Warp catalogue number WAP313: Hudson Mohawke's smashing Satin Panthers EP. Opening with the shimmering arpeggiated 7th chords of Octan, Hudson Mohawke opens the sequined curtains on his tiny treasure. The next four tracks of the five track ep all have a different flavor from each other, but retain HudMo's characteristic style: head cocking-ly odd, but body movingly catchy. Thunder Bay, the swagged-out second track, is built around a driving trombone-like bassline that feels like a convoy of humvees charging along at 80 miles an hour. Next is Cbat, described by one of our friends as 'strangely odd and surprisingly heavy'; opening with a flourish a brass and strings, the track drops off a precipice into a cavernous, bassy kick and an enigmatic melody. All Your Love is a densely layered cake of synthtastic goodness, and Thank You wraps up the whole package in a grandiose finish of gated block chords. A one of a kind listen for 2011.
This is pt. 7304857 in a series of posts entitled, "Patkins is a lazy fuck and El Langosta feels obligated to keep up appearances." (he's actually been out of town at some awesome music festival, so I really can't blame him. it's just really fun)
Stepdad are an awesome synthpop group from Michigan. Their lead singer is known only as "Ultramark." Their song "My Leather, My Fur, My Nails" has been stuck in my head for a month now, and my eyes are continually dazzled and delighted by the accompanying video, which you may watch below.
Today, I found that my craving for more Stepdad had boiled over, so I caved and dropped the $1 (!!!) necessary to procure their Ordinaire EP. And man, am I impressed. This was just what I wanted: a cornucopia of fun, catchy, and colorful pop tunes, with a few splashes of 8-bit and a healthy dose of the 80's. They've got a great sound and they do a lot with it. But Stepdad are no one-trick ponies: every song comes with its own feel and a unique set of sounds; sometimes I hear the spectre of Gobble Gobble's ecstatic dance-pop melodies, at other times I hear shades of fellow Michiganers Tally Hall in the vocal production...basically, this EP impresses the hell out of me.
Grab this if nothing else. Maybe after a month you'll wind up doing the same thing I did and getting the EP out of sheer craving for more of this badassery.
They're working on an LP, Wildlife Pop, which is being produced by none other than Chris Zane. If that doesn't mean anything to you, let's just say that Patkins and I have an unhealthy obsession with Passion Pit, whose INCREDIBLE first album, Manners, was produced by Chris Zane. So you can imagine how excited this makes me.
So you should really go grab the EP. It's essentially 8 slices of epically good pop music, and you only have to pay $1for it, though you're allowed to pay more. You will not regret it.
The soreness i currently experience in my neck is the result of the massive amount of head-banging i did last night when i saw Gobble Gobble live for the first time. Although we have already done a concert review on these guys, i think they merit another one. Seeing GBL GBL is truly a cult experience; with mystical balloon figures, half naked band members in tutus and on stilts, samplers taped to shovels, tarps thrown over the audience... its pretty much madness. The show was only about 80 to 100 people, but everyone there raged their minds out. In Fjust a 30 minute set my friends and i went from somewhat comfortable to drenched in sweat, unable to speak, and generally exhausted (we got sundaes after though). With a great number of acoustic and electronic instruments, Cecil Frena and his fairy minions made a glorious cacophony of harmony, producing their anthemic glitched-out jams right before an audience. This is one show that you MUST see. I'm considering seeing them again tonight, if it weren't for all the reading i know i should be doing.
This is a long post and its late so i will be quick about it, but theres a lot i have to share.
