https://www.cluas.com/indie-music RSS feeds for CLUAS Irish Indie Music 60 https://www.cluas.com/indie-music/Home/ID/562/Mister-Heavenly-Out-of-Love#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=562 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=562&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/562/Mister-Heavenly-Out-of-Love Mister Heavenly 'Out of Love' The CLUAS verdict: 8 out of 10 Full Review: Artists tread a fine line when they dabble with the idea of a super group. The end product will invariably be judged by their former glories and, in many cases, will not survive such a comparison. Thankfully, Nick Thorburn (The Islands), Ryan Kattner (Man Man) & Joe Plummer (Modest Mouse) surpass expectations with their incendiary incarnation Mister Heavenly. Inspired by their shared love of doo wop and avant garde indie, Mister Heavenly exist within a genre of their own creation: doom-wop. Their debut release Out of Love is a modern revision of the 50s pop era, full of macabre tales of heartache and disaffection. Their playfully ironic love songs are written for a generation more accustomed to text message breakups than Dear John letters.  The two-stepping “Charlyne” is a satire of the sweetheart ballad with a surf rock vibe in the style of The Beach Boys. A touch of horror pop filters into the piano-driven “I am a hologram”, with Kattner’s crooning drawing comparison to Danzig’s earlier years. Thorburn’s Buddy Holly-like harmonies complement Kattner’s rasping baritone and highlight the depth and range of the band’s eclectic style. The trio’s uncanny fusion of doo wop and garage rock produces a sound that is at once familiar and yet unique. While traces of The Marcels and The Misfits appear at regular intervals, Out of love expands upon earlier genres and never merely becomes a game of “spot the influence”. At moments, the trio find a perfect balance between the two genres, producing a sound that is distinct from the sum of its parts. The title track is a fiery, subversive love song combining doo-wop rhythms with a bass-heavy rock beat. The anthemic “Bronx Sniper” abandons the 50s pastiche in favour of a raucous bluesy sound in the vein of Queens of the Stone Age. These deviations hint at a more refined style, which could be the basis of the band’s future releases. The energy of earlier tracks begins to wane as the album draws to a close. The final four songs rely heavily on the 50s pop template and fail to develop it further. In lacking that unique twist, the conclusion of the album sounds more like a tribute to the genre rather than a reinvention. Even still, they possess a certain nostalgic charm unlike anything on the airwaves today and suffer only by comparison to preceding songs. Mister Heavenly have accomplished that rare feat of creating a crossover album that can be judged on its own merits. While remaining true to its musical blueprints, Out of love delivers its message with an ironic charm that will warm the heart of even the most critical indie fans. John Ryan John Ryan Sat, 27 Aug 2011 15:07:00 GMT f1397696-738c-4295-afcd-943feb885714:562 https://www.cluas.com/indie-music/Home/ID/561/Easy-Star-All-Stars#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=561 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=561&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/561/Easy-Star-All-Stars When Easy Star records set out to release a reggae adaptation of Dark side of the moon in 2003, they were faced with the perilous task of staying true to the original while taking the music in a whole new direction. With musical director Michael Goldwasser at the helm, the label went in search of a supporting cast strong enough to undertake such an ambitious project. Drafting some of the finest musicians the New York scene had to offer, they created a dream team of modern reggae; the Easy Star All Stars. The album has remained on the Billboard reggae charts ever since. In the eight years that followed, the band have released seminal versions of Radiohead’s Ok Computer and The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band; garnering praise from fans and critics alike. And now with the release of First Light, their first full-length original album, the band are ready to show the world that there’s more to the Easy Star All Stars than trips down nostalgia lane. State caught up with the band before their performance in Cork city to talk about their past, present and future. What inspired you to join Easy Star All Stars? Ras: It wasn’t really a question of inspiration; it was more of an opportunity. You know, we were all in New York, and the label was based in New York. The inspiration is more of question of how we made the music; that’s through Jah himself. But with the band, that was just a wonderful opportunity to come and expand on what we already had in the reggae scene. Easy Star has been the vehicle for us to express ourselves for the last 8 years. I would say it’s just like when you get a good job. Every job has its