Thursday, 5 July 2018

🐣 MARQUIS HAWKES — DON'T U FEAT. URSULA RUCKER

Uplifting, yes, but not to the point of euphoria—uplifting from a low-level mood, bringing you out of the darkness, the feeling of looking up at the blinding sun after you've fallen over and grazed your knees or just woken up from a nap and remembered all the things that are making you anxious but then you rationalise. Far from the dancefloor, Marquis Hawkes' track feels more as though it both reflects and alleviates suburban misery. It is a track of small, important victories: dancing won't heal you, but it's fine for now.

Part of that almost solemn feeling of 'Don't U' comes from those skyward synth chords - in the style of a chapel organ, the continuous chords with occasional single note changes feels very organ-like; it suggests something redemptive about this track. The tone of those chords has us pointing ourselves similarly skyward: they're slightly decayed and warm, not too bright but also not dull; the synth – like the track itself – is elegant in its simplicity.

Simple acid synth bass squelches in sparse groove to give this sense of dynamic movement alongside the constant house kicks. Ursula Rucker's star-of-the-show vocals softly pad alongside the incidental gladdening synth chords feeling like a motivational speaker or a pastor telling you what you want to hear—or else they sing in gentle butterfly snippets. Combine that with simple dynamic subtractions and additions, tumbling toms, a handful of simple percussion, teetering on the edge of lo-fi house to deliver an atmospheric, modern-day sermon of a track in the church of dance with an overflowing heart.




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🐣 ÀBÁSE — SKEME GOES ALL CITY

Built around the frenzy of cyclical repetition, this track two-steps to a speedy tempo with a half-time trap-feeling beat—a slice of jazz that's more about the atmosphere created and solid rhythms rather than wheeling, flighty solos. Beginning with a lush, lounge-flavoured intro, it soon bursts into life with a series of dynamic riffs that feel more nightclub than jazz club.

It's by Budapest-based producer and keyboardist Szabolcs Bognar, now embarking on a new project called Àbáse. And it's this musicmaker's love of hip hop that has created the unique, beat-and-groove-led vehicle at the heart of this track: the track's title 'Skeme Goes All City' references Style Wars, a 1983 documentary about graffiti.

"I can clearly remember that I was listening to a lot of current Blue Note releases at the time. Music from Jaleel Shaw, Marcus Strickland, Ben Willams and such." Bognar tells us about the birth of the track. "The main melody is definitely inspired by that scene."

"Each member came up with their part on the spot. We were jamming through it a few times and the trap feel and groove just came out of us so it was all pretty natural. We did only a few takes of recording. I also wanted to put out something completely live first. No huge editing and production process, just the musicians playing and grooving together. It's kind of a tip of the hat to the blue note and classic jazz style of recording, as well."

The crossover of jazz instrumentation and trap-style beats with swaggering repetition is one that feels as relevant as ever—e.g. Kendrick's To Pimp A Butterfly, Kamasi Washington, the flavours of Brainfeeder's output. Riding this wave of band-created groove well away from the producer's studio, Àbáse reflect a newness of modern pick-and-mix culture diverting from the specificity of genre.


  • 🔔 The members of Àbáse this time around are Fanni Zahár (flute, vocals), Szabolcs Bognár (Rhodes), Tamás Heilig (bass) and Tamás Czirják (drums). The artwork, fresh green with concentric circles of cocktailing collage, reflects the combos at work in the track itself.
  • 🔔 You may stream and/or download 'Skeme Goes All City' via your favourite service, if you like. There will be an EP, or maybe an LP, coming soon so, yeah, watch out for that if you liked this.


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Àbáse Internet Presence ☟
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