CC NEWS BULLETIN: A. If you don't already know, FlyLo has come out with another piece of his black magic to scan a Cosmogramma proof of purchase (be it booklet, cd, vinyl label, whatever) to give you a free download of alt takes from the album. Do it if you bought it. They are awesome (cf attached example). Cosmogramma Trigger/// ///Galaxy in Janaki (2008 Version) - Flying Lotus
B. Daedelus has done a mix for International Tapes. I have yet to listen, but the track list is all over the place. If you know Daedelus' live performance, you know that is the best thing you could possibly ask for. Its bound to be epic. We All Have Magical Properties Mixtape - Daedelus @ International Tapes (via 92bpm)
C. One of Passion Pit's members has put together a mixtape (released through RCRDLBL) that includes some really good remixes by PP as well as some other very cool tracks that they like (including an awesome remix of Proxy's 8000). Check that out, its free and we love them. Passion Pit Mixtape @ RCRDLBL
ALBUM(s) OF THE DAY(s)
Kanye West - My Beautiful Dark Twisted Fantasy (2010)
Uh-huh. Okay… hmm. Um. I don’t know what to say about this album. I have more questions than I do statements. Who ARE you, Mr. West? Or, who do you THINK you are? Where is the substance in this album? [referencing various consumer products and popular personalities doesn’t mean anything] What are your lyrics about (as cool as it sounds, how exactly does one put a pussy in a sarcophagus)? What IS your fantasy? [actually please don’t answer that] Why has this album gotten so much critical praise? I don’t understand. Mr. West’s Dark Twisted Fantasy IS an impressive studio effort, but as a whole, it falls way short of the hype. Sure, Monster and Power are cool (especially Monster - what a collab, and very energetic.. nicki minaj saves the day). But per my previous album review, the lyrics are important along with the music. There is nice layering and detail to the music, and its obvious that a lot of effort (and multitracking for gods sakes) went into it. It definitely has its moments but there aren't enough of them! As for the libretto [can i call it that? i’m sure he would] it just.. doesn’t make sense. Sorry Kanye, I can’t play along with your dreams.
Now for something completely different:
The Tallest Man On Earth - The Wild Hunt (2010)
This is one of the greatest albums I have heard in my entire life. I mean that seriously. Since his previous album (Shallow Grave, 2008) Kristian Matsson’s sound has seasoned and become even more intense and honest. He is a masterful musician, going solo on every track but having the presence, focus, and finesse of an entire ensemble of artists. This comes through even on recorded media; try seeing him live. I have never seen anything like it.
Having seen his live performance is by no means a bias, however, as I judge this studio album. The songs of the Wild Hunt are genius. The Tallest Man takes full advantage of his musical resources, his songs flying across all the strings of his various instruments. His voice is powerful, raspy, carnal. You can even hear his microphone clipping in a few places, but it adds to its gravelly, genuine grace. Lyrics are soaked in meaning. Some songs (like “King Of Spain”) seem to make little sense until one line elucidates the entire song’s meaning. Others are extended metaphors (“The Wild Hunt”) or even just abstracted conversations (“The Drying Of The Lawns”). Whatever the song, there is little meaningless wordplay like I might find in some pop albums (c.f. previous review), and misunderstanding a verse just makes me want to go look up the lyrics and read them over and over ‘till i understand. He has so much creative, even (dare i even say?) spiritual energy and power that I can’t help but be overwhelmed every time I listen. An amazing work. Please, please, please buy this album. If you to hear something truly special, you will find it instantly.
Girl bands are awesome. So are family bands. So.. a family girl band? These guys would be awesome even if the The Con wasn’t an absolute gem of songwriting. But gender and genetics aside, this IS a gem of songwriting. I’ve never called anything that before, because for years I never really even paid attention to lyrics as an integral part of music. This album showed me the error of my ways. It came into my hands and I found myself in a conversation with the recommender (my girlfriend) about how lyrics are much of what matters for her when listening. Living with The Con for a day or two has convinced me.
The music in this album is purposeful. Not the most intricate, multi-instrumented, harmonically complex of albums, it would be easy to dismiss it as boring and straightforward. However, that’s what is so magical about it - it is straightforward. This is an honest, direct style of music that grabs me and makes me listen. The lyrics, however, make The Con what it is. The lyrics follow (what i see as) the course of a divorce of a young marriage, beginning with “I Was Married” and ending with “Call It Off.” They are accessible, clever and, well, lyrical. The music and lyrics accompany each other so perfectly that each song has a one-ness that is really sublime. At the end you aren’t left wanting more, you are left wanting another listen, just to catch another word of the Con’s story.
