![]() Leave it to Diplo and Mad Decent to find an artist that begins a song called “Together” as if it’s kicking off a hardstyle music festival (see the Thunderdome parties on YouTube), only to drop the bottom out from under you in some of the best trap production I’ve come across. DJ Snake – “Together” (PolicyMic must hear!) As the cavernous, staccato with reverb melody in the verse gives way to a quintessential big room lead melody, “Avon” stands out for impeccably managing the tension that is then expertly defused in an unforgettable melody.Ĩ. Though effective, this formula often results in largely homogenous, uninspired productions. The big room meets progressive house sound, championed by acts like Swedish House Mafia, has achieved immense popularity because of its anthemic choruses presented in a simple but proven intro-theme-build-drop structure. Brilliantly structured productions keep your focus on the song’s trajectory, but despite the aural and structural focus on the songs development, the sound never overwhelms the listener. Unlike the often experimental Gold Panda or Shigeto, Lusine doesn’t obscure his catchy, melodic and percussion driven sounds behind filters or phasers. Independent Ghostly International is among the very best of American electronic music, but the sounds of the eccentric label’s signees are such that it is proudly at the forefront of an “underground” sound, and largely off the radar of most who aren’t aficionados. (That was the long version of why this week’s list is so heavily loaded with electronic music!) In short, the genre is absurdly prolific. Without the need to learn a traditional instrument or how to read sheet music, and with the existence of software as accessible as GarageBand or FruityLoops (or as sophisticated as Logic, Ableton or Cubase), it is possible to create a revolutionary, spectacularly produced song or album without expensive and often protracted studio time. The ability to sound groundbreaking and refined combines with the common practice among electronic musicians to release only singles or short EPs, often on various labels, to largely remove the logistical and artistic constraints of a major label record deal. Album DescriptionAs you would expect from a genre built around manipulating sound and experimenting with rhythm, electronic music is impressively flexible. See More Your browser does not support the audio element. "Stratus" is a rave ramp-up that runs about twice as fast as the downtempo "On Telegraph." Those looking for something more consistent should first check out the exceptional Serial Hodgepodge, but fans of the poppier side of Lusine will find this to be a nice counterpart to A Certain Distance. It's fun to see him dip into a wider array of pop influences, and even the instrumentals vary from the usual IDM, minimal house, and ambient techno. The rest of the album is more suited to the typical Ghostly fan, highlighted by instrumental beats with thumping kick drums, acidic basslines, and sparkling keyboard loops. These songs have more crossover potential and are likely influenced by Jeff Mcilwain's time working in studios for Hollywood executives. However, when Sarah Mcilwain sings on the Air-styled "Get the Message," or when Janelle Kienow lends her delicate voice to "Without a Plan," they do so cleanly and change the sound dramatically, in the way a remix might. This little trick helps to make the radio songs like "By This Sound" fit into Lusine's digital realm and match his futuristic aesthetic. Such is the case on the squishy dance beat of "Another Tomorrow," where Caitlin Sherman sounds like a robot singing through a vacuum. On some numbers, he incorporates a clever trick, and processes the vocals so heavily that it takes the human element out of the singer's voice. ![]() Whereas the albums prior to 2009's A Certain Distance had an understated ambient vibe, he goes for a bigger production on this outing, enlisting guest vocalists on five of the songs. ![]() Buy the album Starting at 12.59€Īfter taking a break from recording as Lusine to score the film projects Snow Angels, Linewatch, and The Sitter, Jeff Mcilwain returned to creating electronic music for Ghostly, for 2013's The Waiting Room. Purchase and download this album in a wide variety of formats depending on your needs.
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