[Teaser of the day] Vista Kid Cruiser - Please, One Last Dance

• Electronic pop
• Post-disco
• Psychedelic
• Hypnagogic pop
• Alternative dance

Artist: Vista Kid Cruiser

Release: Ali M And The NightClub

Label: Self-released/Bandcamp

Year: 2014

Bite – Calle Palma (2015)

basic_sounds

• Modern classical 
• Post-classical 
• Field recording 
• Ambient 
• Electronic music 
• Avant-garde 
• Epic 
• Experimentalism 
• Organic electronica 
• Minimalism 
• Piano music 
• Musique concrète 
• Art music 
• Drone

Comment: you are searching for profound and tranquil soundscapes to find a remedy for suffocating your desperate feels and borderline madness. You are aware of the premiss the ideal album must have the imposing centre point being surrounded by many and frequently changing satellite sounds. The method makes sense. Josè Barrera aka Bite's 9-track release on basic_sounds makes sense in that way. It is just an infinite moving where it makes no sense to remember the starting point and the finishing point. Any temporal moment and chord makes sense. The music is very present in any present moment. Given that you have entered into the sphere of continuous present and it does mean the term time makes no sense altogether. That's the point. Musically you hear at times hammering at times slightly lofty piano chords followed by one another and at the same time being accompanied by acidic electronic counterpoints, microscopic noises and ennobling natural sounds. For example, the self-titled track is a fabulous incantation full of profound, iterative, magic reality. Indeed, it bites you. And the rest of eight tracks do the same effect. Superb work by any means. I guess if Beethoven could have had the same technical possibilities he would produce an analogous stuff but instead of the known musical and historical reputation he might have a more hidden influence upon us.

Josh McClure – Z-Mon EP (2017)

Tape Safe
Tape Safe

• Shoegaze 
• Hip-hop 
• Avant-hop 
• Experimental hip-hop 
• Leftfield 
• Crossover 
• Electronic 
• Indietronica

Comment: this bunch of 3 tracks is a fascinating and at the same time frenetic blend of shaggy yet imposing hip-hop rhythms, shoegaze-y guitar-led horizons and spaced-out sonic effects. You can perceive synergistic halo rings coming out from these enchanting noises, massive reverberations and blazing electronic trickery. Of course, I would call it indie music at any time but given that many decayed and conformist music groups are called with the same term and having no joint point with the topic of the recent issue so it would be misleading to do it. On the other side, it is much more worth than an average hip-hop issue. It can be concluded it is great to dwell nowhere or at least somewhere in a mediate position (yet it is not a bare derivative release) and having a more sophisticated and uncompromising spot upon this life. Let's call it an example of beautiful noise though making noise music is not the purpose of the artist. By kindred souls I would compare it to the likes of Seefeel, Dälek, Death Grips yet the comparison regards more the attitude of the combos than their sonic examples. The outstanding outing is a bit in the discography of Tape Safe.

Samarah – Robots Smile Too (2006)

Nishi

No Type/Panospria

• Indietronica 
• Electro-indie 
• Alternative 
• Electronic music 
• DIY 
• Lo-fi 
• Dream pop 
• Minimal electro 
• Electro pop

Comment: what is that? Is it a reaction to electroclash music having been so prevalent in the beginning of the 00s? On the other side, it could be admitted to be a subdued and strongly decelerated version of Ladytron. Samarah provides a remarkably more lo-fi, primitive and minimal counterpoint to it. It is just the truth in a half measure. The listener can hear progressions toward the aesthetic of dream pop. Or are the progressions instead of it something reflecting upon the more immersive and ghastly trajectories by Throbbing Gristle? The truth is obviously somewhere out there. The issue is a part of the discography of Nishi, No Type, and Panospria, a quite weird and important angle from Canada within the netlabel/webaudio world. Indeed, robots smile too but the question is whether the smile is human-friendly or not?

[Teaser of the day] Roy Chicky Arad - I Love You

Birdsong

• Cinematic
• Sampledelic
• Easy listening
• Chill out
• Mood music

Artist: Roy Chicky Arad

Release: Yedidim Tovim

Label: Birdsong/Archive.org

Year: 2006

[Teaser of the day] L.Valerie - Aperture

• Electro-indie
• Art pop
• Avant-pop
• Experimental pop
• Indietronica

Artist: L.Valerie

Release: Arranged Marriage

Label: Bleeding Gold

Year: 2018

[Teaser of the day] So I`m An Islander - Augusta

• Post-classical
• Modern classical
• Art music
• Piano music
• Post-rock
• Crossover
• Chamber music
• Epic

Artist: So I`m An Islander

Release: Mælodium Ambientum 2

Label: Self-released/Bandcamp

Year: 2017

[Teaser of the day] Hypnodial - Star Ceiling `91

• Electronic music
• Hypnagogic pop
• Synth fusion
• Crossover
• Glo-fi
• Electro house
• Alternative

Artist: Hypnodial

Release: Aether Alcoves

Label: Self-released/Bandcamp 

Year: 2017

[Teaser of the day] Decktonic - Out Of Space

• Disco pop
• Alternative dance
• Italo disco
• Electronic pop
• House pop

Artist: Decktonic

Release: Unbox Me

Label: Self-released/Bandcamp

Year: 2016

Robert Daglio – Bitter Blue (2018)

Jamendo

Bandcamp

• Mood music 
• Yacht pop 
• Fusion 
• Jazz rock 
• Swing 
• Jazz

Comment: it is a subsequent issue by an Italian artist, Roberto Daglio to appear on the blog. Daglio's music is always different, always the same. It is always sultry and serene and deliberately retrodelic yet synthesising new elements into a mix. The listener can feel himself like standing somewhere under the cloudless sky while the Sun standing at the zenith and above all. Yet it is a hyper-realistic experience because you are not exhausted by sweating on humid conditions. However, Wintherpole and Steel Drops are exceptions of the 8-track composition due to a heavy, even slamming guitar handling in the beginning of the tracks. Yet in the middle you can hear more meandering and immersive trajectories up there being played on an electric guitar. A third exception is Sometimes In The Rain (Swing Up) based on a classical jazz standard yet it chimes in a refreshing way. In other tracks you can enjoy pastel drawings on the electric guitar and electronic keyboards while being supported by propulsive bass lines. In a word, the result rocks in the way a righteous fusion album should sound. Yeah, it's playful, it's joyous, it's ennobling. And paradoxically it is not bitter at all.