Oh yes, ladies and gents. The time has come. AshTreJinkins, a freaking fantastic 17-year-old beat music producer (previous posts), has released a split beattape, The$tomp, with like-minded producer ¢hit$, who I'm fairly unfamiliar with. But he's also great, the two fit really well with each other, vibe-wise. These guys are NOT amatuers; they're fantastic producers, the both of them, so let me tell you, it is a freakin DEAL that you can go grab this for FREE at their bandcamp. Although you are allowed to pay for the album if you'd like, and I highly suggest you do. These beats are for sure worth some cash. You can listen here if you'd like, however:
REVIEW PORTION: The tape opens with ¢hit$ on a beat called "Sawdoff," which has some neat, crisp claps and clicks riding over what seems to be a bitcrushed kick drum, all bathed in a gorgeous synth/string sample. Then AshTreJinkins takes the reins on "Gremlins," which makes brilliant use of fat, ominous synths and what sounds like, well, a bunch of gremlins snarling and growling. Really cool beat. Then ¢hit$ is back, holding down the softer, more contemplative end of the tape with "Travaja," before AshTreJinkins comes back in (you can see the pattern here) with the brutally skull-crushing "CaveDwellers," which gains extra points for sampling Monty Python. But I absolutely love the super dark and atmospheric vibe he's got going on his half of the tape. Really top-notch production, you've heard me rant about this kid plenty before. The rest of the tape sees ¢hit$ getting down with some really cool synths on "19," AshTreJinkins moving from a percussion-oriented vibe to yet another incredible beat (all saturated in GORGEOUS ambient synths) on "Symbolic Rainforest," and the two remixing one of each others' tracks. They essentially take the same approach on both ("aSymbolicRecreate" and "Travaja (Jinkins'SourDownfallRmx)," each taking the ambient aspects of the other's original and adding a heavier beat. And both work exceedingly well.
Point is, this is an awesome tape. You should go get it, as a reward to yourself for sitting through my ramblings and ravings.
Lobster out.
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BUT WAIT! Another reason why you need to dig this AshTreJinkins kid: he's coming out with ANOTHER tape as well!! How's that for productivity?! So expect a post on that soon...possibly accompanied by Crustacean Cognition's first interview?! Keep your eyes on this page............
So while we're talking about live music, I got to see Owen Pallett the other night at the Horn Gallery, which is undeniably the most happenin' musical venue out here in middle-of-nowhere Gambier, Ohio (COLLEGE). It's this intimate little room, I think the performer's setup takes up about a third of the room while the audience occupies the other two thirds. Which was perfect for this show, and here's why:
Owen Pallett, formerly known as Final Fantasy, is a whiz kid violinist, composer (with a degree from the University of Toronto), and arranger, and his live show is just him, his violin, a bunch of loop pedals, and sometimes a keyboard and/or a backup guitarist/drummer. And as you can tell from the video, it's AWESOME to be able to watch from seven feet away. I didn't get to stay for the whole show (goddamn acapella rehearsal) but I caught 45 minutes, and they were BEAUTIFUL. His voice is AWESOME live; on the records it can be a bit frail or underproduced, which isn't necessarily a bad thing, but live it's so much more HIS show.
He's probably known most for the string orchestrations he did for Arcade Fire's first two albums, Funeral and Neon Bible. But since I just got Funeral today (having never put any effort into listening to Arcade Fire for some reason), I always just knew this guy as the dude with the violin and the loop pedal with serious indie cred.
Then last week I got his most recent album, Heartland, which is this brilliantly orchestrated, lyrically deep indie/chamber-pop record about a farmer named Lewis, residing in the fictional land of Spectrum, which is ruled over by a deity named Owen Pallett. Awesome. Lewis starts out doing Owen's bidding, then rebels against him and kills him. Which I think is fucking awesome. Here's the song where he plays the upstart, probably the most accessible on the album:
It's really not the kind of record you really "get" on the first listen, or at least that's not how it went for me. But after trial 1, give it another go with the lyrics in hand, it really pays off. There's a bit of mythological context that his 2008 Spectrum, 14th Century EP helps to establish, but it's not impossibly dense. That said, the dude is a master of detail both lyrically and musically, and thus the record took me a couple tries before I really fell in love with it. MORE MUSIC:
From the first Final Fantasy album, Has A Good Home. Much less well-produced than the stuff on Heartland, but still a fantastic song. It's what he's playing in the video above.
From Final Fantasy's second album, the exceptionally-titled He Poos Clouds. Apparently it's a concept album about the eight schools of magic in Dungeons & Dragons, which gains him instant points in my book. This song is supposedly about the school of evocation, hence lyrics like "fill my stomach with your singing." Also it's awesome.
SUPPORT THIS MOTHAFUCKA. It's all on iTunes, I know you all know what that is.. If you hear something you like, buy the album it's from! Or go see him live, that's not an act to be missed!! The dude deserves money, don't be a dick and just go pirate all the albums after being teased by these free samples. Just because a party host serves nifty hors d'ourves doesn't mean you should go rob the restaurant that made them. Or some other fitting metaphor telling you to be conscious about downloading free music.
