Back With Celadon

Our long time pal Celadon is back with more feelgood vibes to brighten up your midweek. Taken from upcoming EP Summeryoung I held off putting this one up in the hopes he'd drop a couple more but alas nothing yet. Here's what the man himself has to say about it:

"This EP was formed from the recent unstable moments of my life. I always found time to sit down after long days at school and write skeletons of songs. It wasn't until the summer that everything connected for me and I found the right moods for the EP. Emotion is always a central part in my songwriting, and so constantly I am trying harder and harder to deal with those moments and hopefully molding it into music that I can learn and grow from."



I can kinda relate as a fellow arty folk, I've still got a million and one side projects on the go like always, but there's not nearly as much pressure to deliver now I've graduated. Which is actually quite nice, I like to bounce between things so I don't get burned out, now with the added bonus of being able to take my time with them. Regardless, enjoy the tune and I will be back with the final Röyksopp part shortly!

-Claude Van Foxbat

Replacement Audio Service

Well this *was* supposed to be another look at old school 90's techno courtesy of Mijk Van Dijk but I'm having trouble getting my hands on it. Suppose that goes with the territory of bein' semi-obscure and me trying to pick up a mix compilation of his only released in Japan in 1998 probably didn't help none either. Instead I have another nostalgia tinged special for ye, with Celadon City lending his hand to Blink 182's I Miss You, join me in a trip back to the early 00's.



Apologies for not being what I intended, but the sequel to what this post was meant to be seems to be on track, so lookout in a couple days for some late 90's electronic stuff that I may have posted some of recently!

-Claude Van Foxbat

The SubmitHub Roundup, Vol. 4

The submissions train keeps on rollin' on, and it continues to keep exposing me to stuff I wouldn't have otherwise gone out to hear. This one came to me billing itself as minimal which I normally shy away from cos it doesn't tend to be my bag, but I gave it a go and was rewarded in due course. I was digging the intro from the get go but I wasn't expecting the vocal side of things to crop up and that only made me fall harder given my well documented love affair with treated vocals. It makes to whole thing feel like a hazy half remembered retro experimental tune a la Laurie Anderson. Which I suppose is only fitting given the cover art:



I was surprised more folks hadn't jumped on the sadboy electronic train after James Blake started to get big (or maybe they did and I just didn't hear any of it). There's certainly a little bit of Blake on display here for sure, though packaged with some more uplifting electronics for accompaniment rather than the disparate, cold touches as heard on The Wilhelm Scream and such. I do think that some of the slight vocal distortion would worked well here too, but at the same time that might have made 'em fade too much into the background, might be somethin' t experiment with in future either way!



Rounding off with even more hip hop stuff. I've always liked some brass in my hip hop ever since I heard Gorillaz's Rock The House, and Teddy Bear delivers in spades. And the artwork is on point again too. No idea if it's sampled or original but either way it'd feel right at home on a Mr. Scruff production, and the final hurrah starting around 2:30 brings about the end in spectacular fashion.



-Claude Van Foxbat

Through The Machine

Guess who made a surprise appearance on my radar t'other day. It's been a long time since I've heard any rumblings from Maybe The Moon, last I recall they only had a couple songs on their soundcloud but they were scratching my occasional electropop itch something fierce. And then out of nowhere there's not only a few more tracks but an EP announcement too? They're spoiling me.



I'm trying to ease off the comparisons when it comes to these things, but I'll be damned if the Au Revoir Simone comparison isn't apt as ever from the get go. The opening tune also has me very interested in any pure instrumentals that they could put out. Not to disparage Karmen's vocal contributions mind, but I am very much on the market for some 604-era Ladytron goodness like Mu-Tron.

The EP itself is out right now, you can scoop it from Bandcamp. It's name your price so if needs must you can get it for free, but feel free to throw a couple quid their way if it tickles your fancy. I will most definitely keep my eyes on these two for any further developments, they always seem to come 'round when I'm looking for sonds in that vein.

