@@@ Mira Calix: There is Always a Girl With a Secret (Warp, 2022) A coupla Twitter listens to cap off the week, though I listen on weekends as we;;. This musician just passed and this is the second track off a record from last year. It opens a capella, with multiple tracks, a little white lady beatboxing and what sounds like a beater on a cardboard box. Then more hand drums and a drumkit and a bass. It’s all composed or it feels like it but it’s not particularly aspiring to be a verse-chorus typa thing-y. I like it. I’m agnostic on the well placed notion that it’s definitely art school-y and Laurie Anderson-ish. I like the sounds and feel that maybe the vocals could have been de-emphasized a bit and I would have liked it more but that’s just me.
@@@ Solomon Fesshaye: Star City (Ghostly, 2022) I’m guessing the uplifting New Age-y electronic music does better than the darker more ominous stuff so that’s why we get more of it. It keeps the New Age-y keyboard flavors but tones them down around 1:30 to make way for the beat, which is firm and friendly. Believe me when I tell you that I’m fine with friendly sounds, for me it’s about the balance. For example, if he came through this mix with a floor wiping trap bass I would shit myself in joy. I love contrast, I love salty and sweet, I like sweet and spicy, I like dark and light mixed together, but do what you like but I get to listen for me. About a minute from the end he goes wooden percussion and that, that’s the best and most unexpected move of the track for me. So smells like a solid B, coulda mixed up the synths and brought some contrast.