The Eurovision winner and Danish icon, Emmelie de Forest, is back with a track that is giving classic Goldfrapp. Elegant, eligiac, and expansive, it is a breathy and brooding release. A worthy song for the changing of the seasons.
Track of the Day
Part of an installation at the Saatchi Gallery in London, “It’s Always…” comes from Martyn Ware‘s Illustrious Company. As a specialist in 3D sound design, Dr. Ware is the right person for the commission, which also shows video of waves across multiple panels. He is joined for the wider project by Gabriel Ware, Anna Söderblom, and Oscar Blustin.
Exhibited as part of the FOCUS Art Fair, the thirty minute soundtrack is an experimental dive into watery and industrial rhythms for the aquatic apes that we are.
Illustrious Company · It’s Always Ourselves We Find In The Sea / Installation Soundscape
Volkan and Doruk are back with a new track straight from the Temple of Love. The Turkish duo have created a dynamic and throbbing song that surges with urgency. The video is from the mind of the amazing Nedda Afsari (Muted Fawn), who directs an homage to silent films with Michael Linn.
Inspired by the sounds of Ennio Morricone, Twin Peaks and Rosemary’s baby, Emmelie de Forest returns with a dreampop song that channels the coolness of the 60s and 70s. The winner of Eurovision in 2013, de Forest has reshaped her sound with a maturity and sensitivity that only the years can add.
Andreas Catjar-Danielsson didn’t make it to see the release of Abu Nein’s third album, but his contributions are deeply impressed into this single. The band have described “Wir Leben” as “glow-wave,” after Catjar-Danielsson’s statement that the song is a manifestion of his inner light. It certainly has a tone that merges with eternity. With proceeds to his children, there is every reason to buy it on Bandcamp.
The paparazzi linger near the entrance of the club, chewing gum and impatiently fondling their cameras while leaning against palm trees. Inside, the beautiful people mix at the bar, swapping glances and stories. They live the briefest of adventures on the dancefloor; catching the eyes of persons of interest. The DJ urges them on with the elegant new sounds of Julian Brandt and Marina Schiptjenko. Outside, the men with the cameras wait in vain for the party to end.
The Soviet Union was painted, for Western students, as a dull place full of tractor-driving babushkas and sullen men in old suits. For entertainment, they joined long lines to buy meat or ersatz coffee. The only music allowed was a politically-narrow selection of Shostakovich and lounge standards.
John Lennon knew better. There were elements of glamour and fun – and there were synthesisers. Disco had a place in the official playlist, and bands like Zodiac and Eolika were released by Melodiya in big numbers. Space from France was a big influence, and plenty of combine harvesters were driven to the sounds of Moogs and domestic versions.
Latvia’s glamorous popster, Katrīna Gupalo, has rescued one of the famous SovDisco classics and restored it for the modern ear. “Noktirne” is a song for Riga, and it works well as a post-Soviet driving song or a disco banger.
The original, Andropov-approved track is copied below for comparison.
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