Lobster out. I like how this last rapport of posts has given patkins a chance to post more beat stuff and let me have a little indie interlude. Refreshing, isn't it? See, we really are two crustaceans of diverse tastes.
Have any idea what's going on in the above picture? No? Thought not. How about in this video?
Still no? Let me explain.
The band is called Gobble Gobble. I saw them at a warehouse party thrown by the Heart Music Group last week, and they put on single-handedly one of the most epic live shows I've ever seen. Their productions are also really good.
Describing their music is near impossible. I could say it's like putting the Killers through a beat slicer, a distortion pedal, and the "epic trance" preset on a synth. I could also say it's like a Motion City Soundtrack CD skipping after having been dipped in gooey indie goodness and sprinkled with little fragments of 8-bit video game music. Or I could call it indie-electronic-dance-pop-glitch-mindfuck. None of these descriptions would do them justice. So here are some songs that do:
Alabaster Bodyworld - Gobble Gobble [REMOVED...so click the link above to see an AWESOME video of them live!!] Undeniably a pop tune, but the production is incredibly detailed. The whole album is great, their sound ranges from super happy and poppy to a few more contemplative, piano-driven tracks (the beautiful "Ash Fountain" and "Eggs In Carrion"). There's even a few songs that remind me of Baths.
SUPER UPTEMPO!! Not dancing to this was impossible. Sooooo catchy! This came free with the promo EP for this concert, released by the Heart Music Group; lots of other great songs on it, including unreleased stuff by Baths and Teen Daze, cop it here.
Their myspace page carries the slogan: "DIY or CRY." That pretty much captures the essence of their live show. Anything and EVERYTHING is used to make music. An impressive array of synths, mixers, circuit-bent puppets, and other electronic miscellany covers a table center stage, then down in front are a super eclectic drum/percussion set (frying pan included), a second mic with a lot of circuits and more random instruments, and lots of lights and wires.
See the guy in the upper-right-hand corner? In the fairy wings? That's Cecil Frena. He's apparently the guy behind all this awesomeness. And he's from Canada/the Bay Area. Which explains a lot. You'll see.
Well, he came out in those same fairy wings to start the show. He used a circuit-bent frog puppet to make weird noises, then played an intro. Then when the first real song dropped, in came three dudes in masks and skirts, wading through the crowd in a conga line. Like they were his fairy underlings or something. They took up shop in front of the stage, at various stations. One played drums and percussion, one seemed to be a synth-master, and the other had a MIDI controller or something. Though they changed those around a lot. Sometimes they had tambourines. Sometimes they had glowsticks and those plastic tubes that drone when you spin them in the air. And sometimes they would get up on stage and do synchronized dance moves.
Needless to say, the crowd went insane. And these were the same faithful head-nodding hipsters who had been swaying in rhythm to the more downtempo Baths and Teen Daze the whole night. Even Baths was in the mosh pit! That was fucking awesome to watch, he had told the audience to stay for Gobble Gobble after his set, and at first I thought this was just common courtesy, but no. He was totally into it. He was right there in the fucking mosh pit. And can you blame him?
The energy these dudes brought was insane. They make SUPER dancey pop music, but not without a real intelligence, in both their production and their lyrics. Frena's voice might be a bit too emo-pop for some of you, but I still highly recommend their music. At least see them live, it was a life-changer. Here are the dates for their Mobile Rave Infinitour 2010. Something like 160 shows, they're all over the country, JUST FUCKIN DO IT. I can't endorse them any more than that.
So Low End Theory is this weekly event at the Airliner club in Los Angeles. If you follow the LA Beat Scene, you'll probably know what Low End Theory is. For those of you that don't, it happens every Wednesday night, and it's where such experimental electronic beat-masters as Flying Lotus, Daedelus, Take, Shlohmo, Ras G, and (more recently) Baths go to showcase their work and live skills.
Their schedule for last Wednesday just said "Very Special Guest." This was my first time going (I wanted to attend the show a week before featuring Asura and Jonwayne, but I couldn't), so I wasn't sure whether I wanted to take a chance with whoever this was. But my friend Jeremy did a little facebook stalking, and the facebook profile of one Steven Ellison said he intended to play the Airliner on Wednesday. For those of you who weren't aware, that man also goes by the moniker Flying Lotus.
