Infrasound: Electro-House Musician Kiks Is Anything But “Slow”

Kiks

Since the age of fourteen, London based Kiyon Samavat, better known as Kiks, has been involved in a plethora of respectable musical endeavors. After picking up the guitar at twelve years old and being highly influenced by the iconic Fleetwood Mac, he’s done songwriting and producing for pop and indie rock genre. While we don’t know where those projects are we can disclose now, at twenty years young, he’s found a heart and home in the ever growing house music scene.

Just three songs have officially been released by Samavat, including the debut track “Slow” which features vocalist Amber Clara, who enchantingly lives down the road from him. The song initially builds up with mid to high range sounding percussive instrumentation before the filter technique is slowly rolled off around the fifth bar. From there, an infectious synth-bass line drives it’s beginnings before a main melodic lead temporarily breaks off into a solo and brings all of the parts together.

It’s a blazing dance track with a unique pop feel at it’s core. Being featured on a short film entitled Dirty Secret, the track contains standard vocal manipulations, quantized stutters, and repeated phrasing that flourish through the song’s duration. Subtle dubstep influences are also present throughout it’s extent, but always finds it’s way back into it’s quaint four-to-the-floor thumping track.

While the instrumentation and number of synthesizers of “Slow” don’t seem to account for too many tracks in the overall session, if you take into consideration the amount of different sections the song contains and break them down both by their number of instruments in a given portion, then add in all of the effects, you can truly see that a lot of work went into this piece of music. It sits at a modest 5db of Dynamic Range according to the TT Loudness Reader and never clips once in the mix. Honorable in a land that a couple of years ago thrived with musicians pushing the limits of their music and squashing the life out of their songs.

Also on Kiks plate is his interest in synthesizer work. In an early press release, he proclaims he’s been learning on his main Digital-Audio-Workspace Logic Pro and reveals “I started making my own presets on synths such as Sylenth and Logic’s ES2 and making my own drum samples was when the creativity really started flowing.”

With that being said, it’s no surprise that with the release of his second track “Tell Her” contains a busy percussion beat that subtly changes periodically through the song. It’s also creates a sensationally complex stereo image.

Clara delivers a standard female dance vocalist vibe, with a delay freely wandering through her tracks. Lyrically, it’s emotionally instant in the way a pop song attentively grabs the listener. The two deliver an effective jam in it’s wave of phrases beginning fittingly enough with the words tell her that stagger between lines of love and lines of betrayal and endearment lost.

“Tell her in the summer, tell her what she wants to hear.
Tell her that you love her, you don’t know what you mean to her.
Tell her that you’re sorry, tell her bout the girls you kissed.
Tell her in the summer, you don’t know what you do to her.”

What we don’t hear too much about in the world of Electronic Dance Music and why we enjoy Kiks (who is very handsome) as much as we do is his emphasis on the approach to the songwriting process itself. Speaking on lyrics, Kiks mentions “I usually write most of my songs on the guitar and then sit down and try and convert it into a Logic project. My number one priority in every track I make is to have a catchy vocal hook. Those make or break songs and if I haven’t written a vocal line that sticks in my head and drives me crazy, then the song needs more work.”

Also in the works, is a moombahton influenced remix of the Flo Rida and Sia “Wild Ones”. While it’s unofficial, we’re on the edge of our seat to hear how this re-work pans out!

Follow Kiks on his official Twitter and head on over to hear more music over at his Soundcloud page where you can hear a devilishly moody Refix of Adele’s “Rolling In The Deep,” and check out his latest release “Tell Her” featured below.

All music released under the Kiks alias is located via his official YouTube channel.

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Willow Smith Is Currently Working With Kate Nash AND Sia

Willow Smith Kate Nash

OfficialWillow: So cool meeting @katenash today. Can’t wait to work together!!

HUH?!?!?!?!?!?!??!?!?!?!?!?!?!?!?

“Hair Whipping is a victim?”
“Foundation: 21st Century Girl?”
We’re just as confused as you are, but will keep you posted…

UPDATE: We literally just rushed back to this entry 2 minutes after it was posted as we were scrolling through our timeline and found this: @siamusic Here I am with @officialwillow out in the boonies. Majorly cutepants.

