Kishi Bashi Live Review @ The Lexington, London (10 May)

After touring around various stops in continental Europe, Kaoru Ishibashi finally made his first visit to the UK as Kishi Bashi. The much-loved solo performer is well-accustomed to life on-the-road when he was a backing musician for artists such as Regina Spektor, Of Montreal and also toured with Jupiter One. But now, with the help of some loop pedals, his comprehensively composed tracks were solely under the influence of his hands, feet and larynx.

His experience as a performer was obvious; a confident character on the stage and had no interest in conforming to presupposed archetypes of musicians.  By far, one of the most honest performances I’ve ever seen – during the opening of ‘Chester’s Burst Over The Hamptons’, he accidently shut down all his loops and exclaims ‘oh fuck!’, much to the delight of the crowd. But such is the abundance of talent Kishi possesses, he decides to whittle off a masterfully improvised track instead.

It was probably down to Kishi’s thoroughly endearing disposition that elated listeners were extremely eager to interact with the classically trained artist during tracks by whistling and vocalising the “oohs” in ‘Atticus, In The Desert’. And in between tracks, the banter was cordial and Kishi expressed yet more of his quirkily affable personality – at one point, saying that he was wearing a bowtie because he sarcastically thought it was normal British attire but then remarked “nobody’s wearing a bowtie…”

From an auditory point of view, most knew what to expect; delightfully crafted orchestral-pop full of twinkling textures. But to see Kishi construct the tracks was simply enthralling. His timing on the loops pedals was impeccable (except for that one hiccup) despite the various layers and his beat-boxing was surprisingly good for somebody from a classical background. At one point (yet another example of his charmingly confident character) he even briefly attempted some dubstep.

The highlight was probably his impeccable cover of Beirut’s ‘Sunday Smile’ – the sentiments of the track were captured beautifully. But then again, the whole night was flawless. Even the flaws were spun into something wonderful and unique! Quite frankly, it was an utterly memorable gig by an absolutely lovable individual creating superbly complete tracks.

Psychologist – Epidural Collection

Even if you had ears pressed to every speaker, there’ll still be sounds you’ve missed bellowing from the depths of the Earth. But music is always new when you haven’t heard it before and in this case there’s no uncertainty about whether you’ve heard Psychologist before; you’ll know. Discovering fresh artists – who aren’t that fresh anymore – isn’t quite like trawling through your parents’ vinyl collection and asking the tuneful Frisbees “why weren’t you in my life earlier?” But the footsteps were pressed not long ago and there’s still time to catch up.

It’s two-years-old now but Psychologist’s Epidural Collection still resonates with warmth and gloom in equal measure courtesy of the two-sided format. The first EP in the collection, Waves of OK, represents the tender side of Iain Wood’s songwriting while Lewis Bellwood helps put all the philosophies into practice. The choice of location for recording the EP, St. Matthias Parish Church in Stoke Newington, amplifies the atmosphere. And much like the cavities of the church, there’s spaciousness about the record. While many artists would attempt to fill that space with a big sound, Psychologist lets the emptiness fester almost as if to allow you time for self-inspection. If you haven’t yet been haunted by the honesty of the record, the reverb on Wood’s already eerie vocals on ‘Untitled (A Possession)’ comes with a compulsory chill down the spine.

You’d be forgiven then if you thought Propellor (the other half of the Epidural Collection) was produced by somebody completely different. The cold, almost abrasive EP basically serves as a foil for the pensiveness of Waves of OK. While the first EP might pass you by like a dream you just couldn’t grasp, the warping bass and unerringly layered textures of Propellor demands your attention. There just seems to be more of a foundation for the vocals to build from.

Upon initial listening, Propellor might sound more experimental than Waves of OK but with dancey beats like those on ‘Disco At Twin Peaks’ it’s actually the more accessible EP. The stand-out piece among the whole collection has to be ‘1:1’, it’s got everything from harmonies, murky undertones and a compositional awareness that exceed expectations. There’s still poignancy in the record but it delivered with more force than in Waves…

As a result, it appears easy to say that the second half sounds more complete whereas in reality, they are both open-ended and need one to compliment the other. Like two sides of a coin, the equilibrium would be disrupted if one side didn’t exist. But unlike a coin, the two records aren’t physically part of one. Each has legs of its own and you wonder…after a few more years…whether a distance will grow between the two siblings or if their bond will grow stronger, perhaps out of necessity.

Chance Encounter

It’s International Poetry Day today so I decided to flick through my book to see what I’ve got. I wrote this a few weeks ago. My intention was always to write a poem for this picture and I’ll definitely be experimenting with it another time. And if poetry isn’t quite your thing, try William Blake’s work.

AlunaGeorge – I Wanna Be Like You (Jungle Book cover)

Despite it being mildly late and thus in need of sleep to re-energise myself for work that couldn’t as endearing as this tune even if Baloo was my boss, I just had to share this. George has kept the production minimal and allowed Aluna’s charming vocals to prove that ‘I Wanna Be Like You’ is better than ‘Bear Necessities’. The latter might be easier to sing along to but King Louis’ track has more verve helped no doubt by the backing vocals. The cover is getting plenty of love right now but everyone is enjoying the nostalgia value too. Just be sure to hit Shift + L (SoundCloud’s shortcut to repeat a tune).

