simianthinker

Fós Invokes Primeval Musical Forces to Disentangle Our Minds From the Conditioning of Toxic Modernity on Debut Album Rinne mé iarraidh

Fos_AnRaibhTuArAnGCarraig1_crop — Fós “An raibh tú ar an gCarraig?” cover (cropped)

Experimental metal project Fós from Dublin, Ireland is a fusion of drone metal and a traditional music style called sean-nós. On its four song debut album Rinne mé iarraidh (Fós album) released on March 14, 2020, the results of that alchemical mixture is in the realm of the way certain atmospheric black metal acts and the likes of drone legends SunnO))) and sonically adventurous death metal band Dark Castle draw upon the resonances of ancient spiritual rhythms, tonalities and organic, almost intuitive, song structures to take you on a listening journey to some deep, primeval part of your mind to help disentangle the way our minds have been warped to adhere to the values of a mechanized form of social organization and consciousness. On the lead single “An raibh tú ar an gCarraig?” female vocals luminously intone melodically in presumably Gaelic as though mourning the loss of something or someone important but making way for new beginnings. The voice hits your ears vividly but unobtrusively while distorted drones drift and hang in layers behind like the fog obscuring Avalon. Listen to “An raibh tú ar an gCarraig?” on Soundcloud and connect with Fós at the links provided.

fosmetal.bandcamp.com
facebook.com/fosmetal

They/Live’s “Foreigner” Channels the Feels of 80s Synth Pop to Illuminate the Ways We Navigate Mixed Emotions

TheyLive_Ablation_cover2 — They/Live *Ablation* cover

“Foreigner,” They/Live’s second single from her forthcoming debut LP Ablation (out on Born Losers in May 2020) is reminiscent of something Tina Turner might have released during the period of her 1984 comeback album Private Dancer. The lightly distorted guitar, the lush, soulful vocals, the scintillating tones that sound like they’re hazy with soft lighting. Also parallel with Turner’s gift for articulating the nuances of a troubled relationship, conflicted feelings and yearning for meaningful connection, “Foreigner” acknowledges that the relationship in question is fraught with mixed feelings that you cast aside in hopes of finding something genuine, real and reciprocated. The line “Baby come a little closer, I’m a foreigner to this feeling” poetically and succinctly illuminates the tension of uncertainty and a will to take a chance in case maybe you’re undermining something that might be good by overthinking it. It seems like a song that says better to take a chance than live with unnecessary regret. Listen to “Foreigner” on Bandcamp and connect with They/Live on Instagram.

Nomadic Odyssey Bridges Everyday and Mystical Experiences Across Cultures on “$hooting The $hit”

NomadicOdyssey_ShootingTheShit1_crop — Nomadic Odyssey *Disgruntled* cover

The reverse delay on the keyboard loop on“$hooting The $hit” by Nomadic Odyssey gives a touch of the otherworldly to a song that bridges the gap between contemplating regular life and more cosmic concerns, normalizing mystical concepts by grounding them in everyday experiences. What makes it work well is the California accent of one of the rappers and the South UK accent of the other, especially when they come together in the last third of the song. Both rapping about similar concerns and interests with a striking unity of conceptualization and purpose. That is putting high concepts within reach of anyone willing to think and talk about universal connections and concepts without losing sight of your specific context and how there is no inherent barrier between either. The minimal drum pattern, percussive piano and sax sample lend a soulful backdrop to words that cover a lot of ground from the aforementioned big picture considerations and indulging in cannabis as part of that connection and shared experience of both vocalists. Listen to “$hooting The $hit” on Soundcloud and connect with Nomadic Odyssey at the links provided.

soundcloud.com/nomadicodyssey
instagram.com/nomadic.odyssey

Treasure Takes Us Into the Drift of Nighttime Contemplation on the Dreamy, Downtempo “Strength”

Treasure_Strength2_crop — Treasure, photo courtesy the artist

An ambient shimmer eases you into the incredibly mellow moods of “Strength” by UK artist Treasure. His softly spoken lyrics float amid echoing keyboard minimalism, lingering, ethereal guitar work, spare percussion and near the end of the song a more energetic synth line that guides us into the song’s conclusion. The overall effect is one of waking up in the dark of fall weekend evening after a nap and taking the time to reflect before getting up and getting to anything because you can take your time. It’s a fascinating blend of sounds that could be downtempo, dream pop, vapor wave and moody R&B yet isn’t really defined by specific genre considerations. At times it’s reminiscent of a lo-fi “Exchange” by Massive Attack and how that song seems to drift in circles before pausing and repeating that drift in what feels like a slightly different mode, a subtle shift in tonality or pacing that works as a hypnotic loop. It’s the kind of song that could be left on repeat and seem like it’s changing every time because of that almost intuitive, organic sense of rhythm. Listen to “Strength,” the third and final single from Treasure’s project “Suffocation & Air,” on Spotify and connect with the artist at the links below.

