Tag Archives: electronica

[Electronica] Mano Le Tough – Half Closed Eyes

Posted by Jordan Coburn - November 30, 2015

Mano Le Tough
Half Closed Eyes

Mano Le Tough, aka Niall Mannion, is a now Berlin based producer who’s been making crazy moves in the European electronic scene, and we’re hoping it’s not long before he’s as big of a hit with the States as he is with TMN. Getting his start in a seaside village close to Dublin, Ireland, Mano Le Tough brings some electronica serenity to the latest track off his newest EP Trails.

“Half Closed Eyes” is a track that hits us a few tunes deep into the album and changes up its pace at just the right time. Beginning with the kind of experimental “off beat” electronic percussions you might have the pleasure of hearing in a Nicolas Jaar track (*pause for a moment of silence for Darkside please*), the song also opens with a sample of some chopped up and looped vocals. Next Mannion brings in a house bass line and this is when the track really gets us going. The tune starts morphing into something you might hear Bonobo spin—-a progression of symbols and bells, all while continuing with the vocal sample, which is now uttering “on and on…” like any good electronica song should. But don’t worry, the track never maintains its normalcy because the off beat percussions come right back along with some Doppler effect synths and industrial noise, and you can feel good about being weird again.

On top of making madly good music, Mano Le Tough also throws this hot dance party in Berlin called Passion Beat where he hosts himself as a resident DJ along with his buddy, The Drifter. Hosting other names like Nicolas Jaar and John Talabot, we’ve made this a must-go destination in our electronic dance party geo-calendar. Because that is definitely a thing.

Electronica

[Electronica] ØRKA – Phantom

Posted by Clayton Warwick - May 20, 2015

ØRKA
phantom

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We’re in the middle of a historically dreary stretch of weather in Denver. It’s gray, cold, and rainy, and there’s no sign of anything different coming our way. We’ve exhausted our “Summer Playlists,” trying to bring some semblance of sunshine to our daily routine. We’re taking a different route today, instead embracing the grey with music to match.

This isn’t experience with our first with ØRKA. Last month, we brought you our first discovery of the intriguing Miami-based producer, and now we are happy to present his second original production, “Phantom.”

Dabbling somewhere in the electronica realm due to its fusion of organic elements – a dreary guitar melody, a pacifying vocal performance, and electronic additives – all that bolster the overall power of his compositional parts. It casually flirts with associations of artists both classic and modern, calling on associations of both Pink Floyd and James Vincent McMorrow.

Once again, ØRKA has graciously offered up his music as a free download for all to enjoy. We suggest you head over and pick it up, taking a few minutes to get helplessly lost in its stunning beauty.

Electronica

Tropics Talks Inspiration, Artistic Evolution and the Making of ‘Rapture’ [TMN Exclusive Interview]

Posted by Ash El Gamal - March 18, 2015

’Tropics – Blame’

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The “chillwave” movement has matured phenomenally in the last couple years with acts like Toro y Moi and Washed Out evolving their sound from lo-fi bedroom productions to beautiful and complex musical compositions. UK producer and vocalist, Tropics, has architected his own chillwave aesthetic that, true to its name, features a vibrant sensibility and deep sonic textures. On his debut album, Parodia Flare, Tropics put together a beautiful collection of colorful compositions and began experimentation with his voice, but his recently released follow-up, Rapture, feels like a true breakout project. With stripped down organic instrumentation and a newfound focus on vocals, Rapture proves a cohesive, deeply emotional and soulful project that reaches new depths without losing the glowing energy of its predecessor. We had a chance to catch up with Chris Ward, the mind behind Tropics, about his musical background and influences, the evolution of his sound and more. Check out the interview below and, if you like what you hear, head to iTunes to grab a copy of Rapture.

TMN: What was your first experience with making or playing music?

Tropics: The furthest back I can remember was this little early learning centre tape player with a microphone attached to it. It was really kid-like and colourful. I remember it having this weird echo which probably sounded quite cool. I used to record songs off the radio. Then my first memory of playing music was getting a drum kit at around 10.

TMN: You studied music in university and are a multi-instrumentalist, right? How integral has that been in allowing you to bring your vision to life? Or do you feel like you’ve learned more from just from experience?

Tropics: I wouldn’t say I’m a multi instrumentalist, I’m a producer, who like most of us can play keys and a strum out a few jams on guitar, drums. I feel I’ve learned a lot from experience but some more theory and things about the industry when I studied music, but to be honest; I didn’t do a lot of studying, I just wanted to go to university with all my friends and have all the free time in the world to party, take recreational drugs, have lots of sex and make as much music as I could.

TMN: The colourful aesthetic in your music definitely brings some influences to mind. Who are some artists you grew up listening to that you feel continue to inspire you today? Any ones who’ve influenced you in unexpected ways?

Tropics: I think there’s influence from a lot of 90s electronica, in my sort of ‘go to textures and sounds’. My older brother played me loads of Leftfield, Massive Attack, Faithless and Underworld when I was around 11 or 12, which I ended up getting back into quite a lot at 16 and 17.

I think one of the great things back then was that the Internet wasn’t so revolved around the music industry, or if it was, I wasn’t aware. So I’d get records/albums, without taking interest of reading into when they were released or how current they were . If I connected with it, I just connected with it and it became my new love affair. I feel I’ve lost this a bit or, a lot of us have, with the pressure to keep up with this quickly moving industry with 100 new flavours and artists coming through a month!