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Barack Obama “Slow Jams The News” With Jimmy Fallon & The Roots

Obama, Fallon, The Roots

Okay, so this needs no explanation other than this: United States president Barack Obama schedules an appearance on Late Night With Jimmy Fallon. Then, proceeds to partake in a skit called “Slow Jam The News” with Jimmy Fallon and his backing band The Roots.

The song? A slow jam about the current fight to not raise interest rates on subsidized student loans for college students. All in favor of a Barack Obama record deal say oooohhhhh yeahhh…!

Look, occasionally we’ll Tweet something semi-political and either gain or lose a follower. Opinions will be opinions and you all have a right to your own. However, it’s impossible to deny that the always charismatic Obama reaching out to mainstream media in this manner is not only highly entertaining, but is also a great way to spread word in a light way about the happenings within the United States of America.

Put your opinions aside and enjoy the video below!

We’ll let you know when a lossless file is available. 😉

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Track Review: Iamamiwhoami Get Vulnerable on “Idle Talk”

Iamamiwhoami Idle Talk

Track by Track: ;john | Clump | Sever | Drops | Good Worker | Play | In Due Order | Idle Talk | Rascal | Kill

Throughout the Kin by Iamamiwhoami experience so far, we’ve witnessed an exploration of several topics, all different from one another, but all linking together into an even bigger picture than the large spectrum that each song hones into. What’s always been constant is a feeling of being human: the insecurities, the triumphs, and the imagination have all been discussed and on “Idle Talk,” the latest release from the project (April 25th, 2012) we receive an angle that’s been touched upon, but more deeply endeavored: love. More accurately the loss of it.

Lyrically, the song actually sounds like it could fit in with Jonna Lee‘s solo projects from before the Electronic music took off. It’s heartfelt and poetic, honest without metaphors to be discussed upon hours. “Where are you, my long lost love? It feels like yesterday has parted. I held you closest to my trusted heart, now the withdrawal seems to be starting,” Lee states in the opening lines.

From there, the lyrical content teeters upon reminiscing (“With you I flourish into greatness. Extend my arms into a misty light, making my future path seem weightless”) and relentless sorrow once the chorus hits. Regardless, there’s an inkling of creativity within the lyrical content when the words “sing” are repeated in reverse throughout the end of the track. Perhaps a throw back to “Y” (Little hope, sing a song of fire).

The entire vocal production as a whole contains an array of reverberation effects,  but it’s the vocal delay that gives “Idle Talk” it’s best asset. The majority of the verses contains a helping delay, hidden underneath most of the reverb and mix, however, it’s the eighth note stereo delay that plays off of the last word of certain phrases which achieves jubilation. Bouncing the words from the left and right channels, it comes together with the break between lines to create an energizing feeling of enthusiasm, as well as hesitance that connects with the overall discern of the glittering, Electro track.

The background vocal production is lush. “I swear I’m gonna make you..” Jonna Lee laments amongst toward the middle of the song, “…if you can still be on my back, oh.” It’s the internal voice of the song that’s mixed completely divergent of any other stem inside the song, sounding distant, equalized for an emphasis on high frequencies, and is delivered with lethargic ease that helps the cathartic sensation the sixth release from Kin delivers.

A beautiful pad plays below the first four measures of the second verse and contains darkness, but a warmth at the same time that contains the power to mold together the drastic changes in melodies and song structure, to make them sound more seamless and subtle than they are. It’s a simple, but effective choice in artistic song vision.

Toward the beginning of the track, before the verse verse, there’s a sweep effect that seems to have been recorded from a synthesizer, then split into it’s own channel where it could have been mixed on it’s own. Of course, we do not have the multi-tracks, so it could be another channel on it’s own, with it’s own melody, dedicated to containing the sweep.

Regardless, the synthesizer work is exquisite on “Idle Talk” – specifically one of the main bits of instrumentation that glides downward to create what sounds like a defeated melody that emotionally assaults the listener and battles within itself to continue the notes it’s meant to perform.

Iamamiwhoami Idle Talk

“Idle Talk,” like the rest of the songs in Iamamiwhoami’s collection contains a video, but with this visual piece we finally start getting connections and answers (at least, as much of an answer as the project is willing to disclose). The majority of the video takes place, like most Iam videos, in a forest. It’s cinematography focuses on less detailed shots, but offers a broad spectrum of forest to paint a denser picture, despite the scenery proving itself less lively than it’s predecessor films. It’s very “T” from the BOUNTY series.