-Claude Van Foxbat

Enter The Vault

Dunno what I'd do without Celadon City to brighten up my soundcloud feed. After the last few times have come up peanuts he's really spoiling me as of late. This time we have another compilation dealie that he appears on, and it's a treat for the ears as usual. It's nice to see him constantly experimenting with sounds (though I am still waiting for the vocoders to make a reappearance), and they always sound pretty polished too given how fat they come around. Check out the comp and CC's tune below!







-Claude Van Foxbat

Linkys

Been a while since I've done something in this vein, it's nice to have some ammo for it though. Here's another piece from Celadon City. Long time followers should be no stranger to his easy going feelgood style that we've come ot know and love by now. But this one's slightly different. I missed it the first time he put it up, but managed to get around to it this time. Not so much rough FlyLo Los Angeles compression on this one, it reminds me more of Soichi Terada's Drum & Bass work and the Ape Escape OST. But more importantly....



A long time ago I says it was important to remember the roots of electronic stuff. I know that can sound like pretentious waffle but you can plainly see the effect of stuff like Disco and Italo on future developments. I've mentioned to CC before that his stuff reminds me of short lived band Plone and their playful electronic, but Dawnjogger reminded me of something a little different. Jean-Jacques Perrey to be exact, using tape, scissors and a Moog he's made all kinds of radical (for the time at least) electronic stuff in a similar vein. This one here is from 1968 which to put in perspective is 10 years before raftwerk would release The Model. Unfortunatle it's my first time being limited by soundcloud pro, but it gives you enough of an idea, and find his stuff is all over on YouTube in full too.



-Claude Van Foxbat

Ch-Ch-Changes

Apologies for the slight lateness again, it's been a whirlwind couple of days; ilictronix is now coming to you from the shiny sleekness of Windows 10 and I had to spend a little while tinkering with drivers and programs for compatibility's sake. Anyway, back to music: my man Celadon City finally put out Earth: OST and I have been giving it a listen on this surprisingly sunny Valentine's day morning.



It's chock full of the gorgeously smooth Celadon City sound we've come to expect, intermittently sprinkled with ambient pieces that take a few cues from Boards Of Canada, and wouldn't be too out of place on a LP from The Flashbulb (Heartsday, I'm looking at you). Currently I have Greenlands on loop (and probably will for some time to come). I'm absolutely in love with the distortion going on, it feels like my speakers are going to burst and wash me away in a sea of sound. Think a slightly smoother Analog Worms Attack or LA-era Flying Lotus and you're almost there.

if it's tickling your fancy, you can pick up the LP on Hush Hush Records' bandcamp, iTunes, Bleep or Juno Download.

You can find more Celadon City on:
Twitter
Soundcloud
Facebook
Bandcamp

February: We Made It!

Oh boy 2016 is just keepin' on rolling. Welcome to the month that I can never spell consistently and will probably avoid mentioning from now on. Let's check in with what's happening on Soundlcloud, our man Celadon City has yet another teaser track from his upcoming LP, this time it's track #2 that premiered just a day late because now it's named after the wrong month. Also this post should be a reminder to me to check out the full thing when it comes out in about 10 days.



It's been a while since I've mentioned fellow Writer Evan's stuff, but his latest wave of sounds hot off the heels of some new hardware is pretty sweet. One of his old tapes came on as I was typing this out and the kid has certainly come a long way, here's hoping it stays that way for many more years to come.



And finally I made the rounds to see what some people are up to, turns out there's some new Vibert I hadn't heard (with eye-burning artwork too). Had no idea what it'd be going in as Vibert could be doing all sorts. This time though it's back to the slightly off kilter hip hop sound with samples sprinkled throughout that Luke clearly has fun making. And it's equally as fun to listen to, so that's another one I have to chalk up on the ever-growing list.



-Claude Van Foxbat

Q & A: Mississippi Jones

In what will hopefully be a continuing series, I talked with another of the more recent blog pals I've made; Mississippi Jones. They caught my eye a while back by both tickling my elctroclash/electropop ears, having a scheduled series of releases throughout the year and just generally being nice folk. I think I've written enough about the duo of J@$ and Mississippi herself over the past year or so, so let's get stuck in.

