Sequentialwork – SequentialTrax Vol.2 (2023)

Bump Foot/Archive.org

Deep house Tech-house Funk house Club dance Electro-house

Tokyo'st pärit Kiyoshi Tomehara ehk Sequentialwork'i neljas EP legendaarse Jaapani netileibeli Bump Foot'i all on järg 2014. aastal ilmunud väljalaskele "SequentialTrax EP". Peaaegu dekaad möödus, ent (tänu sellele?) asja sai -- valisin käesoleva 4-loolise eelmise aasta parimate sekka. Mis siis eristab seda teost pealtnäha paljudest (võimalikest) sarnastest, mida ei valinud? Ennekõike pinge muusikas, mis on tekkinud masinliku ja funkiva vahel; teisalt minimalistliku ja täissulis atmosfäärilise kohtumine. Kolmandaks pisikesed efektid, mis kindlasse masinavärki on siin-seal pillutatud; mis tänu viimase püsivusele seda enam väljenduvad. Kuivõrd Nipponi netileibeli skeene on siseriiklikult ülipopulaarne, siis võib kindel olla, et käesolev teos leiab sealseI klubimaastikul väärilist tähelepanu.

Rog – Ambient Box (2021)

 

Bump Foot

Bandcamp 

 

• Ethnotronica 
• Ambient 
• Minimal synth 
• Deep house 
• Progressive electronic

 

Olen täheldanud, et albumid, milles osutatakse otse mingile žanrile, on tegelikult sellega kaudses ja keerulisemas suhtes. Rog on maininud 6-loolise albumi ajendina linna mürareostust, mille keskel tuleb meditatsiooniga leida tüüne meeleolu. Ämbient stiilina on esindatud paljudes žanrites, ning artist pakub laialdast kandepinda – alustades tablatrummide ja bassimüdina diskreetse dialoogiga, mis hilisemates lugudes asendatakse süvahausi, progressiivelektroonika ja suicide'iliku minimaalsündiga. Ning õhutatakse kuulajaid poolsosina saatel ise valikuid langetama. Nõnda see tasakaal leitakse, luues oskuslikult korrastatust, genereerides erinevate helide süsteeme ning takistades ebameeldiva (linna)müra sissetungi. 

 

8.0 (7.5-8.5)

Lavoura – Ayizan (2019)

 

Bump Foot

 

• Nu jazz 
• Cinematic 
• Yacht pop 
• Conceptual 
• Acid jazz 
• Chilltronica
• Space pop 
  
• Psychedelic 
• Lounge pop 
• Ethnotronica 
• Exotica pop 

 

Moodsad brassid (kaheksakesi) teevad moodsat muusikat, mida teisiti võiks tõlgendada tolle hiigelriigi inimeste juurte ja päritolu kaasajastamiseks kaasaegsete muusikainstrumentidega. Aafrika ja Ibeeria poolsaar, Itaalia ja Saksamaa, kohalikud aborigeenid. Uudsus konkreetsemalt tähendab süntekaid ja trummimasinaid lisaks puhkpillidele, päristrummidele ja elektrikitarrile. Kaks lugu on esindatud, tulemus emotsioonide ja helikirevuse vahel on tasakaalus. Servi kaunistab meeleolukas filmilinalik happeanaloogia ning kulgu juhib vahelduvalt pulbitsev tektooniline bass, mis kokku meenutab tuhandeid kilomeetreid eemal elava Misha Panfilovi esteetikat. Brasiilia enda (traditsiooniline) lõbukarneval paistab siin pigem distantsilt. Seda muusikat võiks ka vabalt rakendada kosmoselaeva pardamuusikana. Igati ajatu, kunati siit kõlab vastu ajastuid elegantselt tõrjuv pulbitsemine. 