But, the last scene we find Jonna Lee back in the apartment building we met her in toward the beginning of the Kin campaign. This time, opening a closet that leads to a room that shockingly looks like the room we found her in almost a year ago in the “; John” video.

Talk about a cliffhanger! Can you wait two weeks for the next installment? With this sort of anticipation, we’re on the edge of our seats.

Normally, we’re hesitant to give songs a five out of five rating. If it happens, it has to be something special. So far, we’ve thrown Iamamiwhoami a few perfect ratings and this one happens to be another. The quality of their music and everything they’ve done so far is almost immaculate.Kin, as well as Iamamiwhoami as a whole is shaping up to truly be one of the greatest pieces of Electronic music put together in the 21st century.

Track rating: 5/5


Check out ForesakenOrder’s Video Analysis for “Idle Talk” by clicking here!

Purchase “Idle Talk” [iTunes]
Purchase “Idle Talk” [Amazon]
Purchase “Idle Talk” [Juno Download] (Lossless file)

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Listen & Free Download: Little Boots – Every Night I Say A Prayer

Little Boots 2012 Promo
Hot off the heels of her late 2011 release “Shake,” Little Boots continues on the 21st century throwback-forward pop sound with “Every Night I Say A Prayer” off her upcoming sophomore release.

Though next to no information on the record has come to surface, the music that’s been featured from it so far has been exquisite and smart pop music at it’s best. While the bulk of it is loud and contains the common four-to-the-floor dance beat, it’s gritty and contains down to Earth mixing styles that are a force to be reckoned with when so many contemporary artists seem to stick to glistening high-frequency vocals and autotuned monotony.

Victoria Hesketh does not stick to the book to many of today’s standards. Known to rock a mean Tenori-on while recording and on the stage, her vocals remain more stripped on the majority of tracks we hear from her and rely more on reverberation and experimental throwbacks to productions that are sometimes dynamically competitive, but more often than not shine through with authentic sonic passion and in an old-school/new-school interpolation.

We see this amalgamation in “Every Night I Say a Prayer” as Little Boots production soar with with experimental background effects and a rhythmic synthbass that plays a repetitive and funked out lead while it’s dated percussion samples thrive through the song.

From stripped down verses, to a full on commanding chorus structure this is a great way to continue ringing in the next era from one of England’s prized, underdog Pop stars.

Snag a listen through Little Boots’ official Soundcloud and download it for free off the same page!

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Track Review: Fiona Apple Feels Everything On Debut Single “Every Single Night”

Fiona Apple Every Single Night Single Cover

Today we step away from the bootleg performances from SXSW and the first leg of her mini-tour to hear the first finished, studio version of “Every Single Night,” the debut single off Fiona Apple’s highly anticipated fourth album The Idler Wheel…

Uploaded as a lone song on an official Soundcloud page, the quiet track holds par with the emotional impact and untouchable songwriting skill the world has come to non-disputably appreciate from Apple. A poetic piece clocking in at three minutes and thirty-three seconds carries the torch of self-awareness, the psychological conflicts inside oneself, and the strength to preserver.

It’s song structure leans a line beginning with sparse, delicate atmosphere and triumphant hollers that mirror the euphoric amount of space shown through newcomers Florence & The Machine’s works, but aiding more to the song’s creative ambition than leasing from contemporaries. “Every single night’s a fight with my brain” actually contains a bit of a frantic call to realization; a moment where the song takes a direction opposite than cemented expectations and into the psyche of the listener, presenting unnerving vocal calls that strike brashly harmonized chords both figuratively and literally.

Broken down after the chorus contains a post section that laments “I just want to feel everything,” repeated over slightly evolving melodic elements that are accented with minimalist, brushed percussion that creates a subtle foundation which stays constant through the entire song’s run.

The last note of the piano leads off into a long reverb that cuts off before a full fade out if you listen close enough. It’s abrupt, but imperfect and understandable considering it’s realism theme.

“Every Single Night” is part title track from 2005’s Extraordinary Machine, part new endeavor, and all a one hundred percent flawless establishment of continuation in regards to one of the greatest songwriters of our generation.

Track rating: 5/5

The Idler Wheel… by Fiona Apple has been pushed forward and is now due out June 29th, 2012. Click here for more details on the record including the album cover and track listing.