Claude Van Foxbat: First things first is what we ask everybody who we Q'n A, what have you got in rotation right now?

Mississippi Jones: We're listening to Hannbal Burees apple juice standup. Comedy is always background noise for our project time. Also Amy Winehouse was on earlier cause we are cover her song Addicted for a show we're playing tonight 'The Bong Show'. It's in an art house and centers around weed- a very popular topic here in Seattle. :)

CVF: Do you have any reflections on your process from start to finish?

MJ: It's definitely getting more refined, we are understanding more what kind of a sound we want and how to create that. Our process is to release every 14 weeks with new material and we just wrapped up our final piece last week for this series. With the fourth release, we now have our second full fledged album. It is definitely a process we are going to stick with, getting heard as an indie band means having music out on a regular basis, and interacting in the local scene. It's much easier to do that when you have new content.

CVF: Is there any other media (Movies, Games etc.) which have made an impact on your work?

MJ: Tarantino is one of my favorite directors, he has definitely influenced at least one song "Mr. White". Maybe I'll write a song about feet next. Banksy is also another big influence, one of the songs off the most recent EP is titled after his last big NY art project "Better Out Than In". Street art has always been fascinating for us, we post about it on Instagram daily. The concept that some art could be illegal or less valuable simply because it is outside is very culturally relevant to today. We play in galleries and have a lot of artists friends so visual art and conceptualizing emotions play out in our music as we try to grab emotions and leave them on a track.

CVF: Something else I always like to ask is what was your introduction to electronic music?

M: I grew up going to raves when they were out in the woods and everyone used them to sell and move drugs. It's about the same now lol. The genre has definitely grown in depth, and it is so varied I wonder if wer're headed to a place where it will take over music entirely. The term EDM can cover everything from dubstep to happy hardcore to ambient psytrance. There is really something for everyone and communities around it are still growing.

J: I was introduced to electronic music through Donna Summer "I Feel Love". Which is widely recognized as the first breakout electronic dance music song ever. It was pioneering in the way it adopted that kind of instrumentation and composition. There were politics of disco and the racist, sexist, homophobic nature of that disco movement. When Donna Summer came on the scene it was empowering for women, it opened up for gay people and people of color to be accepted and celebrated and creative. We still see these issues today in a lot of electronic music, both the hetero normative bias, misogyny and general bigotry but also other people trying hard to open it up again for others.

CVF: Slightly related, how did you get involved with your current scene?

MJ: Going out and meeting people, asking around and playing show with other musicians. Getting out of the house and off the internet, and also making connections through social media that have been very beneficial. It's not all or nothing, you can't just play out and you can't just be on the internet. You have to work the gray areas in between to make it happen. The music scene is Seattle is big and everyone is a musician, everyone is creative and it is exciting to be in a city where creativity and art play such a major role in so many lives.

CVF: Do you remember what your first ever produced track was?

M: I wrote a bunch of songs some music for friends and family one year and a friend recorded it for me. I gave it out for xmas, that was a lifetime ago. I've recorded off and on with different groups and solo since then.

J: I've been recording stuff since I was a kid. Using cassette decks back and forth, to analog 8 tracks, to using digital now. I've done a lot of projects. I used to work with rock bands mostly, mostly. A few rappers and instrumentationalists as well. There was a performance art collective and we recorded and toured extensively and even headlined Burning Man back in the day.

CVF: You've got 4 words to sum up your sound, go!

MJ: Electronic heart analog soul.

CVF: What's your equipment setup look like?

MJ: It's a messssssss. The studio desk is a labor of love that gets used often and looks like a snake pit of cables and wires. Instruments are piled around the studio space we use, and get pulled out as we need them for various songs. Live we have a very simple set up intentionally. We can literally play anywhere and sound like a full band which is amazing and unique, and not something that could've happened even 10 years ago. Soft synths and samplers are at the heart of it.

CVF: And finally, what's in store for the future of Mississippi Jones?