 

8.5 (8.5-9.0)

Alinoe – Fadobey Lotlot (2022)

 

Bump Foot

 

• Dub
• Dubtronica 
• Electronic music 
• Dub techno 
• Ambient dub 
• Tech-dub

 

Kuulates seda 6-loolist albumit tuleb tõdeda muusikute vajadust vallutada helisügavusi või siis – ise luua laiendatud helimaastikke, mille piirid oleksid lükatud võimalikult kaugele. Ja piirid oleksid võimalikult hägused ning tinglikud. Kui rääkida konkreetsetest muusikažanritest nagu deep house ja dub, siis tuleb nentida teatud ortodokssust. Ehk tõesti, kui piirid avada täielikult, siis ruum täitub rutemini ja üllatusmomendid hääbuvad tulevikuks. Ent kvaliteet jääb – maitsekas triiv techno, dub'i ja ambient'i piirialadel ja valdustes. Teisalt on see näide, kuidas minimalism sirutab tiibu elektrooniIise ja klubimuusika näitel. Ehk isegi näeme selles mikroskoopililist mulaaži ilmaruumi laienemisest ja kokkutõmbumisest. Nõnda see helipilt muutub majesteetlikul skaalal mikroskoopiliste ühikute võrra. 

 

7.5 (7.0-8.0)

Makuta - The Kingbird Sessions (2015)

Bump Foot

• Art pop
• Indie pop/rock
• Alternative pop/rock
• Pomp pop
• Musique concrète

Viielooline üllitis algab siirupise looga Hard Enough Time, mis võib nii mõnegi eemale peletada, kuna on liigmagus, läila ja klišeelikust armastuslüürikast ligunenud. Värelev vokaal, ülepakutud paatos ja armunu objekt on küllalt värsked veel, et oleks vaja leppida kokku aeg perenõustaja juures või esimese tüli peale lahku minna (nagu Eestimaal tavaks on. Peab ka endale tuhka pähe raputama). Aga... muusika kasvab siin. Warpaint on korralik elektrikidraga bluus, mida toetab veelgi veenvam mees- ja naishääle põimumine, mis lisaks pakub huvitavaid haake muusikalise selgroo suhtes. Remind Me To Forget (You) on keskne kompositsioon. See on väljapaistev ballaad, mis kaunistaks ka kõige banaalsemat lüürikat (aga pealkiri on ju piisavalt sügavamõtteline, et sellest oleks vaja edasi heietada). Siin on lendu ja poosi, kandvat eepilisust ja ideaalkoguses paatost. One More Day langeb tagasi samasse lõksu, kuhu varises põrmu avalugu. Kõik see tervik lõpeb lühikese, ent seestpoolt soojaks tegeva leierkasti umpa-umpaga. Mündid sisestatakse mängijasse, aga lugu võinuks kesta kauem. Raha väärtus on ilmselgelt langenud. Üllitise on välja andnud Jaapani leibel Bump Foot. Siin teevad kaasa mõned tuntud produtsendid, heliloojad ja muusikud. Artist on pärit Ühendriikidest, kus hetkel Prince'i kodulinnast alguse saanud rassi-massirahutused paisuvad kulutulena; kujutan ette, mille kohta nii mõnigi paranoilisem ja küünilisem ühiskonna valvekoer ütleks, et ühiskonna valitsevad kihid on ühe tavategelase ohvriks toonud, et veenduda, kui palju vurtsu on massidel hetkel sees. Jumalik komöödia läheb edasi igatahes – vahet ei ole, kust rakursist pilku heita. Mängu ilu-elu on meie ees.

Lavoura – Photosynthesis (2015)

Bump Foot

• Yacht pop/rock 
• Alternative pop 
• Fusion 
• Synth-pop 
• Easy listening 
• Mood music

Comment: this set of 7 tracks comes out of Brazil and it is an exquisite amalgamation of many pleasant things, from azure-tinged electronic keyboards in the vein of yacht pop, smooth jazz/fusion and synth-pop and easy listening meanderings. It may sound a bit naive (deliberately), however, it is sweet and counterbalanced with witty gears and dizzy progressions. It is retrodelic and futuristic at the same time because of reminding of the 80s, especially some bands who started producing easy listening electronic music at the time of the Moscow Olympics in the USSR (particularly in the Baltic States) yet it is vamped up with contemporary production trickery. It is freed from sweaty burden of a hard day's work within this bloody exhausting machine of slavery, it is pleasure, it is fun, it is sunshine. It is an example of constructive way of creating act by creating simultaneously emotive and artsy effect. The arousing issue is a part of the discography of a Japanese imprint, Bump Foot. Set yourself free.

