felt pretty excited about that so I said yes.
Shisa mentioned that you and Neko know each other from the Lolicore scene, how has that scene influenced your production?
I dont think it was the scene itself so much as the people I knew and worked with (Neko, Vaenus, Onii~cholas/D3lores) within the scene that influenced me. I never had much to do with the others in the scene but I did used to make Lolicore under Bukiko (a project I started with Vaenus in 2012) which has since ended up sounding a lot like my main work anyway.
Both these genres are very underground. Do you feel that in time they might make a come back? Or how have these scenes merged your sounds into what they are now?
With Cybergrind I couldn’t say because I’m seriously out of the loop when it comes to that scene. I havent been involved with any Cybergrind since mid-2010 really but my friend who works under the name Infected Womb does/has done some pretty sick Cybergrind, so there is some good stuff to look out for. When it comes to Lolicore there are some really cool things going on in that area. Virtual Disk Systems is planning on doing some Lolicore tape releases in the near future. The Worst already has a nice catalogue racked up. I’m not sure if it constitutes as a “comeback” but they are two labels you should keep your eye on if you’re at all interested in Lolicore. All the people involved are really cool so I’d suggest checking them out. I’m not really sure if it’ll make a comeback but it doesn’t really matter anyway. There’s cool stuff happening in both areas and that’s all that matters. As for how they’ve affected my sounds, I think it’s the same as before. I’m thankful that I got to meet and work with the people I did because they were the main influence on my work but the scene as a whole wasn’t something I really payed much attention to at the time. I don’t even listen to grind anymore.
What do you want your listeners to feel from it?
This is really just me writing music, with no particular cohesive feeling in mind. Different songs come from different places I’ve been in so there’s few things someone might feel while listening to it I think. Most of it is just confusion.
Watch out for d’chrone, available on Hope Sick Cola on August 15th.
Toronto producer Death Ledger has just released his experimental rework of Jeremih & G-Unit’s top 40 hit, Don’t Tell ‘Em. Death Ledger slows down the track to create a much more mellow listen. He chop and screws the song to create a relaxed summer song. It’s definitely something that has the potential to put Death Ledger on the map.
Our friend Unjee held a remix contest last week and the results were amazing but what really stood out is HRVY’s house rendition. With pitched and echoed vocals, HRVY creates an all encompassing sound that makes you straight ~vibey. Download it for free on soundcloud.
From Australia is newcomer Leon Osborn. His eclectic sound of layered textures and complicated beats make him stand out from other producers - a feat hard to do in today’s industry. And better yet, he’s started a new campaign called Nature Strips, releasing new songs every Tuesday. With releases from Pilerats and Die High, I’m excited to see where the year will take him.
With new releases off of Symbols Recordings, Figgy hasn’t been slowing down since our last write up on him. The Truth brings together a floaty melody with sooth repetitive vocals, perfecting the sound of tropical house. Download for free on his soundcloud.
From Melbourne comes Hopium, a duo burgeoning in a mixture of electronic indie pop and r&b. In Cut, their sound is dark and wavering with a combination of swelling synths and bass lines, yet with Dreamers, their sound changes into something more commercial with a catchy synth pop melody and a backing feature by Phoebe Lou of the defunked Snakadaktal. With only two songs out, it’s hard to see where they’re going, but I’m interested in hearing more in the months to come.
While Yamantaka // Sonic Titan’s music goes towards experimental noise rock, CFCF has managed to recreate the band’s weirdly eerie aesthetic with a soundtrack of orchestral instruments that is so captivatingly beautiful, you would have thought the vocals belonged with his rendition in the first place. CFCF has always been a favourite producer of mine, using settleties as a way to create an ambience that doesn’t overdo itself like in his remix of Sleep ∞ Over’s Romantic Streams (which will forever be on my repeat list). Sometimes simplisticity is key.
With a nostalgic voice that croons towards a mixture of Lana Del Rey and Yukimi Nagano of Little Dragon comes Vancouver based singer, songwriter and composer Unjee. In her latest release Saddest Eyes, the dark aesthetics are prevalent through her lyricism and tonality yet still hold r&b tendencies that make them complimentary. Grab the download for free here.