So Jeremy and I flipped a shit and made our plans. Prophet Zachariah, of the anti-pretentious music/film blog The Boy And Colors, was also in attendance. And man, was it a night.
So we walk in the door in the middle of Take's set. Take is one of my favorite beat music producers, his most recent record Only Mountain was incredible. Aside from programming some of the most innovative, non-repetitive drum patterns I've ever heard, he's a synth master; his production style just saturates you with them, from these thick, heavy bass sounds to all the little high-pitched blips and arpeggios riding on top of the mix. And on the legendary Low End soundsystem, all of it (especially the bass) just came to life.
I've posted this gem before but I felt it was appropriate for this review. Also it might be my favorite Take track.
By the way, there's a reason they call it "Low End Theory." Those subwoofers are on another level. This is bass that you can feel pouring into your ears like hot wax at the same time as you're feeling it rattle your ribcage. And not in an unpleasant way, it's really quite awesome. Even though it sometimes would eclipse other elements of the song playing, I have a feeling that's the point of seeing music in such a venue.
But yeah, Take's set (or what we caught of it) was fucking fantastic. Couldn't see much of it because the place was PACKED, but damn did we hear it. We got better positions for the rest of the acts, though.
Next up were some of Low End Theory's resident DJ's (Nobody, Daddy Kev, The Motherfucking Gaslamp Killer, and D-Styles), who pretty much all played dubstep sets, with some hip-hop in there for good measure. Nobody had the best set aside from Take and Flylo, he's a fantastic DJ. The others were definitely awesome too (can't speak for D-Styles cuz we missed his set), except that I think the crowd just got tired of dubstep by the end... Also: Gaslamp Killer was fucking RAW. He has the most fantastic stage presence ever, he pretty much physically acts out the bass sounds, which is really how I think you ought to DJ dubstep. Also he used a fucking iPad as a MIDI controller of some sort, manipulating beats on the fly. Pretty damn awesome, good to see the stupid gadget is good for something... Here's some video of Gaslamp killing it earlier in the evening.
Well, in the middle of Gaslamp's set Flying Lotus started wading through the crowd, and after another 15 or so minutes he'd finished his setup, and the show began. It took that long because he had a live bass player (Stephen Bruner aka Thundercat) and drummer (Ronald Bruner) to set up as well. Researching this post, I just realized the two are brothers. And they are tight as hell.
Thundercat is a fucking fantastic electric bass player with legitimate jazz chops. He riffs like a mofucka, which you can hear on FlyLo's last album, Cosmogramma. Specifically on "Pickled!", though he helped write and sang on "MmmHmm" as well; that's a more downtempo track and one of the more beautiful on the album in my opinion. Ronald Bruner is a jazz drummer of epic proportions. He's played with Austin Peralta, an alumnus of my school who is coincidentally signed to FlyLo's Brainfeeder label. Just watch this if you need proof of his chops.
Well, needless to say they fucking killed. They played in sets of about 10-20 minutes, with little breaks to orient the musicians (the drummer had never sat in with FlyLo before, which didn't even matter because he caught on in seconds, and nailed every pause or break. ah, the power of jazz). Mr. Ellison played about 50% new or unfamiliar material, 40% Cosmogramma, and 10% of his older stuff. Every once and a while he would cut out almost every element of the track that was playing and just let, say, a hihat or keyboard part play while the brothers Bruner just tore it up. Those breakdowns to just live bass and drums were fucking transcendent. Just wow. Brilliant musicians doing what they do best on the fly...it was like watching live jazz. Even when FlyLo was playing a song over the live music, all three of them were interacting and giving and taking and fuck was it awesome.
The best set by far was the fourth one. The rest had been at a hip-hop/dubstep sort of tempo, and then after a break flylo just brought out "Do The Astral Plane." The crowd went insane, and this was in a room about the size of my living room, mind you. And that set just went on in the same vein: he sped up the vocal from "Tea Leaf Dancers" and played it over "Astral Plane," then he kept dropping experimental electro house, banger after banger, and the brothers Bruner just rolled with it, keeping up that same intense jazz energy they'd had the whole night.
