May 23, 2013
Exploring the fringes between experimental trappings and accessibility, Rome folds in a few more layers of Giorgio Moroder throb, heavy reverb, and droning psychedelic synths to evoke a pretty singular mix of yearning and hopelessness, but more than the stylistic overhauls that radiate in the background, the real highlight of this particular track is the songwriting, which for all its juvenilia, showed his vulnerable, emotional side.
“Time isn’t always a favor, a battle we all have to fight,” he intimates over a heavily filtered, chillwave groove that eventually slurs into washes of echoes and ambient drown. Things start to get interesting when Rome flaunts his emotions on the dancefloor with an enduring guise—drinks spilled on shirt, stomping wildly to the beat until the feeling momentarily wears out and haunts. Exploring this path might be a lucrative option, but leave it to Rome when it comes to leaving the audience wanting for more.
May 22, 2013
What draws me the most about Justin’s own take of the song is the transition, the slow build from unkempt electro-chill flourish to the last minute of gurgling, pulsing house thump. And somewhere midway in the clubland paradise, as JDG’s about to locate the climactic pleasures of the original, he loses it to the floor and pulls off his own idiosyncratic elements that had us salivating for more. Bring your homies and beat this track to the ground:
Justin De Guzman’s awesome take on “40 Winks” is part of Spazzkid’s Desire Remix album to be released soon. For more details visit his bandcamp page.
May 20, 2013
On their new track “Rough Skies,” FFW have successfully translated the smooth jazz vibe of their live performances into recording, putting their own breezy intonations to the brew. Its silken groove moves freely from one accent to another, and in a matter of minutes, cocoons into a bright-eyed improvisational earworm that you wish won’t stop.
And with all due respect to a lot of jazz musicians out there, its’ pretty refreshing to listen to the rubbery basslines, earthy drum beats, funky guitar solos and warm keyboard tones that veer towards self-indulgence, and instead provide a one-of-a-kind sparkle that suits the velvet optimism of the song. And Mimic—what can I say? She has reasserted herself as one the most promising voices in the emerging local music. Her understated, keening voice is sophisticated in its own little way, and I love that she’s more in control than ever. via ndfy.me
But it’s Isa Añiga’s lilting coos that pretty much gave the song its much-needed sunlight. She sings as if her voice is destined to be the world’s only centerpiece—beautiful, almost unreal, floating in wherever the gentle whirl takes it. John Uy of ATL on the other hand, holds everything together, without ever breaking. The beats and minimalist post-rock build he drops, never too empowering, are executed with just the right amount of finesse and subtlety. Download the track here.