The Tuts – Tut Tut Tut

The intro’s a bit meh but tut-tut on you for not listening on because The Tuts’ brand of lo-fi all-girl pop punk is quite difficult to dislike. Along with the similarly sounding and equipped Colour Me Wednesday (bassist Harriet is also in CMW) they are starting what appears to be a C86 revival in Uxbridge.

They strike a delicate balance between approachably fun and unbridled explosiveness. Ok, so it might not be that nuclear but it’s the best we can hope for since the days of Bill Price enticing the anger out of The Clash. This is UK pop punk at its finest; raw and unrefined with a jovial vibe that goads you into thinking that every obstacle is minuscule and irrelevant. If this tune doesn’t cheer you up…can I try again later?

 

Tourist – Tonight EP

As the album art might suggest, this Tourist EP offers a slightly darker and more mysterious tone than his vibrant debut. ‘Placid Acid’ was jubilant and triumphant whereas the opener from Tonight prefers to lurk in the shadows. And for that reason, it also has to work harder to leave a meaningful impression like ‘Placid Acid’ did.

But this is a different EP, and although the fundamental mechanics that makes it inherently Tourist remains, the tone is more overcast. Unfortunately, it takes until the second track for you to see what this entails. ‘I Have No Fear’ is quite spectral at its core but has wonderful layers (courtesy of some unique samples) that pop in and out at will while eerie squeals pad out its shadowy timbre. All of this is carefully balanced on the fulcrum of sinister synths. This track is one the most thoughtfully arranged out there right now and it illustrates Will Phillips as one of the best up-and-coming producers.

The other two tracks are less memorable but certainly enjoyable. They bubble along with an understated manner asking you to look closer and notice the glimmering flecks. They’re danceable too and the intricacies in the composition would be many times more prominent and luminous; the colour is certainly there but modest.

Tonight may not be as accessible or eccentric as Tourist’s debut EP but it does highlight his willingness to explore an altered resonance perhaps sharpening his other blades in anticipation of an album release. Overall, this new departure just amplifies the impatience for a debut Tourist album and you can be sure that it won’t be short of variety or dynamism.

Tonight EP is released digitally by Monday Records on…Monday (18 Feb).

 

Skywide & Perspective – Structures EP

Structures takes you by the hand and leads you into an ethereal highland that beckons you to bask in its splendour. As you gaze around the intro ‘Dreamt of’, you realize that nothing breaks the distant horizon where sky and land synergise like clasped hands. You might think this is an overextended and long-winded intro that’s simply getting you ready for the drop but do you honestly have a better place to be right now?

The title track isn’t quite as stunning but is still well-measured and beautifully textured. ‘Oceania’, on the other hand, is the epic journey you were looking for. With over seven minutes of play-time, there’s plenty of scope for progression and space to fill; Skywide & Perspective fill it with ease. The build-up is patient allowing you to soak up the glorious soundscape. But don’t lap it up like a thirsty dog; caress it, savouring every moment.

Its impact wouldn’t be as effective were it not for the fantastic production value. There are several filters and effects working at the same time so getting these to match would have been a difficult task. The mature composition also belies the age of these producers. Jacob Gomez (Skywide) and Martin Yang (Perspective) are only 14-years-old. If that seems incomprehensible to you, stick the EP on repeat and try again.

Gold Panda – Trust EP

Sorry it’s been a while. I’ll make it up to you with a string of posts showered in gloriously immaculate soundscapes designed to help you escape the most rigorous of locks. I took the safe bet first. Gold Panda literally can do no wrong. The edgy intro contrasts strongly with the rest of the EP. In a way, it doesn’t really quite fit in but what follows is delightfully clean and crisp.

Essentially, it’s more of the same enchantment that many of his loyal fans will be familiar with; masterfully overlayed rhythm sections, well-timed melodies and enough texture to satisfy the most callous fingers. The self-titled track and patient and considered; be warned, it’ll want to fester between your drums.

But the lengthy ‘Burnt Out Car In A Forest’ is certainly the highlight. It’s extremely difficult to explain just how good this track is. There’s so much going on but you don’t feel like you’re being bombarded by a barrage of meaningless drones. The way it progresses too! It’s wonderfully organic helped no doubt by the peeling and application of layers packed with timbre. It sounds good in my headphones but it would be even better on the dance floor.

And like the mini-album it is, the serene ‘Casyam­_59#02’ brings your mood back to a stable, settled level where you can just sway in the magnificence of it all. On the dance floor, this would be the track Gold Panda might end the night with, when legs are weary and emotions have been expelled – I’ve always felt like Derwin looks after his fans. The soothing soundscape also finishes off the EP well. And that’s the only disappointment really, the fact that it is only an EP. But it’s ok, because we trust you Gold Panda. We always trust you to put out tracks that are so conscientiously considered, many artists would be ashamed with the lack of effort they put in.