https://open.spotify.com/embed/album/6JyBhsMnhP50TqF3NQ3VVK

soundcloud.com/treasuretheband
open.spotify.com/artist/12tQ1YGmb2jzMds6LOCuiZ
facebook.com/olwhkb
instagram.com/treasuretheband

The Organic Ambient Jazz of Voyager II’s “Shape of Light” Conveys a Deep Sense of Pastoral Tranquility

VoyagerII_ShapeOfLight1_crop — Voyager II “Shape of Light” cover

“Shape of Light” by UK duo Voyager II develops in what seems like an organic fashion with soft percussion and impressionistic breezes of tone and melodic, wordless vocals that seem to flutter about in an invisible breeze. Electronic bass pulses in sync with the all but non-linear dynamics and like witnessing a natural phenomenon like the local weather or footage from deep space there is an elegance and easiness to the composition that may not follow conventional rules of music but is accessible by a kind of logic that transcends that which we impose on our environment everyday that can cause us to miss details. Thus it’s the kind of song that if you take in its ambient textures and fluid atmospheres as a whole rather than dissecting it for its component the listening experience is parallel to the ineffable sense of tranquility one gets from a bucolic landscape or a field of stars that the satellite Voyager 2 may be transmitting back to Earth. Listen to “Shape of Light” on Soundcloud and connect with Voyager II at the links provided.

soundcloud.com/user-444470767
youtube.com/channel/UC9Rc40KiT5Yzkzs1Cy9_ETA/videos
voyagerii1.bandcamp.com
facebook.com/VoyagerDuo

Jenny Dee Sings About Closure With an Unrequited Youthful Crush on “All These Words”

JennyDee_AllTheseWords2_crop — Jenny Dee, photo courtesy the artist

Musical brushstrokes of strings drift in the backdrop of Jenny Dee’s single “All These Words” like the haze of a cherished memory even if that memory is one of regret and opportunities lost. Accompanied by electronic and acoustic drums hitting a soft beat, a spare organ line and a touch of guitar, Dee lays out a kind of confessional about her feelings for someone for whom she has harbored feelings even though she never really expressed those feelings, just silently assuming the feelings were shared. Then she finds out the object of her affection was in love with someone else and the sense of deep disappointment in self and in circumstance is expressed in the lines, “I was foolish, I felt you were mine. We were nothing, so far from loving.” Years pass and Dee, or at least the narrator in the song, meets up with her crush again and talks like they had so often and so freely before to the point where she feels “like a kid again” and gets up the nerve to express how she felt even if it doesn’t result in some kind of fairy tale reconciliation into an ideal relationship. Sometimes being able to express your truth with no expectation is the best and most realistic way to accept that your feelings were valid. Less overt in the song is the implied bravery and self-honesty that conversation had to take. “All These Words” is from Dee’s most recent album Dancing From a Distance, produced by Copeland’s Aaron Marsh, released March 6, 2020. Listen to the song on Soundcloud and connect with Jenny Dee at the links provided.

open.spotify.com/artist/2zM8FcOLP924ypUODNi27S
youtube.com/user/Jennydee32
twitter.com/Jennykdee
instagram.com/jennykdee

Jan Echo Delves Into the Dystopian Standardization of Thought and Culture Through Social Networks on the Industrial Post-punk Song “Our Lies”

JanEcho_OurLies1_lg — Jan Echo, “Our Lies” cover, image courtesy the artists

With its new single “Our Lies” Jan Echo delves into the phenomenon of social media and the media in general and their impact on not just the narratives floating about in society and influencing public opinion but often our sense of ourselves and our place in this new social universe. The brooding synths and lingering vocals is reminiscent of a more industrial Depeche Mode. Guitar accents work like impressionistic tonal motes in the flow of slowly arcing melodic drones and meditative percussion. But unlike entirely too much modern music the song goes beyond one mood and a single, narrow dynamic particularly in the last half of the song when the band indulges a tasteful guitar solo that traces a line out of the dullened and even norm that is that increasingly internationally standardized modes of thought, expression and conceptualization that widespread interconnectivity has spawned. “Our Lies” suggests it needn’t be this way, and it does not, with the sheer potential of sharing diverse ideas, perspectives and experiences but as it is all being administered by a few corporations for their profit, the monetizable aspects of these interactions are most rewarded. A different kind of flattening of the curve to benefit the technocratic class at the expense of human independence of thought by increasing our dependence on being plugged into the network for communication, information, engagement with society and more so than ever the economy. Listen to “Our Lies” on Soundcloud and connect with Jan Echo at Instagram.