beginning and its end. Do you think there will be a time when the Easy Star All Stars will be no more? Ras: Well no, I think there’s always going to be ‘An’ Easy Star All Stars; it just might be a different rotation of cast members. I think they set it up for it to be that way; no matter who’s there and who’s not, there is always going to be an Easy Star All Stars. Each member could pass it on to their grandchildren and it’ll still be the Easy Star All Stars. We’re just passing through; as the present line up. Following the success of your first three concept albums, what made you decide to produce a full length original album? Ras: It was time. We’d done the concept albums and they did quite well. They got us a lot of exposure and earned us a lot of fans, who probably wouldn’t have ever listened to reggae, but they love Pink Floyd, they love the Beatles, they love Radiohead, so they wanted to know what they sounded like as reggae. The concept albums gave us the opportunity to reach a wider audience with our own music.   Menny: It’s like the world’s expectation of us, you know, we’ve proven we can cover these albums in an original kind of way, so we also have to show the world our originality. Ivan: We’ve spent the last eight years touring together so we wanted to create some music of our own. We’ve always had a policy to have a couple of original tunes in the set, so people weren’t just hearing those albums but getting a taste of the people on stage as well. So as the original songs became a bigger collection, Michael G said ‘let’s do a full-length’ album. Was it difficult to arrange the album into a cohesive unit or did it come naturally? Ivan: That’s where Michael G comes in. He’s the executive producer so he makes those decisions. It was kinda fun this time cos they made it sorta like a competition, they said ‘alright you have this amount of time to submit any demos you want, we’ll listen to everything’. There was definitely way more songs submitted than what made it on the record and he had to figure out what we were going to put out as a band. It’s not always about whether it’s a good song or not it’s just about creating the right combination of songs. There’s actually a couple of songs on there from the Israeli part of Easy Star All Stars. Michael G spends a bit of time in Israel. He’s got a collective of musicians he works with out there so they put a couple of those tunes on there. He wanted the majority of it to be the touring band but he wanted to throw that flavour in there too. The album title First Light is quite evocative. What does the album title mean to you? Ras: It’s not one dimension at all as you can tell; I think it takes on a different meaning every time we perform it. At one point, it can just mean ‘hey good morning, get up its first light’, you know or it could mean the dawn of a new era, the dawn of a new age, the dawn of a new generation; it’s timeless, it’s endless, it’s infinite. The songwriters who wrote the song “First Light”, wrote it as a tribute to the first tour that we did way back in 2003, and that’s what really inspired the lyrical content; we were just retelling the story of how we experienced the first tour. It was like the dawn of a new vibe; being on the road together for the first time and performing “Dub side” live for the first time anywhere. First Light is there to recapture those moments; those first days. But as you can tell, the album takes on a lot more meaning than that. While First Light is predominantly reggae in style, there are hints of motown and soul in some of the songs. Were these influences subconscious or did you want to expand on the band’s sound on this album? Menny: To be quite honest, reggae itself is based on that kind of vibe; you’ll hear every type of music in reggae, it’s always been that way. Bob Marley did it, Denis Brown did it, you name any great reggae artist, and you can hear that soul influence; they’re all connected. As they say in Jamaica, fingers can’t rock, you know what I mean; music can’t be mathematics. You’re gonna hear certain vibes in certain things, but we don’t think about it that way; we just let it flow. Ivan: The foundation of the band will always be reggae but it’s fun to touch on other styles. Reggae itself is a mix of African, Caribbean & soul influences. And before reggae, there was ska in the 60s. From what I understand, those ska musicians in Jamaica were listening to soul & jazz records coming off the radio from Miami and they combined them with Caribbean rhythms. There’s a story about how reggae was supposedly invented in the summer of 1968. It was an unusually hot summer in Jamaica so they slowed the ska tempos down and there came that reg-gae reg-gae rhythm; that’s what I heard. I’d love to hear Toots’ take on that. I love that story. Has it been more rewarding touring in support of First Light than your previous albums? Menny: It’s all great; everything has its own respect. With the originals, we definitely feel it more, cos that’s our own material; we