Here's something you might be interested in.
Local weirdbeat label Liquid Geometry just dropped another doozy from Maryland-born producer Uncon Sci.
The five-song For Little Good sees the Saigon-based beatmaker building on the Eastern sounds of his Liquid G debut Tiger Mustache with notes of jazz, world rhythms, and – ye gods! – video game music.
"The influences [on] the album go from Gamelan music to traditional Lao music to fucking proper bass stuff - footwork to trap," says Nick Everett (Uncon Sci).
"I'm coming from the Saigon bass scene and I'm just on tour in Europe trying to keep it all moving."
If one were to make comparisons (admitting that they are often as limiting as they are elucidating), the album could alternately remind of Burial’s distant, shuffling beatwork; Blockhead’s masterful use of vintage samples; Boards of Canada's moodier textures; and the immaculate production of Amon Tobin circa, say, Foley Room.
But whatever. Just check out swanky album highlight “Fall in Love” and you’ll see what I mean.
Crusher “Baddadan” is the soundtrack to a nude, high-desert ritual stomping around a bonfire, tossing dust as the moon, doubled over like a troglodyte, drooling and grinning and passing deerskins of wine.
Album closer “Final Fantasies” does the classic RPG justice. A whistful micro-arpeggio. The pattering of hand drums. Cavernous, bubbly bass.
You feel as though you’ve unlocked a secret underground level inhabited by narcotic mermaids and iridescent fungi pulsing electric blue on the ceiling. And you like it.
Here’s the whole album. Give it your ears.
http://sandiegoreader.com/users/photos/2013/jul/23/49967/
Local weirdbeat label Liquid Geometry just dropped another doozy from Maryland-born producer Uncon Sci.
The five-song For Little Good sees the Saigon-based beatmaker building on the Eastern sounds of his Liquid G debut Tiger Mustache with notes of jazz, world rhythms, and – ye gods! – video game music.
"The influences [on] the album go from Gamelan music to traditional Lao music to fucking proper bass stuff - footwork to trap," says Nick Everett (Uncon Sci).
"I'm coming from the Saigon bass scene and I'm just on tour in Europe trying to keep it all moving."
If one were to make comparisons (admitting that they are often as limiting as they are elucidating), the album could alternately remind of Burial’s distant, shuffling beatwork; Blockhead’s masterful use of vintage samples; Boards of Canada's moodier textures; and the immaculate production of Amon Tobin circa, say, Foley Room.
But whatever. Just check out swanky album highlight “Fall in Love” and you’ll see what I mean.
Crusher “Baddadan” is the soundtrack to a nude, high-desert ritual stomping around a bonfire, tossing dust as the moon, doubled over like a troglodyte, drooling and grinning and passing deerskins of wine.
Album closer “Final Fantasies” does the classic RPG justice. A whistful micro-arpeggio. The pattering of hand drums. Cavernous, bubbly bass.
You feel as though you’ve unlocked a secret underground level inhabited by narcotic mermaids and iridescent fungi pulsing electric blue on the ceiling. And you like it.
Here’s the whole album. Give it your ears.
http://sandiegoreader.com/users/photos/2013/jul/23/49967/