*Also, be sure to follow us on Twitter and like us on Facebook as we’ll be heavily covering this anticipated era

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Lana Del Rey Gets Classical With “Carmen” Video, Eyes Up “Summer Time Sadness” For Next Single

Lana Del Rey
Lana Del Rey
has unleashed a new do it yourself video in the same vein as her debut “Video Games” and follow up, first draft “Blue Jeans” video (which was later polished) with the track “Carmen” taken from her first record Born To Die.

According to the description of the video, Lana states:
BIO PIC
JOSH RACHLIN THE SWEETHEART
THANK YOU TO ALL OF THE BEAUTIFUL FILM MAKERS THAT HELPED MAKE THIS VIDEO.

At the end, a timeless classical music piece by Erik Satie begins playing while images of dancing and walking women swiftly move throughout the final film’s minutes. Originally, “Carmen” is one of the tracks off the debut record that didn’t quite effect us as much as the others, but with this ending the entire concept of the song suddenly clicks. We see “Gymnopédie No.1” in another light: this time both terrifying, haunting, but still elegant.

We congratulate Lana for the effectiveness in her visual and audio elements. They truly are refreshing. (We also like the milisecond snippet of sound in the video’s last frame).

Word on the street is “Summer Time Sadness” will get a more professional video treatment with a release coming soon. Del Rey tweeted a couple pictures, but in the meantime we have Carmen in all of her explanitory glory.

Check out the video below and our review of Born to Die here.

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Infrasound: Kinesthetiac – Fields of Thought

Kinesthetiac - Fields of Thought

Indiana based Jared VanMatre, better known under the moniker Kinesthetiac was born in 1997 and has released a slew of ambitious chill out/downtempo Electronic music in the underground, independent music music scene. Filled with evolving melodies, driving percussion samples, and do-it-yourself programming, composing, mixing, mastering, it’s refreshing to hear the emotional depth and sonic layers within his music would pin him right up in a category of musicians that make a living off of labels like Ghostly International, Warp, Music70, Mute, etc, etc.

Though right now Kinesthetiac and his releases reside at Retronym records, where Fields Of Thought has just been released and has grown to become one of our top records of 2012 so far.

It’s opening track starts off with a piano-based introduction called “Empty Corners” and continues sprinkles of melodic solo pieces mid-way through the album on “A Garden Path” and the outro track “Free”. It’s an interesting way of allowing the album to flow through natural, mechanical means and barrows from the approach Aphex Twin took on Drukqs, but simply allowing the piano pieces to melodically further the album and allow established breaks between the highly programmed tracks.

“Mind Castles,” the third track on Fields of Thought plays like a track we’d hear from Orka Veer, but with progression. Toward the middle of the song, the structure steers far away from it’s original foundation and laments a minimal and sentimental synthesized solo that provides a unique breakdown before trudging right back into the Dream-pop champion feel of the flowing production.

A remix of a Memoryhouse track called “Bonfire” also makes its way as one of two Kinesthetiac remixes on the record, and also contains the same creative mixing technique, while manipulating vocals to give the song a Pogo or even, sometimes, a slightly dark Crystal Castles feel, recalling the vocal warping on “Violent Dreams” off their sophomore release.

Don’t let all of the comparisons to noted artists fool you, as you can clearly hear influences from all over the EDM spectrum, Kinesthetiac stands self-rulingly on his own. “Head Cold” is one of the more experimental pieces on the record that contains a sort of brass section that interestingly has a delay on it to give a trance feel it. It’s not often that a brass-esque feel has been brought to Electronic music in this manner, and the progressive build up is one to be commended for as well.

Chillwave influences make their way on “Transends” with a nicely used parallel compression technique that uniquely squashes the pads with each strike of the kick drum. Later on, “Fragments in time” sets its song structure up to a warm synth-bass feel and sampled vocal stutters that experimentally drive the track along it’s stream of consciousness, but is fearless in that it will occasionally break away for a measure to allow the other instruments and musical bits to have their own moments in the track before building up to yet another wonderful euphoric climax.