MJ: More shows more music, more art more origami. Stay tuned for releases, and follow us on instagram, talk to us on facebook we are very friendly and are always open to connections from around the world or around the corner. I spend a lot of time on twitter too, talking with musicians, writers, and artists and posting collage like pictures of galaxies and street art. If you need any Canadian graffiti, my account is a good place to find it. We can see into the future, but if we told you we would have to kill you. Let's just say it's gonna be real good.

CVF: Alright that about wraps it up, thank you! thanks! It's been real interesting to see all the different replies to the questions, been along time since we've done a duo too so that's been pretty interesting too!

MJ:Thanks as always for your thoughtful discourse on our music. We really appreciate the article and can't wait to read it!

And there we have it, another Q&A successfully in the bag. Now I just need to find some more people to email/tweet these out to, to keep the Q&A ball rolling. Alternativley if you're reading this and would like to answer the Q's anyway, feel free to drop me a line at the usual places!

Find more Mississippi Jones at:
Bandcamp
Soundcloud
Official Site
Facebook
Youtube

- Claude Van Foxbat

Celadon City: Q & A

I sat down with Celadon City the other day to discuss his newest project, the final release of an album after a few years worth of work. He's been kind enough to show of a couple of tracks from it, and the latest is a solid example of that quirky, playful electronic sound that I've come to know over the past year or so. Stay tuned for the Q&A after the tune itself!

Claude Van Foxbat: Thanks for taking the time to talk to us, I've been a big supporter of your tunes over on the blog for a long time now, why don't you give us a bit of background for those that might not know who you are?

Celadon City: Hi! I’m Ethan and I create music under the moniker Celadon City. I’ve been writing for more than 3 years and I am on a mission to experience as much as I can on this Earth. I work at a coffee shop and go to college to study Biology.

CVF: You've been working on this LP a long time, now it's close to release do you have any reflections on your process from start to finish?

CC: This LP has been choatic, magical, and important to me. Its a journey for sure when you have to really collect what you have in your arsenal and write about it. I think this is the first professional step in my music writing career, and it solidifies my choice of becoming an artist. Right now I’ve been getting everything ready for the release and also preparing some personal stuff.

CVF: It's clear to see that Pokémon has had an influence on you, are there any other games or franchises which have made an impact on your work?

CC: I really started getting into indie games when I was 19. I didn’t grow up with a wide selection of games, except the Halo series. I’ve played alot of Half-life and have been addicted to this game called Flower, which you are guiding a petal through a low-key storyline and meditating in the process. Its very spiritual and soothing. Games with a beautiful soundtrack are my weakness ❤️.

CVF: Something I always like to ask is what was your introduction to electronic music?

CC: My dad raised me with constant playing of Radiohead, especially Kid A. I really found my roots to electronic music when I was listening to Tycho and post-rock groups like Explosions in the Sky and M83. What made me want to be an artist was the indie, DIY scene that had been emerging very heavily in 2013-2014, where Giraffage, Teen Daze, and Slow Magic found their way onto my iPod. It was magical seeing artistry in music and a beautiful culture associated with the scene.

CVF: Slightly related, how did you get involved with your current scene?

CC: Hmm, I hang out with a lot of different places. I have a lot of friends who are locals in my home town. OKC is not very internet based and it has a really cool organic community that has helped me expand from net music. I'm very fluid with who I’m with or who I am listening too. Its fun seeing multiple realms of the music industry and they all have their own unique qualities and stories.

CVF: Do you remember what your first ever produced track was?

CC: OMG, so before I had even had a DAW or Garageband, there was this website sponsored by Adidas I think, and they had a “Beatlab” where you could just play loops and drag given sample to make hella basic beats. I thought it was the coolest shit and so I ended up making a three track EP that I never released.

CVF: You've got 4 words to sum up your sound, go!

CC: Ambient Electronic For Expeditions

CVF: What's your equipment setup look like?

CC: So right now I am practicing my drum pad skills and working on doing more in my live sets. Also I am having a friend of mine doing some ableton stuff and some guitar just so we can jam and have fun.

