DV-i – Implementation (2020)

Maltine

• J-pop
• Alternative pop
• Electronic pop
• Mood music
• Alternative dance
• Electro pop
• Easy listening

Olen taas Jaapani leibeli Maltine diskograafia juures, seekord märksa positiivsema meelestatusega kui eelmine kord (Coa White'i reliis Momoko). Pitchforkis ilmus mõned aastad tagasi artikkel kümneid tuhandeid inimesi hõlmavast Jaapani klubikultuurist, mis toetub ainult kohalikele netileibelitele. Eraldiseisev, samas ka ühendav subkultuur. Käesolev viielooline üllitis annab põhjust seda asja edasi ajada – kohalikust päkapikudiskost (antud juhul žanrilisel analoogial, mitte hinnangutel põhinev väljend) märksa rafineerituma elektropopi ja ämbientse meeleolumuusikani, samas olles küllastatud jaapanlastele omase laserkiirete rütmimuutuste ja pimestavate üleminekutega. Eks jaapanlased ole Lääne inimesi mürgitanud ülihaaravate meloodiate ja harmooniatega (Pizzicato 5, Fantastic Plastic Machine), mistõttu järk-järguline tung tugevamate meloodiate ja harmooniate järele seda albumit kuulates tugevneb. Hammas on verel - tahaks veel, veel ja veel!

Coa White – Momoko (2020)

Maltine

• Urban music
• Hip-hop
• Rap
• Autotune
• Electronic music
• Anime pop

Elektroonilise muusika pioneer Delia Derbyshire oli väga skeptiline süntesaatorite osas, öeldes, et õiget elektroonilist muusikat tuleks teha viisil nagu nemad tegid BBC Workshop'i raames – kleepides-lõigates ja suht primitiivseid generaatoreid kasutades. Praegust elektroonilist popskeenet jälgides oleks raske legendile vastu vaielda – aeg on raha, aga raha ei haise; küll haiseb heliline sõnnik, mida raha vastu vahetatakse. Vähemalt käesolev artist oma kolmeloolise hip-hop/autotune-kräpi eest raha ei küsi. Tuleks üks heli-Hitler, kes autotune-masinad kokku korjaks ja lõkkes põletaks. Nali naljaks – masin ei ole ju süüdi, et inimesed neid nii üheülbaliselt ja mõttetult ekspluateerivad. Nagu osaliselt funktsioneeriv robot keset mõeldavat postapokalüptilist risuhunnikut nimega linn. Nagu paadunud narkomaan, kelle pähe mahub kaifi mõju all olles ainult üks fraas, mida ta võib lõpmatult korrutada adekvaatsetele inimestele (teisisõnu, saadab masinlikult pikalt). Ja autotune siin korrutab, mängides ilmselgelt kuulaja närvidel. Ei ole ju naljakas – isegi see vist ei päästaks, kui siia peen nali sisse süstitaks. Teisalt mingi anime lõime ja jaapanliku autentsuse püüe kulgeb siit läbi, aga nüri on nüri on nüri. Keskpärase jama on väljutanud muidu asjalik Jaapani leibel Maltine.

banvox & Nor – Flux (2015)

Maltine

• Post-dubstep 
• Breaks 
• Anime 
• Electronic dance music 
• Electro 
• Alternative

Comment: this is another issue by Maltine Records from Japan and there are up tracks Resonance, and Flux, by such popular artists as banvox, and Nor (with regard to Soundcloud). Their sound is influenced by electronic dance music, post-dubstep, and electro. Those rhythmic parts are at times intertwined with moody, high-pitched electronic hovers, at times those rhythmic parts do demonstrate proclivity to change seriously and go across a hell-ish path. More profoundly, massive synthesizer squelches and intense electronic vibes are mixed up with bold rhythmic chords in the way to make sense and attract one’s attention. With regard to their Japanese background one could perceive child-ish, Anime pop-related elements with these pieces. Conclusively it could be said the pieces involve enough vivid contrasts to remember them and dash to dig up new issues under Maltine Records. Catchy-patchy.              

LLLL – Cruel (2015)

Maltine

• J-pop 
• Electronic pop 
• Alternative dance 
• Hip-hop 
• Breakcore 
• Alternative pop 
• Chillwave 
• Breakbeat 
• Electro pop

Comment: firstly, behind this seemingly very arbitrary, nonchalant artist name is hidden a span of 22 minutes of good and very good music, which in turn is classified as “cruel”. The only thing, which is truly cruel on it this is the frequency, which is set to change chords and rhythms incessantly and in a fast manner. The adjacent effect of it is to merge different styles with each other. At times quite disparate styles are juxtaposed against each other – dream pop, chillwave, indietronica meet breakbeat-ish and electro pop vibes. The artist exploits J-pop templates moderately not using them in an exaggerated, banal way. That`s the wisdom of an artist. I would call it “Hi-NRG” music but because the style is brought down by some European artists I am not going to do it. By listening to this handful of compositions there one should not wonder about the popularity of netlabel scene in Japan (as in one article at Pitchfork was written about it – thank you, the staff of Pitchfork but we need more reviews and articles about the topic worldwide because it involves a huge part of indie music nowadays). At times it is English, at times in Japanese. The album features the likes of Yeule, and fraqsea. At excellent Spider Web there are up such urban juggernauts as 50Cent, and 2 Pac being added to the mix to create a new feeling in the context of the issue. Given that it is an example of contemporary, catchy (electronic) pop music I do definitely say “yes”, “very ok”, “great”, “thumbs up”, “it makes my filthy soul to fly”. The audible side is as sexy as the cover print of the outing. The issue is a part of the discography of Maltine Records.                          

三毛猫ホームレス - KANEKURE EP (2011)

Maltine

8.0

/Shibuya-kei, Funk fusion, Indie pop, J-pop, Easy listening, Electronic pop/

Comment: A 3-track issue filled in with a mix of dance music and indie attitude of Japanese heritage. There can be detected for shibuya-kei-esque synergy, unwieldy yet catchy synthesized progressions, heavily stomping cadences, funk-y fusions, and easy listening visions. First of all thought for enjoying rather than dancing on the dancefloor.