The most absorbing part about the entire Kinesthetiac experience is that this amount of emotion, this programming, the melodies, the rhythms, song structure, mixing, and mastering are all from VanMatre and he is just fifteen years old. While must teenagers are going through their high school years trying to find their niche and hone in on their craft, Jared’s got it and if he knows what’s good for him, he won’t let it go. Fields of Thought is a brilliant accomplishment for a musician of any generation and to hear a cohesive piece of music to this extent is a privilege.


Download Fields of Thought for free at Retronym.co.uk by clicking here & grab the previous release Gander here. Several self releases and new projects are also housed over at his Soundcloud page.

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Erykah Badu To Release Two Albums In 2012

Erykah Badu

Erykah Badu news has coyly been making its rounds that two albums are set to drop in 2012 that highly involve the Queen of Neo-Soul.  According to an interview with Essence Magazine, we can expect a debut album by the Cannabinoids in which she’s involved with and a new record by Badu herself!

A side note: one of the more interesting parts of the interview is when the songstress takes a second to let us know what drives her. She states, “May sound odd but my fears have been my biggest driving voice. When I know they’re there it helps me to conquer  them one at a time.”

The interviewer followed up by stating she just goes out there and does it, to which Erykah said “I do but that’s called bravery, I think. The fear is still there but I get the bravery from my Mother. She instilled in me that I couldn’t lose and everything that I do would be fine, and okay, and satisfactory to her. I think we all have fears whether we use the bravery to fight through them, I think it’s up to us.”

S2S also spoke to Badu and confirmed that these two records are indeed in the works.

Again, this is news to be taken lightly. As we spoke of in our last Badu feature, Erykah is known to make promises that don’t seem to come the whole way to fruition. The “Jump Up In The Air (Stay There)” remix bundle with every rapper under the sun is nowhere to be found, the “Real Thang” remix contest winner was never announced, and we were supposed to receive three installments released in the same year of the New Amerykah albums (the third being a USB stick), but wound up getting two records split two years apart.

We’re not complaining. We know she’s busy..so the remnants of our feelings toward these projects remain hesitant until we see some promotional movement.

Updates will follow as they appear. (Please lets see those sessions with Lotus Flower blossom!)

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Tupac Performs At 2012 Coachella, Confuses Jesus Christ – We Explain How It Happened

Tupac CoachellaReports have been completely swamping the blogosphere as well as the internet in general, because of an extreme amount of anticipation surrounding Dr. Dre & Snoop Dogg’s headlining slot during Sunday’s conclusion of the first of two weekends for 2012’s Coachella festival (located in Riverside County, California). It’s not enough that we’re still waiting for the follow up to Dr. Dre’s sophomore release 2001, but apparently two of Rap music’s most respected members were making their appearances during the set: Nate Dogg and Tupac Shakur.

If you just looked at your computer screen and went “what the hell?” so did we when the news broke. As a matter of fact the news even caused Jesus Christ himself to tweet about the event, asking the Twitterverse where the hell Tupac was at.

Turns out Dre and Snoop decided to contact Digital Domain Media Group to create a hologram image of  infamous and wildly renowned 2pac, who died almost sixteen years ago to gun shot wounds could also join the pair on stage during the event. Nate Dogg, who died March 15th, 2011 due to complications of multiple strokes sadly did not make it to see the light of day during the set for undisclosed reasons.

Jesus Christ Coachella 2pac

The Gadget Zone has a great video based upon the technology & Wall Street Journal takes a look in their article on the holographic performance, which is actually more of a projection technique:

“First, the image was created on a computer, using physical characteristics and movements captured from recorded performances.

Advances in computer graphics and video projection allowed Sunday night’s illusion to be far more lifelike than other recent efforts.

For the projection aspect, a San Diego company called AV Concepts used a variation of a visual effect that was discovered in the 19th century, known as Pepper’s Ghost.

Though the projected image has been widely described as a “hologram,” it is a 2-D image and not a hologram, which is 3-D.”

The article goes on to state that a Tupac Shakur hologram tour may be in the works..but we hope that doesn’t truly pan out. They’ve already slain his name by the four thousand horrible remix and post-pothumous releases since 1996. (But, we digress).

All in all, this made for one powerfully, emotional set. To make this even better, fans were able to watch both at the show and live via YouTube streams. Check out the entire stream below and brace yourself for two huge hits: “Hail Mary” and a live performance with Snoop Dogg during “2 Of Amerikaz Most Wanted”

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