On the whole one of the best live shows I've ever been to. Anybody who says that playing electronic music live is essentially just DJing needs to see Flying Lotus. He plays with a live band a lot nowadays. And if you really want to have an epic Wednesday night, go to Low End Theory. The vibe there is amazing. The producers and artists are there to showcase their work, and they're just hanging around during the show so you can freely interact with them. The audience is there to see the work and have a good time, so weed and alcohol consumption, while still extant, is at a really reasonable level. People just seemed very chill and friendly. I think my work here is done. Til' next time, folks...
Well, this is it. Finally got the whole Baths album, after streaming it for a week on the internet (if you feel like previewing it before purchasing, I highly recommend that link). I only briefly mentioned him earlier, in my post on Shlohmo's latest EP, but Baths is, in my opinion, one of the most inspiring producers I've heard in a while.
Baths is Will Wisenfield. He lives in Chatsworth, and makes music on his laptop, though he also plays a ton of instruments (lots of guitar and piano on the album). After making a lot of music (that I will eventually listen to) under the monikers [Post-foetus] and Geotic, he was invited to play at a beat music show by none other than Alfred Darlington, aka Daedelus. That night inspired him to take his music in a new direction. That direction was Baths, and the result was Cerulean, which came out on the Anticon label July 6th.
Earlier, in my post on LandLord, I expressed my sentiments that the experimental beat music movement + good songwriting/lyrics makes me happy about the future of music. Well, it holds true here. When I saw him live last week, I congratulated him after the show for making the music I wish I could be making right now. Because when you take the left-field, post-Dilla beats of FlyLo (among others), suffuse them with the chillwave atmospherics of Toro y Moi (among others), and add the songwriting and vocal sound of Passion Pit (the dude is a dead ringer for Michael Angelakos), you get three of my favorite styles all wrapped up into one. And that makes me a happy lobster.
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On to the album. "Apologetic Shoulder Blades" opens it all up with a heavenly falsetto chorale, making you think you're going to spend the rest of the next hour listening to Will's voice. And in a way, you are. But here's the thing. After a few seconds of pure layered vocal loveliness, in come the stuttering beats, which quickly grab the spotlight. To Wisenfield, the human voice is only one element in the mix. And for the rest of "Shoulder Blades," and many other tracks on the album, that's how he does: even when the song has lyrics. Baths harmonizes with himself, adds counterpoint over that, then slices the result to pieces, most notably on tracks like the off-kilter-but-still-badass "You're My Excuse to Travel" and the glitchy, almost Dntel-ish "Indoorsy." Those are both songs with actual lyrics and song structure, both of which take a backseat (but not too far back) to solid and innovative production, and frankly the result is AWESOME. Even instrumentals like "Maximalist" and "Aminals" have vocal elements or samples in them. Only real instrumental here is "Rafting Starlit Everglades," if you really care.
But that's not to say he's just a producer that happens to write. "♥" is a clear standout, melancholy but groovy at the same time, with wonderful shifts in mood both musically and lyrically. "Lovely Bloodflow" also does wonders with the beastly rhythms + awesome lyrics combo, though his falsetto goes a little too Prince-y for my taste on the first line of each verse. And "Plea," probably my favorite track on the album, is likewise a fantastic song. Defying conventional verse-chorus structure, it recycles one melodic unit, with lyrical themes that evolve with every reiteration. With an awesome beat to boot! Enjoy:
As one might expect, that one also killed live. Here's what I got from his Troubadour show July 3rd (Daedelus also played, expect an epic video post soon); excuse the sound, it was a still camera with surprisingly good video quality:
(gotta love the live manipulation, and the live vocals (!!), he definitely gets points for that.)
My other favorite is definitely "Rain Song" (too lazy to post, if you want it just buy the sucker). He goes into the production of that song, as well as the rest of the album, in this article.
Then of course there's the blogosphere favorite "Hall," with its cyclical chorus, glorious harmonies, and weird-as-hell-but-still-awesome tape-manipulating intro. Here's the Asura remix, I think it's fucking great, even if the beat lasts for only about a minute:
If I had to assign it a grade, I'd give it an A-, and that's only because I know this dude has the potential to improve even more, following a truly impressive debut. With too few weak points to complain about, Cerulean knocked me off my feet with its stronger ones, proving that experimentation and innovation are still alive and kicking in music production–and more importantly (to me at least) songwriting–today. BUY THIS, FOOLS!
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Music posted here is for promotional purposes only. If you have any copyright-related objections please comment or report or whatever and we'll take down the offending link.
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