Berlin siblings Kayam have recently released their sophomore album "Omens", and the titular first single from that album is an alluring introduction to an album of intimate and environmental alternative folk music. However, the group prefer to classify their music with the curious tag 'falafel pop'. Impossibly warm acoustic guitars spread across the stereo as the brother and sister duo deliver up-close-and-personal vocal performances, gently drawing you into their colourful world of medieval imagery and paganistic references. Though the song is a love song, first and foremost, the depth with which this romance is explored makes for serious listening. The track rises to intense folktronica, though it never loses its chilled-out demeanour as it fades out to sounds of nature.
Yew Haiku - Peach Nietzsche
synthpop
While Friedrich Nietzsche's philosophy has had a significant impact on our world, his philosophical outlook promoted the breeding of "übermenschen", super people capable of overcoming hardships, basically culturally designed babies. However, his more ethical observations extolled the virtues of honest self-expression. US synthpop producer Yew Haiku wonderfully expresses her multifaceted soul and musical knowledge on the recent single "Peach Nietzsche", which is taken from the upcoming album Century Gothic. The song's sharp edge of attitude is protected by a sheath of balmy ambiences and '80s-leaning synth work. Her voice, as angelic as it is, cheekily ruminates on big philosophical ideas ("there is no thought, there is no feeling"). Century Gothic will explore 'The Heart Sūtra', a Buddhist aphorism which espouses the thought that"form is emptiness, emptiness is form." This high philosophy is expertly incorporated into hazy music that sees reverb-heavy electric guitar wailing over minimal percussion and Yew Haiku's transformative voice. Come for the philosophy but stay for the vibe.
Why Patterns? - Give The Word
experimental jazz
French experimental jazz quartet Why Patterns? push the boundaries of freeform, experimental jazz on their debut single, "Give The Word". Comprising creepy saxophone lines which patiently rise and morph over three-and-a-half minutes of soulful expressionism and exploratory worldbuilding. The uneasy tune repeats an ominous ostinato as workhorse percussion chugs in the background, and various synthesizers add harmony and texture. The quartet comprises saxophonists Morgane Carnet and Theo Nguyen Duc Lon, Luca Ventimiglia and Alexandre Du Closel on synthesizers. The group easily create a tense mood with their instruments, and the video for this track by Virgile Jardin perfectly captures the innocently creepy nature of the sounds. Overall, "Give The Word" is enjoyable, if not unsettling, and sounds like it's coming from the nightmare of someone who really enjoys nightmares.
Orchestre National Urbain - Polination
hip-hop/jazz
Here's an interesting amalgamation of different musical styles. Started by Giacomo Spica Capobianco, Orchestre National Urbain features seven musicians, the concoction sounding like the theme of a '70s detective show crossbred with vaguely European rap. However, the track is an upbeat offering of joyful music, propelled by a strong bass line, with lyrics that deal with the woes of late capitalism and how we are all "complicit in excessive consumption". Even though the subject matter comes off a tad preachy, there's nobility in the cause, and the seriousness of the theme is offset by the fundamentally fun music. Taken from the album "United Forces".
Jacques Bailhé - The Peano Propositions
classical
LA-based composer Jacques Bailhé has a long musical history. From studying traditional instruments in Kathmandu to working with Dolly Parton, the multi-instrumentalist has picked up a wealth of experience on his musical path, experience which informs his piece "The Peano Propositions". At nine-and-a-half minutes, this solo piano composition is full of twists and turns and is guided by a strong narrative voice that can conjure emotion as it guides you through this long but fruitful journey. Specifically, Bailhé uses contrasts in intensity and timing to ensure this track never feels like a slog and has as much thoughtful retrospection as it does beauty.