Baradit – Japanese Train EP (2010)

Bump Foot

• Synth-pop 
• Krautrock 
• Electro-rock 
• Indie rock 
• Alternative rock 
• Motorik 
• Alternative dance

Comment: Chilean Felipe Baradit Stevenson aka Baradit's last release Revolución Tecnológica (2018, Pueblo Nuevo) was a cohesive mix of propulsive motorik synth-pop and Air-alike sophisticated artsy pop music. Anyway, beforehand the artist had issued a batch of outings and one of them was this 4-track long (and clocking in at a 14 minute) Japanese Train EP. Similarly to the latest release it used to rely on intense bubbling of obsessive synth bass chords though on the other side it involves much "accidental" sounds like concrete sound layers, radio waves, downright electronic effects. Thirdly, it may be rougher by its sounds yet it seems to be more pop-oriented due to adding female singing and snooty guitar riffs to the blend. What's the purpose of music in general? Just to provide an alternative to war, negative energy and thoughts, to envy and aggressive intentions. Rather one would experience neurotic excitement than masochistic rational fear within a state of war. Additionally, such sort of experimental pop helps to step outside from a determined system which changes human beings into a psychologically unhealthy one. This spellbinding recombinant pop release is a part of the discography of Bump Foot.

Lavoura – Mirã (2018)

Bump Foot

• Art pop 
• World fusion 
• Psych-funk 
• Yacht pop 
• Smooth jazz 
• Dance pop 
• Ethnotronica 
• Chill out 
• Mood music

Comment: this couple of tracks was created by seven artists who identify themselves as producers, arrangers, beatmakers, musicians, visual artists and inventors. The release which consists of tracks called Ametista, and MM Moods was issued approximately 4 years after an album, Photosynthesis. All will be picturesquely blossoming here due to psychedelic vibes which in turn are based on worldwide ethnic motives and on the other hand by bumping up on modern styles as funk, jazz, and yacht pop. Analogue synths and other electronic keyboards (electric organs and electric pianos) add unusual sonorous flickers and some sort of depth and marine easiness simultaneously to the mix while woodwind instruments have been managed to up the ante upon moody changes. At times it reminds of 80's Miles Davis and then azure-tinged cinematic yacht pop and in the meanwhile one can hear faint yet indistinguishable Afrofunk churning. All is finely balanced and sequenced. Similarly as the first outing of the combo the outstanding release is a part of the discography of Japanese records Bump Foot, a legendary netlabel. Perfekto.

EE7A – Tracers EP (2017)

Bump Foot

Archive.org

• Alternative dance 
• Electronic music 
• Tech-electro

Comment: it is said on the site of the Japanese imprint Bump Foot that Clayton Brooks aka EE7A was introduced to the eurorack format of modular synthesis and since then he has preferred recording just in one take rather than just clicking and sticking sonic blocks together on his computer. By keeping listening to it already three times in a row I shall have to assume Clayton Brooks succeeded in his recording politics. Tracers EP is highly ecstatic, even a bit hysterical based on the lame shaped, heavily stomping bass drumming being embellished with faint electro developments, and rusty 8-bit sonic effects. At times the intensity gets a bit attenuated and the pace will be changed into a more monotonous, even a bit hypnotic one. Then I can draw parallels upon the Detroit scene of electro and techno. For me, it embodies the life of an ordinary person within the overwhelming capitalistic machinery. All those doings from one day to another being repeated again and again wherein one can feel pleasure and pain intermittently or simultaneously. It reflects upon the relation between the human being and a machine where exhaustion in one's eyes is mixed up with some hope and look at a next day. However, by creating music, especially by those persons who have built their own studios and create music on their own terms, it is a huge step outside that a bit harrowing system. So one can accelerate the process, be outside the capitalistic system at her/his own disposal. But no one should not forget another truth and be wrongheaded – the communism as a regime is something which cannot be tolerated at all. Otherwise one can see a field of corpses having traversed the countries like it happened in China, the Soviet Union, and Kampuchea during the previous century. There is no need for useful idiots anymore. If someone wishes to behave in that way I guess the North Korea is waiting for you to build up a bright future.