CVF: And finally, what's in store for the future of Celadon City?

CC: I honestly don’t know but I'm excited. There are some wonderful things out in the world. And I for sure will go and see it all.

CVF: Alright that about wraps it up, thank you! (Now I have to try and find the old code we had to make it formatted like an actual article...)

CC: Wonderful ❤️ let me know if you need anything else! thank you for interviewing me.

And there we have it. Nice bloke he is. Oh and before I go I should mention that Celadon City's debut album Earth: OST will be available on Hush Hush Records' bandcamp, you can pre-order it if you'd like, but the full thing drops on the 12th of February!

You can find more Celadon City on:
Twitter
Soundcloud
Facebook
Bandcamp

- Claude Van Foxbat

A Different Kind Of Hotline

Looking to make space on my HDD I went looking for fat I could trim. There I discovered I've had a Hotline Miami Remix EP tucked away in my steam folder for months without me realising. Well I gave it a listen last night and thought I'd share some of it with you lot.

It doesn't take long for the signature Hotline Miami aesthetic to make an appearance, it's been a long time since I immersed myself in it's neon-soaked world of ultra-violence and the days where I would subsist on a heavy diet of strictly Electro House are long gone. But I'll be damned if the soundtrack isn't full of tracks like this that make me feel the way I used to back in those blog crawling days.



It's not long before the more surreal side of the Hotline rears itself though, though you probably already guessed from the title. Imagine if Mr. Oizo gave his twisted electro styling to the soundtrack of some 80's slasher flick and you're in the right ballpark in terms of sound. I'm not a fan of the kinda cliche air raid siren sample towards the end but even then it kinda works with the vibe, and the rest of the track doesn't put a foot wrong so I'll let it go.



Rounding it out with the last track (and my favourite of the bunch). It errs more on the side of the conventional 'outrun' sound that was big a while ago, and honestly could almost be a remix of Kavinsky circa Pacific Coast Highway in parts. Wouldn't say it necessarily fits the Hotline Miami theme woven throughout the others, but I can't fault Carpenter Brut's touches here, I must remember to keep tabs on what he's up to these days.



-Claude Van Foxbat

Soundcloud Roundup 9

That time of the week again, kicking things off right away with a cover of one of my favourite Modeselektor tracks. It most certainly does it justice, and it's especially nice to hear Modeselektor's unique breed of electronic transfer well into other styles. And I'd be lying if I said I wasn't totally in love with the pitch bends on the intro.



Next is another track I saw thanks to a cheeky reblog and oh my, where do I begin. So many touchstones to reference; shades of UNKLE, Apparat, Trentemøller, a smidgen of Post-Rock and perhaps some fragments of The Knife too, all wrapped up in a killer bassline. I'm loving the builds in intensity thoroughout. Definitely going to keep my eye on these two for future coverage.



And finally yet another piece from Celadon City. He teased not too long ago that he'd got an auto-tune setup working and I've been waiting on the results ever since. The vocals make a nice addition to the usual feel good vibes of CC's output, albeit with a more downbeat lyrical angle. There's still a lot of room to experiment and improve, but I'll always support people tweaking and otherwise fiddling with vocals.



-Claude Van Foxbat

Let's Go Swimmin'

Remember how like two posts ago I was saying that I love the vibe that Celadon and the company he keeps put out? Well they musta been listening because his collective project/netlabel Galaxy Swim Team just dropped another compilation dealio that is filling my super cute audio needs for today. It's also accompanied by a lovely message:

This album is dedicated to all of our family and friends who have supported Galaxy Swim Team thus far. We could not be more thrilled to finally be putting out this comp! Galaxy Swim Team at its core, is just a bunch of friends creating together. We all feel extremely lucky that from beginning to end, that's all this project ever was. Friends creating together.