wrote it and recorded it, so then we feel it while performing it. It’s a different sort of vibe singing the Pink Floyd material cos the people already know it and sing along to it; but it’s just as rewarding. Have there been particular gigs that stand out as being the most memorable for you as a band? Jennifer: Definitely Glastonbury. We played three days there and each day we played a different album. The first day, we played Dub side in the dance tent; the second afternoon was Radiodread and then the third day we played Sgt. Pepper. Menny: Yeah, Glastonbury has always been at the top of the list, no band has ever played three nights in a row before. On one stage, we were on at like 10 or 11am and there were thousands of people there for it cos they didn’t want to miss it. It was great to see people waking up early to see us, after acts like Bruce Springsteen the night before. They should have all been asleep... until at least 3pm! What are your favourite songs to perform? Ras: As of now, definitely the First Light material. The more we do it, the more it evolves; you feel ownership you know. Doing the concept stuff has been great, but I’m feeling it personally every night when we perform the First Light material. It becomes more and more a part of us. If I had to choose one song out of the new album, it would be “Something went wrong”. The people really get it, like they’re not just listening but they’re actually getting what the song is saying. How has the new album been received on this tour? Ras: We’ve had a few nice reviews, but even the greatest artists had their critics. You know guys like Elton John got bad reviews for songs they’d written, so we’ve got the full gambit I’m not going lie. We get some saying ‘the shit is whack’ and they hate it, and then on the other side there are those who love it. We know that’s just how it is when you’re put under the litmus test. For the most part, it’s been good. Menny: It was surprising for me when people already knew the songs. I’m singing songs like “Something went wrong” and I see their lips moving to the words, and I’m thinking ‘damn these songs are so new’ and to see them singing it, that shows me that Easy Star are doing a good job in terms of spreading this new material, and it also shows me that we’ve written songs that the people enjoy enough to sing along to. What albums have inspired you in the past? Ras: Bob Marley’s Uprising really did it for me. I heard Uprising and here I am today; that was my life-changing moment. Menny: Well, there have been a lot of them but Gregory Isaac’s Night Nurse was definitely one of them; that was one my mother bought; she was the one that would buy all the records. I would break needles every day playing those songs.  What have been your biggest challenges as a band? Ras: I’d say just remaining true to the music; that’s always the biggest challenge. You know, the more popular you get, you’re always tempted to lose yourself and get lost in trying to please everyone. You can lose that certainty in yourself. So I think the greatest challenge is staying grounded. Jennifer: Keeping it fresh, you don’t want to play a boring show or play the music the same way every night; you’ve got to always bring something new to it every night. Ivan: It’s important that you deliver every night but you’re not always going to have the perfect conditions. Sometimes you know it’s just the luck of the draw. Yesterday we played in Dublin and the sound out front was great but there was a problem with the monitors on stage. In this business you can’t let stuff like that stop you. We could’ve spent the whole time trying to get it sorted out but we realised we gotta just play. Easy Star All Stars were interviewed by John Ryan John Ryan Sat, 27 Aug 2011 15:03:00 GMT f1397696-738c-4295-afcd-943feb885714:561 https://www.cluas.com/indie-music/Home/ID/227/Hipster-Youth-Teenage-Elders#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=227 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=227&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/227/Hipster-Youth-Teenage-Elders A review of the album 'Teenage Elders' by Hipster Youth Review Snapshot: Teenage Elders captures the chaos of a Castlevania soundtrack without ever considering the likely effect upon its audience. A bad Nintendo acid trip of an album, lost in the one-dimensional platforms that inspired its inception. The Cluas Verdict? 3 out of 10 Full Review: In a business overrun with insipid intertextual references, artists should really exercise caution when they wander into the realms of retro. The advent of postmodernism opened up the floodgates of creative recycling, with the old and the new intermingling in an array of previously inconceivable combinations. At best, the trend presented the possibility of redefining the cultural relics of the past through novel hybrid forms. At worst, the market merely capitalised on the success of a few innovators, producing a litany of carbon copies in their wake.  