Jupiter Makes Me Scream – Tuesday Morning Huricane EP (2008)

Enough

Bump Foot

Free Music Archive

Jamendo

• Post-rock 
• Art rock 
• Alternative rock
• Crossover 
• Electro-indie
• Experimental rock
• Ambient rock 
• Synth-rock

Comment: my first impression was it is an arty-farty issue while hearing superficial piano chords moving in front of the scale. In fact, those piano chords were not so superficial and many more layers would be get added to the mix. So ultimately it can be admitted it is very far away of being superficial and simplistic. Karolis Burzinskas who is behind the project adds craftily not only emotively accentuated piano chords and orchestrated templates to the mix but also manipulates with synth-based and funky cadences here and there. For instance, at Sunshine Radio it evokes memories about such Soviet synth-led combos as the Latvian Zodiac (it is still a favourite of mine), and the Lituanian Argo. Of course, If you wish you could also draw parallels upon such post-rock luminaries as God Is An Astronaut, and Bark Psychosis but it is indispensable anyway. As well as those thoughtful and picturesque extended piano chords and orchestrations remind of a late Talk Talk at This Girl. However, Karolis Burzinskas` handful of tracks is an ennobling outing where different kind of shifts between the styles and tempos pitch a game. And the cover print is truly heart-breaking. The release is a part of the discography of Portuguese imprint Enoughrecords, and also a part of the discography of Japanese imprint Bump Foot.

Trillion Catz – Vulgar (2017)

Bump Foot

Bandcamp

• Krautrock 
• Electronic music 
• Avant-rock 
• Experimental rock 
• Art rock 
• Motorik 
• Ambient rock 
• Drone pop 
• Alternative

Comment: it is not a wordy and magniloquent issue enough because of being inspired by krautrock, by Neu!, an early Kraftwerk and Faust, the combos who liked move on across a minimal, the so-called motorik pattern. Yet the recent motorik pace based on 14 tracks is a bit different and refreshing. Trillion Catz comes out from Berlin, Germany, a fruitful soil to develop new genres. On the other side, which role is to bear by the musician? To provide the matter, the sound for allowing the listeners to escape from the burden of exhausting sensations, to reach aletheia, to ascend his/her nature into a godlike person. To partake in a systematic, coherent universe. In reality, it does mean to crawl against the mainstream, against the hyper-sexualized and monetary world and the excessive flow of information or to get in touch with them as less as needed. A person's goal should be intended to be less vulgar and mediocre and brainwashed. Is Vulgar a good medium to withdraw him/her from it? The answer of mine is pure yes because it is clearly balanced between those slightly haphazard electronic impulses yet in turn synthesising something new for our aural world. Those miniaturised sounds and effects do set up something unusual and exciting. If to compare it to the aforementioned krautrock juggernauts it may be more (self)-aware of how to elegantly disturb a historical krautrock bound yet at the same time preserving the tight connection with it. That's logical because the first ones had created it while Trillion Catz is deconstructing it. This outstanding (one of the best in 2017) release which adds to krautrock as a style an additional value and meaning is a part of the Japanese imprint Bump Foot.

ʞık – Wormhole (2016)

Bump Foot

• Krautrock 
• Alternative 
• Electronic music 
• Minimal techno 
• Experimental electronica 
• Abstract 
• Minimalism 
• Sound art 
• Kraut-techno

