SubmitHub – Page 167 – Queen City Sounds and Art

Aeneas Synthesizes Industrial Rock and Experimental Darkwave Dance Music on “Existential Crisis”

Aeneas_ExistentialCrisis1_crop — Aeneas, “Existential Crisis” cover, image courtesy the artist

Aeneas’ “Existential Crisis” creeps up on you like the experience of the title often does. A background drone blossoms into a melodramatic soundscape punctuated by moments of emotional oasis from an intense wave of peak feeling. The processed, warped vocal sample comes in like a reminder of your failings while the processed vocals, like your conscious mind, tries to maintain some semblance of your humanity while drums pound out a dynamic rhythm and a simple guitar rhythm traces the through line that is your life line through the trauma as a glimmer of the familiar and steady. Fans of Poppy and Vowws will appreciate the genre bending and synthesis of industrial rock and experimental darkwave dance music. Listen to “Existential Crisis” on YouTube and connect with Aeneas at the links provided.

open.spotify.com/artist/6pzljfM8LxaukPobYyK5Vi
soundcloud.com/aeneasmusic
instagram.com/aeneas_music

Moudy Afifi Invokes Ancient and Modern Rhythms on His Techno Track “Sahara”

MoudyAfifi_Sahara2_crop — Moudy Afifi “Sahara” cover

Egyptian artist Moudy Afifi gives us some flavor of his homeland on the techno track “Sahara” (out on Disclosed Records). The shuffling percussion and steady beat puts you in the state of mind of passing over a desert landscape and dunes in a jeep with wind flowing through your hair. The melodic bass line follows a traditional, pan-Arabic scale complemented by string synths that bring to the song a sense of exotic mystery. Almost as though the song evokes the journey of Alexander the Great to the Siwa Oasis to consult with the oracle of Ammon following a flock of birds. “Sahara” invokes both the ancient and traditional and modern techno dance music in a nearly hypnotic rhythm that may get you moving in ways that feel right if not consciously familiar. Listen to “Sahara” on Spotify and connect with Afifi at the links below.

disclosedrecords.net/moudyafifi
soundcloud.com/moudyafifi
twitter.com/MoudyAfifi
facebook.com/moudyafifi
instagram.com/moudyafifi

Debris Discs’ Sweetly Nostalgic “We Never Die” is Like a Latter Day Roller Skating Rink Anthem

DebrisDiscs_WeNeverDie2_sm — Debris Discs, photo courtesy the artist

Former Coves & Caves and My Side of the Mountain frontman and songwriter James Eary has a new project called Debris Discs. The lead single from the forthcoming full length album “We Never Die” sounds like a nostalgic roller skating rink anthem that never was. It combines soaring background melodies with bright, distorted synth figures and Eary’s commanding yet introspective vocals. The dynamics of the song are as transporting as the tone with the three aforementioned elements working to elevate the mood in different but complimentary ways. The vocals keep you in the moment while one synth line bathes you with luminous sonic energy and the other sweeps you along in its irresistible emotional momentum. Listen to “We Never Die” on Soundcloud and connect with Debris Discs at links provided.

soundcloud.com/debrisdiscs
twitter.com/DebrisDiscs

Moon Sand Land Dissects the Internalized Cruelty of American Bravado on “High Tops”

MoonSandLand_HighTops1_crop — Moon Sand Land “High Tops” cover

When you’re an American you are constantly expected to put on a brave face or worse to internalize various flavors of bravado or seem like a failure merely for being human. That sort of toxic psychology explains a lot about the dark fascination with reality TV to see people struggling with that facade and fail completely. It’s like we’re perversely entertained by the spectacle of something we’re all dealing with, if we’re honest with ourselves, every day. Moon Sand Land tackles this subject on its song “High Tops” – the need to pretending we’re happy so we’re not considered crazy or broken. And all the weird behaviors we will engage in not knowing their root like getting our physical imperfections “fixed,” retail therapy, PMA as a form of delusional magic, dreaming of wealth that miraculously falls in our lap thinking it will fix all our problems instead of pursuing something personally meaningful. This song with its fractured melody and sense of anxiety amplified desperation as the lyrics describe how things are in the U.S.A. for everyone from all walks of life is refreshingly honest and accurate in its take. A take that is the opposite of nihilistic, rather, hopeful in the face of incredible odds. Fans of Pavement’s frayed edges and poetic honesty and Parquet Courts’ similarly warped melodies and direct line to what it’s all about will greatly appreciate “High Tops.”

moonsandland.bandcamp.com/releases
facebook.com/moonsandland

The Math Rock Dream Pop of “BONES” by Cyrus R.O. Reflects the Complex Nuances of a Character Struggling With Gender Identity