Gold Falls – Frost EP

It’s 2013? Feels more or less the same; except I might be a little taller and I’m probably more wary of life than before. No matter, there are countless ways to seek escapism and you’re probably here to discover new tunes to do just that.

Gold Falls is the work of Oxford-based Ben Leftley. His wintry EP has flares of Gold Panda and Mount Kimbie about it but this EP really reminds me of Stumbleine. Both exude glo-fi tones from its foundations but whereas Stumbleine represents that high-flying blaze that showers us with warmth, Gold Falls is the low sunlight that could barely round the edges of a snowflake but provides a piercing glow for icy settings.

The EP might not immediately stand out from an ever-growing scene but there’s plenty to suggest that Ben has plenty of dream-weaving sounds ready for production. It’s a patient EP that drifts from track-to-track with barely a discernible gap in between. It’s particularly enjoyable to hear up-and-coming producers allow space for their sounds to occupy and dwell. In opener ‘Frost’, this leaves Ben more creative freedom to apply layers of texture without feeling rushed into it.

But if there was one track from the EP I’d recommend as a form of escapism from everyday rigours, then it would have to be slow-burner ‘Night Walk’. Just remember to shut your eyes because Gold Falls will provide all the imagery you need.

End of Year Top Tens are for the Brave

And I’m not one of them. Simply put, I can barely state my favourite artists when asked without reeling off a list that shames Santa’s directory of addresses to visit. So just assume that every artist blogged about here made the list and in the mean time, here’s an extremely brief array of sounds that I wish I had more time to chat about (obviously in no particular because that’s just far too much pressure).

The Lumineers

If you’ve been following, you’ll be well aware that folk to definitely the most talked about genre here. So it pains me greatly that I didn’t make time to review one of the most gloriously uplifting folk bands of the year which is strange because they formed due to the loss of Jeremiah Fraites brother, James, through drugs. Ten years passed and a fantastic debut LP was released. ‘Flowers In Your Hair’ is one of the most enchanting openers of 2012. If its jovial, feel-good vibes doesn’t entice you, please ensure you can still see yourself in the mirror.

Cold Specks

The sound is self-described as ‘doom soul’ but you’ll also hear elements of indie-folk and blues. There’s not much to say except that Cold Specks produces one of the most powerful sounds of 2012. It’s a crowded scene but Al Spx manages to stand out effortlessly.

Allo Darlin’

For someone who had an unhealthy love affair with indie pop/rock, I’d be the first to admit that the genre hasn’t quite captured the dizzying heights of the early noughties. But that’s not to say people haven’t tried, you only need to look as far as The Vaccines to see that the genre still has energy. Australia’s Allo Darlin’ have been giving it a fair old crack as well centred around the talented fulcrum that is singer/songwriter Elizabeth Morris. ‘Capricornia’ is twee pop at its finest.

First Aid Kit

I simply couldn’t leave out Swedish sister duo Johanna & Klara Söderberg could I? 2012 saw their second LP exude its woodsy folk with more confidence than ever. Let me put it this way, if you’re sick of record labels stifling creativity and progression *cough* Mumford *cough* then First Aid Kit must just be for you. This little lion roars louder. (I would embed their whole album but I’m currently lacking the effort to find it).

Night Beds

Amatorski

I’m falling in love with Belgium on an exponential scale. Named after the polish word for ‘amateur’, Amatorski are far from recreational having already been compared to Portishead and Sigur Ros. Their lo-fi interpretation of post-rock is enthralling at the very least and ethereal from every angle. You may not understand the lyrics but that just means more of your attention is lavished upon its layers of delicate textures.

Holy Other

I’ll be honest. I let this one slip under the radar until quite recently. Normally, the cliché ‘better late than never’ would spurt out like any other pathetic knee-jerk reaction but not this time. Being an insomniac, the dark, spacious sounds of Holy Other is more than enough to make those endless sleepless nights more bearable. The mysterious, brooding tones is compounded further by his insistence on remaining faceless by never showing it on album covers and performing with a mask (it’s actually more like a rag draped over his head).

Port St. Willow

Yet another producer who has weaved a unerringly assured debut album that twists and turns. The thing I like more about producers compared to bands is that they know exactly catalogue of intriguing sounds are doing. Thus when it comes to putting the album together, it is rarely just a collection of tracks but more like a narrative (Adolescent comes to mind here). As a result, highlights are strategically placed with closers often being the artist’s final display of absolute grandeur. ‘Consumed’ is that final track which lingers long after your synapse have finished buzzing at its splendour.

I could go on but I have to stop somewhere, otherwise the list will start amalgamating with next year’s. It’s a shame because every year a wealth of new artists and albums crop up with every intention of pricking your ears. But unfortunately, I only have two and with limited time mindlessly browsing the web there are bound to be some embarrassing omissions.

Let’s hope 2013 produces some auditory highlights (I’m sure it will) so we can gratify our ears with delightful sounds. Oh and Happy New Year!