YOURSELF IN PEACE

As Bill Hicks quite rightly proclaimed, “if you don’t believe that drugs did anything good for us, do me one small favour; go home tonight OK, take all your albums and tapes and burn them, because you know all those musicians that have enhanced your lives throughout the years? Well, they were real fucking high on drugs“. Today’s recommendation wallow in a genre that sounds like the musical embodiment of being stoned. Sadly though this genre is more often awash with time wasters. Lots of these protagonists utilise common elements, often associated with the genre fantastically pilloried by Hipster Runoff as ‘chill wave’, with its lo-fi fuzz and echoing vocals, often self-indulgent and wallowing in the same sofa-bound manner of its stoned teen creators. Its all a bit lazy, slightly irritating if the listener isn’t stoned too, and it can be relentlessly boring. However, every now and again a group turn up and deliver tunes that could only have been crafted with their brains very much in tact. Today we bring you an example of how to do glo-fi properly.

Yourself In Peace are a duo, Westley Ulit (Drums/Synth) and Justin Corral (Vocals/Guitar), who met at University in LA. They claim to have emerged earlier in 2012 after a bunch of hazy nights spontaneously jamming and have subsequently set about devising their self-titled debut EP, aimed at all the wondering escapists out there. Self-released, it arrived on May 12th and is a six-track lesson in how to make accomplished lo-fi shoegaze. Of course this means that there is all the usual loose strings, slowed beats and sonic textures that you would associate with this breed of music, but they punctuate it all brilliantly with just enough well-placed tweaks and sharp edges to break through all the mist in the room. Beats occasionally hip hop, electronics fizz and swirl above it all, and the vocals carry sweet melodies throughout, something this over-stoned genre often forgets.

Take the tune, In Transit. It has summered guitaring and a beat that carries real momentum all the way through. Since when did glo-fi have momentum? It has a lifting, rounded melody, almost Lemon Jelly-esque in it’s child-friendly-ness, but the magic is found in how they fuse it with the echoes and pedal distortion. As we said, this is a master-class in always keeping one eye on the song. Float downstream by all means, but know that you are at the very least still travelling somewhere. The same skills are applied to the song, The Slavic Soul, which also sits at the centre of the EP, almost giving the six songs a tidy architectural peak in its design. Once again there’s a dreamlike quality to it, but it’s a good dream, a great dream, in fact you won’t want to wake up from it. Hooks and well-placed breaks pause throughout but it fills out after two minutes to a satisfying creamy centre, as Corral delicately lays on his vocals in a topping reminiscent of Canada’s Freedom Or Death.

The EPs opener is a great introduction to their sound, with the guitars set to maximum fuzz and the beats and claps driving from the outset, once again giving a relieving penetrative element to what is an otherwise intangible song. Watch You Breathe could almost be a continuation of the opener, to a point where you’d be forgiven if you had to check if the the EP has moved onto a second song or not – especially if you were stoned whilst listening to it – but it is still crafted with sublime talent. We’re not confirming that these guys were stoned when writing this EP – we honestly have no actual idea – although they are young and living in Los Angeles, (so what are the chances?), but more significantly the signs are there if you just listen to the EP all the way through. What you will find with the last two tracks, Opaque and Expo, is a couple of tunes that slowly meander off the end in precisely the same way that your sofa-welded, half-baked friends begin a story only to conclude it by stating that they can’t remember what it was they wanted to say. That’s not to suggest that this duo are short of ideas, the EP is honestly marvellous throughout, but it has a distracted closing to it that can surely only come from the weed really kicking in.

The EP is available for free right now on their Bandcamp, so if you enjoy your music in the reclined position and are happy to indulge yourself in some relaxing distractions, then we strongly suggest you head there immediately. Whether you’re stoned out of your box, or entirely clear-headed, there’s plenty on offer here to adore. It never loses the listener, or feels like a chill wave tranquilliser. This is not music to fall asleep to, quite the opposite, as it’s peaks and tweaks keep you interested. Ultimately this is understated music to unwind to, so you should feel the tension flow out of you as you smoothly travel through it’s six songs, like a massage for the mind. What is music for if not for this? By writing a debut piece of work that is consistently interesting and one that avoids the usual dulled pitfalls of it’s genre, they should be praised. At its heart music is escapism, its for the moments in life when you need to step off, its for when you actually have the time and its ultimately there to make you feel good. Whether this duo have had to expand their minds to hit these heights, or whether they’re simply a couple of clean cut talents, this EP has elevated glo-fi as high as it has ever been. (MB)