So from the bottom of our hearts,
We hope you enjoy. <3

It doesn't mess around, from the get go you're immersed in that Glass Swords-esque sound that I indulge in every now and then. I will not be short of people to look up for future soundcloud roundups for a while to boot. Check it out, and find more from the Swim Team at Soundcloud, Twitter, Facebook and buy their releases on Bandcamp

-Claude Van Foxbat

Soundcloud Roundup VII

It's been a while since I looked over my feed on soundcloud, and thankfully my gamble has paid off and I have lots to digest. I went through and picked out a few things and had to make a belated last minute replacement because the song I wanted to put last is no longer on soundcloud it seems. On we go.



Latest friends of the blog and electropop darlings Maybe The Moon have surprisingly little on soundcloud, so in an effort to not use it all up at once I went with my tried and tested method of going by track names. And it did not let me down. The comparisons I made last time still stand here; this one especially has that Au Revoir Simone vibe to it, and surprisingly enough the lyrics remind me a ton of Broadcast's Lights Out which is far from a bad thing.



They had an effect on my listening too, as I dug out all my electroclash records and got taken back to the early 00's, and thanks to a repost on my feed I got introduced to some new electroclash-esque stuff from Hyperultra! It could almost sit right at home on an International Deejay Gigolo compilation nicely and I am totally in love with the vibe of it. I do have to echo similar comments to those on soundcloud; the vocals do need some work, the recording seems lower quality than the rest of the track. But at the same time the Electroclash kiddie in me is telling them to keep it that way because like Miss Kittin & The Hacker's Frank Sinatra or Peaches' Fuck The Pain Away, low quality recordings are electroclash as fuck.



And fnally the last minute replacement. Not that that means it's any less quality mind. I've seen Olivia's name pop up a few times when looking over Celadon City's feeds but shamefully never checked anything out other than their collab until now. I've said before I love the vibe that Celadon and the company he keeps put out, they're always full of lush sounds and are an absolute joy to listen to. The description on SC also tells me that there's an album in the pipeline, so I will definitely be covering that when the time comes.

-Claude Van Foxbat

Belated Soundcloud Roundup

Oops I have forgotten to post. Well lets fix that once again with a quick visit to my soundcloud feed shall we? My man Celadon has been far too kind with the releases as of late, here is is with yet another free edit for download that will warm the cockles of your heart as fall approaches.



I've been subsisting on a steady diet of Tangerine Dream and the Analord series, so synths are kinda my bag ATM. I've mentioned Abbrev.'s previous forays into almost acid territory but this one is by far and away my favourite, something about the combination of those airy synths and the bouncy bass that comes in just takes me back to all the weird electronic I found in my dad's cassettes that made me fall in love with electronic music in the first place.



And finally something I found thanks to the friend-of-a-friend reblogging that I like to dive into now and then, a group(?) from France called mechanical television. There's more than a smidgen of influence from both IDM and Post Rock in their work and thinking about it I'm surprised the two don't go together more often. Regardless, this track might not be for everyone once it gets going, but once gain I absolutely adore that intro.



-Claude Van Foxbat

Gorra Cold

Woke up feeling utterly vile, easily remedied by an extra hour in bed after some sneaky tabs to dull it a bit. And then I remembered I was due to do another post today which is no problem because while I am more prepared than I was for the last one I did. Hold onto yer butts.



A little something from my man Celadon City to kick off, as a pressie for hitting 2k followers he ever so nicely gave out this one as a free download. It's as expected of him by now, featuring more dreamy vibes as per usual, and once again I adore that intro. This is the first I've heard of his output that doesn't strike me as summery, whether that's to do with it being autumn now or if it's just the vocal focus in this remix I can't say, but I'm still liking it a bunch.



Another shoutout to Evan again here, this time with another slightly reworked track of his. I've heard plenty of the original, dubbed Tsukuyomi 2, and even more of it when he gave me a redone version of half speed for the A/V EP we collaborated on. You think I'd be sick of it by now but if there's one thing I like it's callbacks to earlier works. Hell, that's practically most of what Alive 2007 was. Anyway, enjoy this latest beat flavored version from the man.



