As I’ve been playing more bass, I’ve been searching Bandcamp for more music that features it, and that puts me into the incredibly diverse and admittingly intimidating genre of jazz. I know I haven’t even begun to scratch the surface of what Bandcamp offers, but I’ve already found one small jazz group that with its debut album already has my ears perked: Nim Quartet.
What I really like about this album is that it’s very laid-back and open; “breathing room” may be a term thrown around way too often, but that’s exactly what this album is chock full of. Even with moments of an instrument taking center stage for a solo, I don’t feel like it’s overwhelming with everyone trying to play. That’s something I’ve noticed on a few other jazz albums I’ve listened to so far, and for me personally it’s not my jam. I’m really digging the sound Nim Quartet has going, and I look forward to future releases!
Do you like Front 242, Skinny Puppy, Front Line Assembly? Well then you need to get on over to Bandcamp and check out Dead When I Found Her! I haven’t listened to this kind of music in quite awhile, but I’m getting a good vibe. It’s gonna take me a bit to listen to all the releases and get it all to sink in, but so far I’m digging it!
My experience with the chiptune genre is pretty limited. I think the only music I had really listened to before now, besides actual “chiptunes” back in the day on old console and computer games, was the chiptune version of Nine Inch Nail’s Pretty Hate Machine, Inverse Phase’s Pretty Eight Machine. I think I was browsing the bestsellers on Bandcamp when I came across Chipzel‘s chiptune album for the popular rogue-like game Crypt of the NecroDancer, Chipped of the NecroDancer. While I enjoyed that album very much, it was listening to the rest of her catalog that I kept coming back to the album/soundtrack Interstellaria. As blasphemous as it sounds, I really like this album because the chiptunes sound is not quite as in your face, and the other work Chipzel has put into this album makes for quite an experience.
A little less than a year after Klayton’s synthwave debut, Scandroid returns with its sophomore release Monochrome. If you’re a fan of the debut album, you’ll be pretty happy with this release. I can’t say you’ll find much growth and evolution on this album, and it is definitely still on the upbeat and peppy side of synthwave, which is by no means a bad thing. The standout track for me is certainly Rendezvous; it is dripping with sexy synth sounds, whispering female vocal accents, and a pulsing drum track. Covers for Thriller and Star Wars are OK but I’m not the biggest fan. Overall this is a solid release for Scandroid, but I hope the next album takes a little longer and we get something just a little more evolved.
Syntax is back with his fourth release, The Space Tapes. I am a huge fan of his first two releases, while the third just didn’t wow me. I admittedly had high expectations, and I also think it was just a little too similar to what he had done before. Well, what a difference a year and a half makes! Now this is still Syntax, so you’re gonna hear his signature sounds. But in contrast to his third release, on The Space Tapes we get a bit more evolution, and on a few tracks there’s even a bit more “soul” (as much as you may think electronic music can have and/or evoke). The highlight has to be Bellatrix, a collaboration with Droid Bishop. The album is reasonably-priced at $10, and that’s for 19(!) tracks.