Dublin-based artist Hipster Youth unfortunately finds himself in the latter category. His brand of Nintendo-esque electro follows in the footsteps of Crystal Castles but ultimately lacks the substance necessary to escape the confines of Castlevania. While the Atari samples became a defining characteristic of the CC sound, they transcended such a pernicious pigeon-hole by expanding their electronic horizons. In contrast, Hipster Youth’s debut Teenage Elders fails to clear the first level, lost in nostalgic waves of Mario-style synthesisers and poorly-produced backing tracks. The collection suffers from a series of off-key vocal lines, ear-piercing drum machine loops and a compulsion to rely solely upon the video game theme without ever venturing into new territories. At times, songs introduce clever instrument combinations only to fall victim to fatalistic flaws. The chiming cadence of kettle drums that opens “Crying outside clubs” produces a memorable melody and initially felt like a turning point in an album struggling to find its way. Alas, the sonorous start is subsequently drowned out by a jagged and persistent beat mimicking the dissonance of a broken speaker. Lacking any conceivable progression, the track merely trawls through repetitious patterns and discordant vocals until its conclusion. Other tracks display an unrefined talent lying dormant under a surface of inexperience. “Pop song for those with short attention spans” (listen to it below) features an intriguing medley of electronic samples that is sadly suppressed by the plastic snare beat and incomprehensible vocals. Similarly, “Super Fun Hipster Suicide Party” crafts a catchy and uplifting refrain in the opening bars but abandons any notion of developing the loop; content with recycling the twenty-second effort for the duration. Instrumental tracks such as “Little Lost Bear” and “I lost my corpse paint” merely replicate their source material, serving as nothing more than soundtracks to old Gameboy platformers.  Akin to the games that it emulates, Teenage Elders is irrevocably one-dimensional, consistently burying arresting arrangements beneath unimaginative 80s synths and banal beats. While each song contains at least one enamouring section, they ultimately fail to sustain the forward momentum necessary to warrant that all-important second spin. In retreating to the comfort zone of the Castlevania sound, the collection confines itself to the nostalgic sentimentalities of a transient trend in modern music, offering little else to its audience. In a genre of limitless possibilities, electro should be the soundtrack of the future and not a record of the past. John Ryan Hipster Youth - Pop song for those with short attention spans by lizpelly More ... John Ryan Fri, 17 Dec 2010 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:227 https://www.cluas.com/indie-music/Home/ID/230/Ayoe-Angelica-Dandelion#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=230 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=230&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/230/Ayoe-Angelica-Dandelion A review of the album 'Dandelion' by Ayoe Angelica  Review Snapshot:  A wise academic once professed that true art should be recognised for its aesthetic value rather than any contrite notion of commercial viability. Ayoe Angelica personifies this perspective, producing an enchanting collection of songs that captures the spontaneity and experimental side of the artistic process. The Cluas Verdict? 7 out of 10 Full Review: In a consumer-driven industry, the artistic quest for originality seems to have taken a backseat to the marketable value of music. Many virtuous acts venture into the depths of big business determined to preserve their integrity only to bow to the burden of systematic sales targets and creative constraints. Our hopes lie with the treasured few who flee from the arid mainstream in favour of the road less travelled. Genre-defying Danish singer Ayoe Angelica is one such individual.  Joining forces with multi-instrumentalist B.B Krog, the pair produced a poignant and multi-dimensional debut in the form of 2008’s I’m Amazed; an album that tastefully balanced elements of electronica, jazz and downtempo without necessarily claiming any particular label. Two years later, their second effort, 'Dandelion', is an affirmation of artistry, melding the musical melancholy of Portishead with the salacious side of early R'n’B.  The candescent “Cupid” is a smooth and lugubrious conflation of genres, unfolding and evolving with each passing second. The track opens in a downtempo vein reminiscent of Massive Attack’s collaborations with Liz Fraser, with a moog organ bringing a touch of seventies soul to proceedings. The middle section comes straight out of left field with a searing slice of shred guitar plucked from the fingertips of an 80s virtuoso. Ayoe’s loquacious lyrics carry a certain cabaret charm, counterpointing Krog’s introspective instrumentation.  