Comment: the press notice of this issue by the home imprint Bump Foot is very short: ʞık (Karl & Karlik) is an experimental improvisational duo from Russia. Wormhole consists of three minimal tracks, although it lasts 45 minutes (the last track is a 32 minute long one). Indeed, the last track is called Einstein who was a German scientist (of Jewish heritage) because he was graduated within the German educational system and being a part of a thought paradigm within the German scientific world of which influence is hard to overestimate. Why I am talking about it because these 32 minutes used to hark back to other German influences in later times in music, more profoundly, in krautrock. Of course, krautrock as a phenomenon was a disparate one ranging from minimal traditional rock instrument driven sound (motorik) to more spaced-out synthesiser based travels (Kosmische Musik) and more abstract, experimental electronic terrains (in theory they can be divided in that way, in practice it is much problematic to do). The latest named compartment being championed by the likes of Conrad Schnitzler, Organisation (a pre-Kraftwerk combo) and Asmus Tietchens can be a home pigeonhole for the Russian duo as well. It is built up on slowly changing sound sculptures, at times quite abstract and austere when music changes into smouldering electricity and vice versa and then providing rhythms and interesting sound effects to give in to more colours, mind-blowing phase shifts and effects. Furthermore, the issue can be considered a vital link between krautrock, and (minimal) techno. In a nutshell, it is a truly solid and arousing outing indeed.

Nilaesh – Gladio (2014/2016)

Bump Foot

Bandcamp

• Techno 
• Tekno 
• Acid techno 
• Psytrance 
• Psytekno 
• Electro 
• Crossover 
• Psytechno

Comment: Wolverhampton, UK-based Nilaesh Patel aka Patel`s 5-track issue and 35 minutes are a fatty blend of tekno, electronica, acid techno/house, electro, and on the other side there are clearly represented psy-related elements as psytrance, psytechno, and psytekno. It is a crossover issue being influenced by wild and lysergic warehouse parties of the beginning of the 1990s. It is not surprising at all because Nilaesh Patel started DJing since the mid-1990s. However, his influences seem to be remarkably more wide, for instance, at the opening Mess Around he employs a sample from a shoegaze/indie dance duo Curve`s ditty called Horrohead. It can be said the whole successfully revitalises old traditions both within the rave and psy-related scene because one can hear sublime inner burning and sultry atmosphere throughout the tracks. The great issue is a part of the discography of a legendary Japanese imprint, Bump Foot.

Ollie Cram – Firm (2016)

Bump Foot

Bump Foot

• Electronic pop 
• Alternative pop 
• Synth pop 
• Electro-indie 
• Poptronica 
• Indietronica 
• Mood music 
• Chilltronica

Comment: this instrumental set of 3 tracks while clocking in at a 10 minute used to provide a considerable appeal where one can hear sweet-natured synthesised developments being backed up by stomping mid-tempo cadences. The favourite of mine are Lena`s Flag, and Rust where the listener can partake in catchy indie-influenced harmonic gears, glaring timbres, and ebullient rhythmic shuffles (alternatively, one could call it kraut-electro). At Rust those synthesised improvisations are impressive enough to be denoted separately. However, Huh is a solid track by any means as well though paving its way with a more laid-back attitude and a tranquil mood because of being subjugated to a controlled rhythmic algorithm. All the elements are seamlessly linked with one another and thereof consisting of a welcome whole. However, the aforementioned moody difference between the tracks is slight. This positive issue by the experienced Bristol, UK-based artist (being active since the first half of the 00s) is a bit in the discography of Bump Foot.

Sekotis – For Your Weird Ears (2016)

Bump Foot

Bandcamp

• Post-rock 
• Dub rock 
• Krautrock 
• Alternative dance 
• Indietronica 
• Psychedelic
• Shoegazetronica 
• Alternative rock 
• Avant-rock 
• Experimental rock 
• Blues 
• Art rock 
• Space rock

Comment: behind the project Sekotis hides himself an Englishman called Tom Stokes from Brighton I can firstly remember him to have augmented the legacy of such label as No-Source with the album People In Grass Houses (2010). The No-Source imprint, which is defunct at the moment unfortunately, was a platform mostly for indie electronic music. For Your Weird Ears has been managed in a similar way though adding new shades and colours to the blend. On the other hand, by listening to this fabulous 9-piece engine to be moving on in a graceful way it reminds of the era in the beginning of the 00s when an amount of continental Europe based artists decided to enrich their quite austere IDM-based structures with more guitar-centred progressions. For instance, the doings of To Rococo Rot, Styrofoam, Lail Puna, The Notwist, Tarwater, Pluramon were impressive. Tom Stokes used to experiment similarly by mixing up different styles in an effortless way. One can feel this touch in his music. Although he exploits much studio trickery and it is very fine on its own he never loses his crafted ability to create compositions with epic and catchy affect. More profoundly, the issue starts off with Drones, which is a powerfully growing krautrock jam. The motive of Faces In The Rocks resembles compatriots Blur`s epic Tender a little bit. Ravens is something that may resemble altogether the beginning of the 90s in Manchester but Stokes` created beats are slightly different because of being represented offset. Ship of Fools is an exquisite blues-rock example with vague hints at dub and glitched-out electronica. All in all, the issue is pretentious and a very candidate to be one of the pre-eminent issues in the list of the best albums in 2016.                   