CyrusRO_Bones1_crop — Cyrus R.O. “BONES” cover

The intricate rhythms, textures and layers of sound on “BONES” by Cyrus R.O. is a beautiful collage of musical ideas to match the subject of the song. The lyrics deal with a character struggling with gender identity. So the gritty, dramatic guitar flaring over dreamy, distorted synths and textural percussion give a solid and simple melody a lot of character and nuance much as that struggle would take on. The confusion but sense of things being deeply off in how you have to navigate the world, the undercurrent of anguish that sometimes escalates to emotional spikes. It’s a little like a math rock song mixed seamlessly with a dream pop soundscape. The line “Someday she’d like to peel the skin off her face” you expect to hear in music that is more overtly intense and edgy but here it stands out precisely because the music gives expression to those emotions in a more creative way through mixed dynamics and hybrid styles. Fans of Broken Spindles, the experimental electronic pop band of former The Faint bassist/producer Joel Peterson will appreciate the artistry of this track in its ability to use complexity of composition to express raw emotion. Watch the music video for “BONES” on YouTube, connect with Cyrus R.O. on the website linked below and look out for the project’s debut full length DECONVOLUTION due out June 12, 2020.

cyrusro.com

Air Quotes Makes the Inevitable Choice of Leaving a Toxic Relationship Seem Easier With the Cool Jazz Pop Tones of “On and On and On”

AirQuotes_OnAndOnAndOn1_crop — Air Quotes, image courtesy the artists

The title of “On and On and On” by Air Quotes alone, like an Ezra Pound line, suggests a bit of weariness with unproductive repetition. That lyric in the song echoes slightly like a reaction in your mind to the same old stuff that you’ve been tolerating for far too long, caught in a loop of action, reaction, emotional stifling and adapting the way too many of us do in a toxic relationship, making it all a routine thinking we’re getting through a bad patch not initially thinking it’s all been a bad patch. The vibraphone, marimba and flute gives it a jazz lounge quality and along with the vocal tones the song is reminiscent of something Everything But the Girl might have put out. That sort of downtempo pop cool that you don’t hear much of these days but which is always an interesting vehicle for communicating challenging subject matter in a palatable way and one that makes doing what you should be doing an easier choice and option in your mind. Listen to “On and On and On” on Spotify and follow Air Quotes at the links provided.

open.spotify.com/artist/1Ded4jEyNWBLh95JNjpzWv
soundcloud.com/airquotesmusic
airquotes.bandcamp.com/releases
facebook.com/AirQuotesMusic

“You’re Gonna Tell Me” by Roni Bar Hadas Contrasts the Uplifting With the Melancholy to Plumb the Depths of the Human Heart

RoniBarHadas_YoureGonnaTellMe1_crop — Roni Bar Hadas, photo courtesy the artist

The effervescent exuberance of Roni Bar Hadas’ “You’re Gonna Tell Me” almost makes the song’s lyrics seem like they’re out of an uplifting, lightly melodic summertime tune or a dream pop take on a 60s lovelorn ballad. The guitar melody and breezy keyboard work over a widely dynamic rhythm and Hadas’ brightly resonant vocals cutting shining throughout is a bit like trying to put your best face forward when inside you’re not so confident, when you’re processing mixed emotions and trying to maintain even as realizations about your life are crushing you just a little. And it’s that contrast of presentation and content that gives the song its depth of expression. The line that gives the song its title “You’re gonna tell me it’s over and I don’t know what to say” speaks to the very real feeling many of us have when we find ourselves in a relationship with someone we told ourselves was so fascinating and attractive in the beginning because the thought of being alone seemed so depressing. But you can’t fool yourself forever and Hadas goes through the various stages of that realization. From being able to embrace being alone despite how we’ve all been conditioned to think one is somehow lesser or a failure without being attached to someone, through overindulging even though you just can’t drunk or altered enough to run away from your feelings forever, and finally to thinking maybe the relationship should have ended long ago because the love wasn’t there, just a temporary infatuation blown up to be something bigger than it is to not feel like you’ll never be with anyone. But the biggest realization comes in the line “Don’t know what to write because I don’t know how I feel, when I don’t understand myself how can you?” And isn’t that it no matter what culture you come from? We’re pushed to become so many things in life and make important choices before we know who we are, what we really feel and to stick by those choices even when they no longer make sense. It’s what causes horrible mid-life crises and other acting out. Roni Bar Hadas seems to have figured that out in the course of a short pop song and so can we all. Listen to “You’re Gonna Tell Me” on Spotify and look out for Hadas’ full length Calm the Beast due out in spring 2020.