The individuality of each rhythm track slowly surfaces with each sequential spin. Not content to merely surrender to the mechanisms of a drum machine, Krog crafts a beat for each song by sowing several percussive samples together.  “Make a lap” draws out the taut intonations of a double bass, creating the perfect 50’s shuffle for Ayoe’s vaudeville-like vocals.     “Plenty more fish” forms an intriguing intersection between R'n’B and contemporary electro. The call and response intro unfolds into a rhapsodic verse, akin to Rihanna’s current output. The lower frequencies reveal the organic sound of a double bass sliding amorously up the minor scale, while high above orchestral samples weave with a tapestry of textured tones.  “Girls are like apples” tumbles down the rabbit hole into the labyrthine lair of experimental electronica, replete with pitch-shifted vocals and hauntingly repetitious harmonies. The minor melodies bear a passing resemblance to the macabre meanderings of Danny Elfman, capturing the lighter side of the gothic sound.  The slowing burning “Quiet Cafes” reveals Ayoe’s traditional roots, with the waltzing rhythm adding a touch of country to this sonorous serenade. The track gradually reveals its jazz sensibilities, peeking in the middle with a lounge-style saxophone solo harmonising with the main vocal melody. The pair’s divergence from the electronica template here highlights their versatility as songwriters. They display an uncanny capacity to transcend the conventionally concrete boundaries between genres, producing a multi-faceted sound that is complex and yet accessible.  A wise academic once professed that true art should be recognised for its aesthetic value rather than any contrite notion of commercial viability. Ayoe and Krog personify this perspective, producing an enchanting collection of songs that captures the spontaneity and experimental side of the artistic process. And by abandoning the concern of appealing to everyone, the duo comes closer to the goal than most musical merchants.  John Ryan  Ayoe Angelica - Dandelion by Playground Music More ... John Ryan Wed, 08 Dec 2010 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:230 https://www.cluas.com/indie-music/Home/ID/234/Illness-For-All-you-ABC-1s-Out-There#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=234 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=234&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/234/Illness-For-All-you-ABC-1s-Out-There A review of the album 'For All you ABC-1’s Out There' by Illness Review Snapshot: 'For All You ABC-1’s Out There' captures the chaotic chemistry of two talented musicians searching for their musical path. Admittedly, the mediocre quality of the recording limits the band’s potential to make an impact in the commercial market at this moment in time. As an indication of things to come, there is certainly enough here to suggest that Illness are on their way towards future success.  The Cluas Verdict? 6 out of 10 Full Review: History has shown us that culture is self-referential and reactionary, with new trends developing in response to the dominant art forms of the present day. The sentimentality of Romanticism produced a suitable counterpoint in the Realist movement, while the excessive theatrics of Hair Metal begat the shoegazing philosophy of Grunge. Now in this post-digital age, bands are beginnings to revert to the DIY aesthetics of seventies Punk and Garage, abandoning professional production values in pursuit of a more primal sound.  The output of Brighton instrumental band Illness harks back to an era when Beta Max and the Gallatica console were considered advanced technology. With a thoroughly minimalist approach to orchestration, their style hovers indecisively above post-hardcore, math rock and noisecore. New EP 'For All You ABC-1’s Out There' captures the raw sound of a band jamming in the basement of a balmy underground club.  Standout track “Paper Cut” epitomises the band’s disregard for common methods of composition, stitching post-hardcore and industrial sensibilities together in a relentless bacchannal between guitar and drums. The closing section of the song features a truly iconic and merciless riff that would turn Trent Reznor a whiter shade of pale.  Spencer’s double bass beats on “Blakey Junction” act as a fitting constrast to the malevolent two-chord melody of the intro. The progression shifts intermittently between minor and major, amalgamating the dark atmospherics of Post-Rock with the minimalism of Grunge. The song certainly highlights the level of musicianship attained by the duo, dispelling previous notions that their unorthodox style is merely an exercise in charlatanry. Having said that, the precision and clarity of the guitar suffer severely from the asperity of the recording set-up. Emilio’s riffs are lost under layers of guttural lows and jagged, high frequencies.  “Early and Rude” preserves the band’s penchant for unconventional song structures but benefits from a far greater sense of cohesion. The landscape of sound bears more resemblance to a canvass than a battlefield with riffs flowing together amicably instead of jostling for supremacy. The serrated guitar tone mimics the corrosive cadences of Dinosaur Jr and Mudhoney as it slices through the mix with a series of pummelling powerchord progressions.  "Way Crowds Move” fulfills all the prerequisites of contemporary post-hardcore, falling in line with the likes of Funeral for a Friend & From Autumn to Ashes in terms of instrumentation. The upbeat, sixteenth rhythms compliment the melodic chord voicings of the guitar but the song is marred by the limitations of the rudimentary two-piece model. It seems natural to wonder whether the addition of a supplementary instrument would propel their experiemental sound into the realms of the avant garde. John Ryan More ... John Ryan Tue, 23 Nov 2010 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:234 https://www.cluas.com/indie-music/Home/ID/235/School-Tour-Yes-Way-EP#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=235 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=235&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/235/School-Tour-Yes-Way-EP A review of the EP 'Yes Way' by School Tour Review Snapshot: One artist’s ethereal exploration of electronic art and its borderless landscape. And while some may dismiss it as self-indulgent, the asking price (free) makes it recommended listening for any open-minded music fan.  The Cluas Verdict? 8 out of 10 Full Review: In the past, an artist would commence his creative journey by relocating to a distant rural landscape, disconnected from the distractions of the modern day. In severing his ties with society, he opened the possibility of an unimpeded exploration of the self, re-emerging finally with a product as yet unrealised by the outside world. Yeats’ finest work arose in Inishfree; Led Zepelin’s III found its feet in a remote Welsh cottage and now Donegal becomes the birthplace of a new breed of Irish Electronica from instrumentalist School Tour.  School Tour - real name Gerald Duffy - is fast becoming a leading light in an Irish avant garde music scene still in its infancy. His experimental style maintains a multi-dimensional sound, incorporating hypnotic Trance loops with a penchant for opaque melodies in keeping with the ethos of Chill out. New EP Yes Way depicts seven sides of the same artist, bound together only by their shared capacity to transport the listener to untraversed, transcendental terrains.    “Melodica, Alpenhorn & Voice” is an evocative, electronic eulogy layering loop upon loop as if in anticipation of a climactic crescendo that never actually materialises. Instead, the song lingers in its lugubrious landscape of sonorous sounds, content with the physical state of being rather than the pursuit of a predetermined progression. A two-note melody provides the background pulse upon which the keys and synth spiral in sepulchral waves of reverb. The minimalist vocal lines venture into the realms of ritual chant in the vein of Fever Ray, leaving trails of decay in their wake. Trance-like in its effect, this introspective instrumental opens the door of harmonic possibilities, conjuring images of mountainous landscapes in the mind of the listener.    “Ylimaf sdnas” is merely an exhibition of Duffy’s capabilities as an architect of sound. Two interweaving melodies flow in reverse in an endless loop like a soundtrack to the red room in Dante’s Peak. Putting it on a bedtime playlist will likely lead to lucid dreams with heavy Freudian overtones.    The lilting melancholia of “Savage Nights” recalls the minimalist electro of the 80’s new wave, drawing a close comparison to Depeche Mode. The imposing industrial beat borrowed from Nine Inch Nails provides a base for the sorrowful melody of the keyboard.    Listening to the dark and atmospheric “Love  Loses Hold” feels like being lost in a labyrthine dream world created by a bipolar Aphex Twin. A sense of the uncanny emanates from its orchestration, forming a perceivable tension in each harmony. The technique is subtle in its execution and yet pervasive in its effect.    “Skating with Another” opens with a sample of a busy street, eliciting images of Pink Floyd in The Wall era. The voices fade out as the drone of a harpischord fills the spectrum with a Bach-infused melody. The subtly phased nuances of the synth add a touch of the surreal, making it a suitably spaced-out soundtrack for the liquid lounges littered across the urban landscape.    Now available as a free download, Yes Way dares to traverse the capitalist demarcation line that traditionally transforms music into a mere consumable community. Blissfully disconnected from such commercial concerns, the EP depicts an artist’s ethereal exploration of electronic art and its borderless landscape. And while some may dismiss it as self-indulgent, the asking price makes it recommended listening for any open-minded music fan.    John Ryan More ... John Ryan Tue, 23 Nov 2010 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:235