Project Hypoxia – Disfigured Tales (2015)

Bump Foot

• Downtempo 
• Trip-hop 
• Art pop
• Electronic music 
• Breaks 
• Alternative

Comment: Project Hypoxia comes out from Kaliningrad, Russia and Disfigured Tales is the fourth issue under the Japanese imprint Bump Foot. Unfortunately I have not listened to the first three albums yet but it should be done at least on the base of goodness of the current outing. More profoundly, this 8-notch issue is imbued with bold, crisp tectonic rhythms and velvety-dark synthesisers full of different semitones and tickling sonorous shades, there are up many samples from different eras and places worldwide (hints at bhangra and ancient Slavic music). In principle, it is trip-hop and downtempo music by stylistic definitions that does mean it is lurking in mood and labyrinthine in its compositions though its dream-drenched progressions are the best part of the issue. There are some intriguing dodges additionally – for instance, Mirror Mask that chimes like a more thoughtful Cocteau Twins. In a word, the result is fabulous throughout the course with some very special monumental glimpses.

.Khi -I Had A Dream (2007)

Bump Foot

/Electro pop, Breakcore, Leftfield, Noise, Alternative, Minimal electro, Experimental electro/

Comment: there are up six tracks extending over 22 minutes. .Khi is the project by Hugo Murutar, an Estonian producer whose dream is quite multi-faceted. It is mainly electro-based although heavily infiltrated with noisy undercurrents and disparate sonic debris, occult chants, and tweaked sonic manipulations. Thanks to multiple and unexpected changes (i.e collage-like nature) the whole seems to have saturated a feral feeling which is fairly positive and giving it a particular feeling. At times those electro propulsions are highly catchy (Let`s Jam!), at times remarkably minimal, haunting and stalking. Eventually it can be said the result is mind-provoking and cool.            

Mindctrl - Atol (2013)

Bump Foot

• Alternative dance
• Deep techno
• Tech-house
• Tekno
• Acid techno
• Electro-house
• Club dance

Outstanding tracks:

Escape From Moon228

In The Crsytal Mirror

Atol (Groove Mix)

Cagey House - Mostly I Like Everything (2012)

Bump Foot

7.5

/Sound collage, Alternative, Art pop, Experimental electronica, Sampledelic/

Comment: I have always had a soft spot toward Dave Keifer`s (mostly known under the pseudonym Cagey House) aesthetics of sublime electronica, buffoonish propulsions, ghostly sample-based approach and somehow otherworldly dimensions oozing out from here and there. This time his brand new one does not have impression upon me this way. Unfortunately. Maybe it is related to his more loose approach to channel all the stuff in a less emotional and obsessive way, however, therefore sounding a little bit sparsely and without having a sense of viable configuration ultimately. Yet, you can find out a little charm and grace from within it nevertheless

Cagey House - 1902 (2009)

Bump Foot

9.3

/Art pop, Electronic music, Spoken word, Sampledelic, Sound collage, Avant-garde, Weird pop, Hauntology, Cut and paste, Library music, Post-pop, Avant-pop, Experimental pop, Spoken word/

Comment: Cagey House is Dave Keifer, a musician from Baltimore, USA whose most albums are made up of the collected sounds/samples only. He has issued a lot of releases neither of them happened to be mediocre or obtuse. In any cases, there are presented 6 short-running glimpses which do sound like soundtracks for possible velvety art house movies or a performance of the puppet theatre. More concretely, these compositions are a little bit haunting, a little bit buffoonish, a little bit beeping, a bit everything. In a word, the result is highly intriguing and precious to be listened again and again.