Barland Garnett’s Glitchy Dream Pop Song “Private Paradise” Brims With Affectionate Reverie

BarlandGarnett_PrivateParadise1_crop — Barland Garnett, photo courtesy the artist

Barland Garnett utilized a bevy of synths and electronic instruments (Organelle, Arp 2600, Minimoog, MOOD, SH-101) and a touch of guitar to craft the enigmatic dream pop song “Private Paradise.” Sophie Chernin’s vocals drift from the soulfully introspective to a processed voice like she’s glitching out. Sonically it makes one think a bit of the video warping from an old VHS tape, the digital anomalies from a digital video tape and similar phenomena when there is latency in a video feed due to inconsistency in internet connection or other technical issue. There is a certain charm to that aspect of the song like we’re getting to hear a long lost virtual pop star from our own near future a hundred years hence from tinkering with old technology. Tonally it brims with affectionate reverie as it sketches for us imagery of a temperate weather hideout where you can spend countless time alone with the one you love uninterrupted by the demands of normal life. It conveys a sense of timelessness like the memory of a dream and that the production is lo-fi only enhances that mood and a feeling like you can spend some moments unmoored from the mundane world. Listen to “Private Paradise” on Spotify and connect with Barland Garnett at the links below.

open.spotify.com/artist/40Q3jsGJfPXmx5DTigFDPo
soundcloud.com/barlandgarnett

Hanna Ojala’s “Call for My Soul” is a Healing Ritual of Personal Mysticism

HannaOjala_MainPic1_Crop — Hanna Ojala, photo courtesy the artist

Every time Finnish sound artist Hanna Ojala’s releases a single you’re in for a unique experience and one that doesn’t often draw immediate comparisons with other songwriters. With “Call for My Soul” you can’t help but imagine sepia toned landscapes and a structuralist film aesthetic like Wim Wenders and Laurie Anderson collaborating on a film about a great journey to a place where you face your darkest fears and embrace your greatest dreams. Her vocals, like spoken word free verse poetry, uses repetition to emphasize the emotional experience of memory and a yearning to reconnect with one’s core and one’s sense of identity and self-value. The poem moves over a layered ambient drone and impressionistic piano as though the song was informed by a visual sense of storytelling and the vocals and music echo slightly like deeply subconscious connections lapping at the shores of your waking mind and nourishing an awareness of what might soothe a sometimes faint sometimes powerful sense of unease at being out of balance with who you are. Probably everyone has this sense of existing in a way and in a social context that does not nurture who we are but pushes us toward what seems most “useful” or efficient as if our existence is only justified by its utility to an economic system, an ideology or some other dominant belief system imposed on everyone. Ojala’s song suggests that you can harbor within you an independent sense of self-value from the cruelty and disconnectedness of the world and in doing so recognize and encourage the same in others. Listen to “Call for My Soul” on YouTube and connect with Hanna Ojala at the links below.

soundcloud.com/h_mo
youtube.com/channel/UCOciWsXO_7cDSrveFlwSmkA

Chris Ianuzzi’s “Fork” is Cybernetic Dance Ambient From the Other Side of the Event Horizon

ChrisIanuzzi_Fork1_sm — Chris Ianuzzi, photo courtesy the artist

Electronic composer Chris Ianuzzi recently released an EP, Olga in a Black Hole on March 6, 2020 with an album Planeteria forthcoming in 2020. The single “Fork” from the EP reminds one in a way of V’Ger from Star Trek: The Motion Picture. Where in the film Voyager 6 gets lost in a black hole and comes back a sentient being upgraded by an advanced alien race, Olga has returned from her trip into the black hole with the ability to draw on a an unusual palette of sounds with which to communicate. The hard and constantly evolving rhythms bleep and bloop like some kind of 8-bit dance music that might have been made by Autechre at some point in its career. But that angular, android dance pop gives way to an echoing, ambient abstraction that fades out at the end. Like maybe we’re to understand Olga’s journey through the black hole as an intense, transformative experience that altars form, function and existential orientation leaving her on the other side in a state of tranquility and grace. Maybe a journey through a black hole as a worm hole isn’t just one simply of going from point A to point B but one more like entering Siege Perilous wherein you will emerge changed in ways impossible to know or predict completely without having experienced it for yourself. Perhaps Planeteria offers an experience on the other side of that black hole processing. Listen to “Fork” on Spotify and connect with Chris Ianuzzi at the links below.

chrisianuzzi.com
soundcloud.com/i-synthesist
chrisianuzzi.bandcamp.com
twitter.com/Isynthesist
facebook.com/ISynthesistMusic
instagram.com/chrisianuzzi