YOURSELF IN PEACE – THE SLAVIC SOUL

YOURSELF IN PEACE – IN TRANSIT

GIANA FACTORY

If awards were given out to countries for their ‘Outstanding Contribution To Music’, then 2012′s winner would surely be Denmark. Of course lots of great music appears from all corners of the globe every year, and it’s only June so others still have time to compete, but without any doubt in our minds the Danish are currently so far out in front, scoring winner after winner, that we honestly don’t think Lionel Messi fitted with laser-guided boots could score any more frequently. This has been reflected in The Recommender’s posts, particularly throughout the early Spring, as we delivered a range of exceptional artists, from Soffie Viemose to Rangleklods. The reasons behind why this particular Scandinavian country has become so exceptionally productive would only ever be speculation, but continuing their winning form today is yet another group getting A-grades in the top class.

Giana Factory are a female trio from Copenhagen that glided onto our radars a couple of months ago. This was as they were planning to release their debut album, Save The Youth. We decided to hold on until the album actually came out before writing them up, but somehow the weeks flew past and now we finally return to cover them post-release. The double album, (if you include all the extra tracks and remixes on the ‘Deluxe Edition’), arrived last month on Fake Diamond Records and we can confirm that it’s an absolutely terrific listen. It’s been rather a lengthy journey for the trio, as this is a group that began the long path to full albumness back in 2009, when they released their debut EP, Bloody Game. This initial work gained minimal blog coverage, albeit from established commentators, such as Big Stereo and Palms Out Sounds, the latter of which seems to have followed their every move since. This is understandable as this is a band that hooks you in, like knowing you’re going to be in it for the long term from the very first date.

They claim to make “dark pop“, although this is an album with as much light as it has shade. Perhaps consider it more of an album for grown ups. Sure it’s synth pop and its expansive, grand ideas are delivered with a monotone, smile-less vocal, but what do you want, Kindergarten pop? Quite. This is synth music made with skillful hands and elevated aims. Electronic music such as this, with females softly singing over keys and ticking drums, has been sent to blogger’s inboxes so regularly in recent years that it may as well been dispensed by dumper trucks. Blame the genre’s success in the popular markets, or artists ability to self-pen the genre relatively easily upon home computers, but rarely has it been decorated with such expert proficiency. We haven’t had a synthetic album as mature and beautiful as this since Austra, and keen readers of The Recommender will remember that their album reached the top of our 2011 round-ups.

Loui Foo provides the vocals, always sung in English, whilst Sofie Johanne’s bass and synths create the winding palpitations behind her, with Lisbet Fritze giving the tunes a welcome lift from all the electronics with the guitar work. Together they turn through a rounded pop journey, which can stretch from the more straight up tambourine pop of Trippin, where instruments are only introduced in clear layers, to the vocal twists of Rainbow Girl, which vibrates throughout its six minutes. A racing pulse can be located with tracks such as Dive or Darkness, which threaten with their constant momentum, but expert craft and precision engineering can be found on slightly slower tunes, such as the ballad, Mountain, or the incredible Joy And Deception, which thrills as much as the title suggests and is perfectly positioned at the satisfying centre of the album.

Female-fronted synthetic pop music of this kind can trace its genetic roots through anything from Goldfrapp to Cocteau Twins and back, but rarely is it delivered with this much finesse and grace. If La Roux punched the keys with ten percent too much enthusiasm, or Le Corps Mince De Francoise were having too much fun to be taken seriously, then the antidote can be found here. What ever colour they’re working with, whether it’s contrasting blacks and whites, which they apply with the keys stabbing over the beats, or mellow pastels which are witnessed with the vocals drifting over the soft build ups, it’s always done masterfully. This is the sound of synth pop done with consummate dexterity, confidently making Save The Youth an example that can be held up as one of the more successful, palatable electronic albums of the year. They know exactly when to glide smoothly and when they need to apply a little more pressure to the pedals. If Denmark continues to deliver artists with this much class, then they may as well start charging the world to listen to their output. This is so good that it elevates Denmark from leading students into university professors, and with Giana Factory we have one of those lessons that stays with you forever. (MB)

GIANA FACTORY – PIXELATED TRUTH

GIANA FACTORY – DIVE