NTHN Evokes the Transformative Nature of a Deep Bond of Love and Understanding on “About Her”

NTHN_AboutHer3_sm — NTHN, photo courtesy the artist

Songs about devoted love can be overblown with purple prose and hackneyed premises in the pop world but NTHN brings an insight to a powerful connection that seems pretty rare in relationships in “About Her.” He sings as though he wrote down all the ways he feels loved and understood beyond there needing to be some transactional aspect to the bond. Taking that list, NTHN took the real gems and laid them out in a series of couplets that he set to a lush production of echo-y beats, an electronic string melody and sang those words as if contemplating their impact. The electronic saxophone line is even soulful in in the outro and when you hear the words you sense that it’s through the experience of the relationship that NTHN has come to know himself better and his own limitations and his gratitude in being transformed by it. Listen to “About Her” on Soundcloud and connect with NTHN at the links below.

soundcloud.com/producedbynthn
open.spotify.com/artist/1PqBLuAl3tnYxpG08RgD3U
business.facebook.com/producedbynthn
instagram.com/producedbynthn

Grace Gillespie’s “Goodbye” is a Gentle Farewell to Your Old Self to Make Way for a More Fulfilling Life

GraceGillespie_Photo — Grace Gillespie, photo courtesy the artist

Grace Gillespie’s voice is so vivid, intimate and direct on “Goodbye” and its shuffling, evolving guitar melody and spare rhythms so subtly moving and upbeat that you can get lost in the song before its depth and heaviness hit you. Certainly it’s a matter of interpretation but the folk-inflected piece comes off like a conversation to yourself writing a letter to someone you love but of whom you don’t know how you could be worthy. The chorus of “I don’t want to say goodbye/I’m not afraid of dying now/I am afraid to be alive” could take on multiple meanings like maybe you don’t want to sabotage something good and the prospect of doing so seems so terrible; that maybe you were seeing a blank horizon of your life without music or your chosen vocation to completely define it and that someone came along to expand what you thought could be your life with a meaningful relationship in it and that living in that expanded sense is scary because it will force you to change and face things about your personality you weren’t yet ready to look at and change. But the tone of the song is one of soothing and calming those anxieties and fears and a gentle call to be brave. Like in the beginning and the end of the song when Gillespie sings of putting down her guitars for awhile and “See what’s left of me under the sea of tangled wires.” The song is about choosing what might be great for you, challenging your insecurities because you need to whether or not it’s for anyone else and being willing to say goodbye to long cherished notions of what you have held onto as your identity even when it no longer makes sense or serves a life you want. Listen to “Goodbye” on Soundcloud and connect with Gillespie at the links provided.

gracegillespie.co.uk
soundcloud.com/grace-gillespie-music
open.spotify.com/artist/4owaayCKTzC8Y7PeADjuAk
twitter.com/GraceyGillespie
facebook.com/GraceGillespieMusic

VIVIAN’s Debut Single “Tick Tock Talk” is a Windswept Dream Pop Goodbye to a Mindset Limited by the Mundane

VIVIAN_TickTockTalk1_crop — VIVIAN “Tick Tock Talk” cover

“Tick Tock Talk” is the debut single from Fort Collins-based dream pop band VIVIAN. The group includes Timo Massa and Alana Rolfe of rock band Stella Luce. After a decade of performing sophisticated, experimental rock music, the duo switched gears for the more electronic VIVIAN. The track is crafted from sweeps of distorted synth and textural drone, minimal guitar tracing unconventional melodic structure, ghostly electronic tonal figures and Rolfe’s typically sultry vocals. The title of the song is a bit of alliteration to put into the song the way time is often imposed on us in a mundane, rote way even though we can dream about our lives in a less linear fashion as beings able to imagine existence beyond time and beyond our immediate existence and likely possibilities. “I want to leave the earth, but you want to stay right here” points at having aspirations of exiting the mundane and wanting to talk and live in ways that aren’t limited by the conventions of what we’ve been told is possible at all times in our lives and especially the timelines most people observe for when to stop dreaming and grow up. For the heady concepts that run in the song’s beautiful layers of dynamic minimalism, “Tick Tock Talk” seems direct in its poetry. Listen to the song on Bandcamp, connect with VIVIAN at the links below and look out for the duo’s albm The Warped Glimmer due out in 2020.

facebook.com/pg/vivianmusicco
instagram.com/vivianmusicco
vivianmusicco.com