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[Pop/Electronica] Lily Allen – Air Balloon (Digital Farm Animals Remix)

Posted by Matthew Bloss - February 24, 2014

LilyAllen
Air Balloon (Digital Farm Animals Remix)

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It’s been a few months since we had a chance to check in and hear some new music from one of our favorite breakout artists of 2013, Digital Farm Animals, and behind a worthy individual debut EP Bugged Out, the London based electronic-pop artisan has admirably authored us up a first entry into the world of remixes by taking on bubbly pop vocalist Lily Allen and her newest single “Air Balloon”. If you’ve had a chance to weave your psyche into Digital Farm Animals’ production index, then the opening, dream-wavey synth line will serve as a comforting landmark amongst a sea of poppy percussion, while those vocals serve as the perfect vessel to progress the tune’s very catchy evolution. Just purely intoxicating stuff really. Digital Farm Animals’ remix of “Air Balloon” will come as part of Lily Allen’s congruently titled EP, which you can pre-order here and also features two remixes from Taiki & Nulight along with the original recording. Add a little funk-lean to your step this Monday and stream DFA’s revision above.

[Electronica] Max Cooper & Tom Hodge – Fragmented Self pt. 1 EP

Posted by Matthew Bloss - October 29, 2013

Rarely does the concept of pairing musically polar opposites pan out as both artists had intended, but the instrumental fraternization between electronic producer Max Cooper and classical composer Tom Hodge has resulted in a beautifully unique grouping of tracks. The first half of their joint effort, entitled the Fragmented Self pt. 1 EP is forward thinking music to say the least, beginning with the title track, which combines Hodge’s contemporary orchestrations with Max Cooper’s glitchy and confrontational cut up samples of the very same movements. At first listen “Fragmented Self” may come off as a bit rough, but when truly dissected is some of the more ambitious and exploratory music crafted within the last few years. Following up is “Von Der Klippe Fallen”, which again couples tech heavy warehouse elements with classical piano and a scooting bassline; while ending tune “Quantet” (also available as a free download) plays as the most melodic of the bunch, employing a dreamy synth charge behind a wall of refined strings. If your palate for music functions as the type which needs to be pushed and challenged, Fragmented Self pt. 1 should absolutely be worthy of a few jog-throughs. Stream Max Cooper & Tom Hodge’s first collaborative EP in its entirety below.

’Max Cooper and Tom Hodge – Fragments Of Self’

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’Max Cooper and Tom Hodge – Von Der Klippe Fallen’

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’Max Cooper and Tom Hodge – Quantet’

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[Chill/Electronica/Future-House] Autograf – Magic Stick

Posted by Matthew Bloss - October 3, 2013

Autograf
Magic Stick (ft. 50 Cent & Lil Kim)[Free Download]

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I’m not going to lie, this writer has long time been a fan of all things Curtis Jackson, so when Autograf’s complete rework of 50 Cent & Lil Kim’s timeless and tawdry classic “Magic Stick” came across our desks, it most certainly called for a little attention. This freshly faced producer in the electronic arena manages to deconstruct a completely pop-centric radio-rap hit and run it all the way down to a cool, melodic stride using the original hook as its driver while adding all kinds of new layers. Be sure to look out for Autograf as this is the debut track, and a pretty darn good one at that. You can grab a free download too, so don’t be bashful Ninjas.

[Interview] TMN Chats It Up With Yeah Boy

Posted by Matthew Bloss - September 19, 2013

Yeah Boy
Can't Get Enough

Soundcloud

So rarely does a music project debut as a fully developed and functioning artistic medium, but when they do, it is especially easy for us here at TMN to take notice. Such was the case with the side project of Parachute Youth’s Johnny Castro; Yeah Boy, and his electronically textured debut single “Can’t Get Enough”, which dropped back in August. This one, due out October 6 on Baked Goods, follows the path of a funky, feel-good Summer groover, but is awash in elements from a multitude of genres. A flitty electric guitar, which wouldn’t be out of place on an 80’s funk record tones the tune, while a beatific melody ties together a reverb soaked vocal track, deep synth work and housey piano licks. The resulting product was a sound we just couldn’t get out of our heads, and one which warranted some probing for more information from the largely mysterious Yeah Boy.

We had the opportunity to dig a little deeper into the psyche of Johnny Castro and his music project(s), finding out what is on the horizon musically in the coming months, what his recording process has been like, Daft Punk, Pink Floyd concerts and a whole bunch more. Check out the entire transcript below:

We imagine that your two-piece Parachute Youth takes up quite a bit of free time. What was the deciding factor in sort of breaking away for a bit to focus on your solo work with Yeah Boy?

I think it was simply wanting to write something different and having a completely different approach in my songwriting. I’m loving going back to my roots and writing/singing more soulful/funky vibes and its something you need to explore on your own I think when you have a band with a completely different sound.

What sound differentiations are you able to focus on with Yeah Boy that might not have gone over as well with Parachute Youth?

I think going more hip hop/soulful, which is where I started in the first place. Parachute Youth has a distinct sound and we push that sound to define who we are as a band, I’m ready to do the same with Yeah Boy, which explores my inner love for experimental hip hop/soul.

With basically only one single out at this time, can you enlighten us a little more about your forthcoming EP, such as title, release date, etc. Will most of the material be in the same instrumental vein as “Can’t Get Enough” or have you been playing with all different types of sounds?

There’s going to be some changes of course! ‘Can’t Get Enough’ was a great door opener and showed that I do love writing something very different than usual that can still come across as a pop record. I’ll be working with different artists for this EP also to explore the true potential of Yeah Boy and where I want to go with it. It’s still early days but expect a cool EP 🙂

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