I'd be lying if I said I've kept up with AFX since Syro dropped, I tend to steer clear of the man's soundcloud simply because I don't want to get too attached to a demo that will never get released. This time I decided to peek in and have potentially a new favourite track of the month. That opening synth was gorgeous enough as is but then the vocoder came in and I was completely in love. Almost seems like AFX has taken some cues from former Rephlex labelmate DMX Krew and I couldn't be more happy with the result.

-Claude Van Foxbat

Soundcloud Roundup 4: Revengeance

Droppignby with another rundown of my feed, this time a more downtempo contributions than previous. Starting out once again with recent pals Mississippi Jones heading it up with more stuff from their forthcoming release, this time much more sedate than anything I've shared of theirs previously. Way back when I mentioned I couldn't see the Portishead comparisons being drawn with their work but it turns out I wasn't looking deep enough. Mississippi is almost a slightly less moody Beth Gibbons here.



Speaking of flexibility, Abbrev. is back with a flurry of new tracks in a variety of styles, a highlight of this being this psuedo-acid house number. Around halfway through there's an unexpected change in sound from the bleepy not-quite-acid to the kind of sugary sweet synths you'd hear from Rustie slowly come up from the background, and it changes to be a more housey number and it's so nice.



And finally, some more reposted goodness from Celadon City. I'm always game for more stuff that is like his, and of course his reposts are a solid source for this. I know I've said it a bunch about him before, but this sound is pretty much a modern Plone which was a gap in my library for a long time. I almost want the vocals to be vocoded like on Plone's Plock, but frankly I'm fine with it as is.



-Claude Van Foxbat

Oops

Apologies for the lack of posts, I keep not doing them because me and Adam are working on something to hopefully get both of us more consistent, and something that we think will spice up the blog a lil'. As my apologetic gift have this album that came up in my feed thanks to my man Celadon. As you'd expect, the sounds he digs are equally as lush as the ones he makes, and this one is a full albums worth. So get stuck in and I hope it tides you over until we figure out this super secret project very soon!



-Claude Van Foxbat

Releases for Days

Remember how I just said that people I've been following recently have been destroying it with releases this year? Well, time to add another to the list heres recent but long time bud Celadon City with his latest EP.



As we've come to expect its chock full of lovely sounds to get you feelin' all fuzzy inside, the first track on this list is giving me serious Flashbulb vibes, but with less IDM going on. The smoothness of track 3, pictureperfect is also a highlight,. Celadon consistently kills it with lush sounds and this one is no different. I'm loving those arpeggios too.

If you like it be sure to pick it up on his bandcamp, and you can always find more stuff on Soundcloud, as well as keep up to speed with what he's up to on Twitter or Facebook, but until then I'll keep hanging on for more sweet tunes.
-Claude Van Foxbat

Soundcloud Roundup 3(?): Origins

Hello again I am back with more soundcloud goodness, after getting off my bot and going diggin' instead of waiting for my feed to update like a blog scrub. So lets 'ave a lil look shall we?

Starting off with even more from our new Seattle buds the Jones', not too long off the heels of their last release and already we have more for our plates. Once again demoing their remarkable flexibility when it comes to production, compared the indie electronic vibes of the last release we covered, this one comes out swinging with the pounding 4/4's. Truth be told it reminds me of A:xus' Suite Disappointment, and that's perfect for me.



Simon Viklund's had plenty of his soundtrack work put here by me, but he also has a tiny soundcloud with a few tunes on it. While I do wish he'd use it more there is still quality stuff on it like this. The original The Mark could have been at home as much on the dancefloor as much as it was for heistin' to but Simon went ahead and made it even better anyway. It might not ever be finished, but it's tasty in its current state anyway.



Keeping with the Vidya theme, I've been meaning to delve into the world of Carpenter Brut thanks to the Hotline. And I've found a fresh take on the whole retrowave/synthwave/outrun or whatever they're calling it this week. It takes me back to when I first found Kavinsky a long time ago, Carpenter's breed of 80's meets Electro House combo is still exciting to me, 46 seconds in on this one never fails to get me every time.



-Claude Van Foxbat