Beat Of The Week #16

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This week’s Beat Of The Week hails from Oscar Key Sung’s title track from his debut EP, ‘Holograms’. With it’s chopped up, soulful vocals and peaceful atmosphere it’s an easy winner for this week. Check it out below.

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DMA’s – Delete

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The first thing I read about DMA’s is that, ‘All the people in the picture look like the product of multi-generational in breeding.’ So that was a good introduction into I OH YOU’s newest signing if any. Furthermore, the band have never played live but are expected to announce a tour for March.

Sonically, from their first single,‘Delete’ off their self-titled EP, they sound like a mix of Oasis using the vocals of Dylan Frost from Sticky Fingers. The second reference is no surprise considering that the clip was filmed in the same house that features at the end of Sticky Fingers, ‘Australia Street’ video and also has a cameo by Paddy (Bassist of Sticky Fingers). Furthermore, the artwork was done by talented Sydney artist Total Bore. In short, this single not only showcases a damn fine up and coming band but also the talent within Sydney. You can watch this song below.

Beat Of The Week #14

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This young buck happens to look a lot like James Franco and what’s the correlation between that and him making smooth-as disco vibes? None but it sure as hell makes him that much cooler. Young Franco’s track,‘Take Flight (UHH)’ is bubbling pot of synthesisers and thundering bass is an easy contender for Beat Of The Week. You can stream the track below and keep an eye on Lumis Youth a for a review of his EP ‘FUTUREFUNK’.

Basenji – Dawn

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Following the ilk of Wave Racer and Cosmo’s Midnight, another albeit a more noticeable member has joined the new-wave of electronic Australian producers going by the name of Basenji. Basenji has just dropped his latest single, ‘Dawn’ and has also signed to Sydney-based management, ASTRAL PEOPLE. This signing speaks volumes of the expectation behind this beat-smith but it’s safe to say so far that he is meeting them.

With an almost militaryesque drum-beat to start the song, it immediately grabs your attention so that you’re easily swept into the luscious atmosphere of ‘Dawn’. Vocal samples then seep into the track, which are remarkably akin to work of Cashmere Cat. Indeed much of the song references the sounds of Cashmere Cat and that genre with its heavy use of percussion and warbling bass. Basenji and his work represents a different path that is starting to be carved within the Australian, electronic music industry and as with all genres, there will always be an inundation of mimicries of one producer but Basenji has seem to found his own way.

For some, this new-wave of producers will seem increasingly dull and rather abstract in their sonic direction. Others will find this sound, which become massively popular with the rise of Flume, exciting and if so you will find Basenji meeting your desires.

RY X – Berlin

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It was only a matter of time before the Matt Corby imitators appeared but I did not think anyone would carry actual substance of their own like Ry Cuming (what a name) does performing under the moniker of RY X. To be fair though, Matt Corby shares a clear link to Jeff Buckley so we could be here all day arguing that X sounds like Y and that is just too much deconstructionism for one day.

The moment you hear the falsetto ‘oooo’s’ your mind should immediately strike back to the piercing voice of Matt Corby when he sings,‘Brother’. It may as well carry a little TM afterwards it is so unmistakably Matt Corby. Although, as I said before there seems to be a measure of depth to his work with the mesmerising atmosphere created by the raw vocals of Ry Cuming. However, throughout the whole track Ry treads the line between becoming overly derivative and taking elements of successful songs, which acts as its greatest strength but also its major flaw. For me, the testament of a good song is when if an artist absorbs other elements they can complement it with their own ideas, which Ry does partially.

Indeed, with many artists sounding like each other, in the case of Ry, like Matt Corby it has become increasingly important to define your own sound as you take aspects of other’s work.