Today’s Track: Yunè Pinku – ‘DC Rot’

Good Morning to you! This is Jacob Braybrooke, and the time has come for me to get typing up for yet another daily track on the blog, because it’s always my day-to-day pleasure to write up about a different piece of music every day! Teen Techno music producer Yuné Pinku is an emerging name in the alternative dance music community with a love for Madonna and Billy Joel drawing from her influences of 90’s Acid House and classic UKG recordings. Her sturdy profile includes a collaboration with Australian experimental music producer Logic1000 for the track ‘What You Like’ from 2021. She has also been co-signed by Joy Orbison, who invited her to contribute a guest mix for his residency on BBC Radio 1 last year. The 19-year-old artist has her roots found in Malaysia and Ireland, and you can hear her most recent work through her debut EP release – ‘Bluff’ – which is out now via PLATOON. She says, “Bluff is about letting go and reeling in, finding your feet in the night life world. I think this song is kind of an ode to London night life and it’s a song I think really sums up my feeling of the good times I had as a teenager in London, but also with the slight paranoia of the danger that exists in the night world”, when explaining her experiences of carving out her niche as a bedroom pop producer in the EDM world. If you live in London, you can also catch her playing at The Bermondsey Social Club for her debut headline show appearance on April 29h. The penultimate single to be lifted from the EP is ‘DC Rot’, and the music video acts as an ode to the homemade skateboarding reels of the 00’s. It stars her sister Faith – who also happens to be a pro skater. Let’s check it out below.

Acknowledging her passion for the craft of Skateboarding in Synth-heavy style on ‘DC Rot’, the London-based DJ says, “DC Rot is an exploration of a year and all the things you can do in one”, adding, “Whether it’s coming out of hibernation and getting older, experiencing in excess whether that be negative or positive. Putting yourself out there and sometimes getting hurt, but just going on a pilgrimage of all the things you can and can’t do. In this case, a motif is skate culture hence the title DC Rot, it can be such a freeing culture but can be pretty shakey at other times, constantly shifting”, in her attached notes. ‘DC Rot’ captures the vibe of a 00’s throwback like Peggy Gou and Park Hye Jin, balancing out a multi-tude of wavering beats and interchangeable grooves that are initially built from dissonant piano house keys and a robust kick drum sequence, while Pinku’s nonchalant vocals recite melodic lyrics like “Funky baby on the clock/Vodka tonic, 3 ‘o’ clock” and “3 more lover, down with hot/I can’t not see you enough” with a hazy, relaxed feel that makes the EDM-driven track feel like a suitable accompaniment to an evening where you are preparing for a night out. The phased-out breakbeats and the crystalline synths make for an intriguing contrast to the conversational, gently spoken-sung delivery of the vocals. This successful blurs any idea that Pinku is placing herself into a box of specific genre conventions, and the gleaming warmth of Pinku’s production manages to make the melodic progression feel quite futuristic. Her voice, meanwhile, sighs and demures magnetically to draw you into her sonic pallete before the pace spirals more uncontrollably. The pipe harmonies and the Chill Hop-oriented breakbeats pull the scene back on course later, creating a sense of unpredictable layering that feels reflective of Pinku’s lyrical themes of expressing her perceived loss of purpose in life outside of the night club’s doors. Charming and refreshing, ‘DC Rot’ shows that Pinku has the talent to disregard old traits and step into a more futuristic sound instead, while carrying herself as more than just a monetisable project with her more gripping statement of intent creatively.

That brings me right to the end of another daily post, and thank you for continuing to support the site every day! I’ll be back tomorrow, where it’s shaping up to be a ‘Good Friday’ because there’s another entry of ‘New Album Release Fridays’ in store for you. We’ll be previewing the new solo album from a Tom Petty and Neil Young-influenced rock star known for his work as the former lead guitarist of The War On Drugs, if you’d like to join me then. He also co-created ‘Lotta See Lice’ with Courtney Barnett in 2017.

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Today’s Track: Flume (feat. MAY-A) – ‘Say Nothing’

Good Morning to you! This is Jacob Braybrooke, and the time has come for me to contribute to what is hopefully shaping up to be a good weekend for you with Saturday’s track on the blog, given how it’s my day-to-day pleasure to write up about a different piece of music every day! An Australian pioneer of the Future Bass genre during the 2010’s, Flume is the DJ/Producer of Harley Edward Streten who has topped the ARIA Albums Chart a few times over and he has reached Double Platinum sales in his home turf. He also won Best Dance/Electronic Album at the Grammy Awards in 2017 for his second studio album ‘Skin’. Those who are a little less familiar with the name of Flume may have heard remixes he has created for the likes of Lorde, Arcade Fire and Disclosure in the past. He has also worked with a whole host of Australian and international artists like Anna Lunoe, Chet Faker, Slowthai, JPEG Mafia, SOPHIE, Vince Staples and others on extensive collaborations throughout the years. Following up his well-received ‘Hi, This Is Flume’ mixtape that he released in 2019, as well as his Toro Y Moi collaboration hit ‘The Difference’ from 2020, ‘Palaces’ is his third canonical studio album that is set to arrive on May 20th via Future Classic Records. It has been in the works since Streten relocated to a coastal town in the Northern Rivers area of New South Wales, where he says he “found inspiration from the flora and fauna surrounding him” there, and so he has been experimenting with field recordings of nature sounds and birdsong while producing his new full-length recording. The lead single ‘Say Nothing’ features vocals by the rising star MAY-A. Let’s give it a spin below.

The AIR-Award winning musician’s new album enlists guests like Damon Albarn, Caroline Polachek, Emma Louise, Laurel, Quiet Bison, Virgen Maria, Oklou and Kučka for collaborations this time around, and, speaking on the new Alt-Pop cut, Streten explains, “This song is about feelings of post-relationship clarity”, adding, “We wrote the song midway through 2020 while the pandemic was still pretty new. I was really excited about the initial idea, but it was only once I got back to Australia in early 2021 and linked up in the studio with MAY-A that the song really came to life”, in his press statement. Starting off with a blurring effect on the Synths that shortly expands with euphoric Bass and fractured Snares, MAY-A sets up the tone of the vocals with her lovesick croon of “As far as summer goes I’m not even close/To wearing you like clothes when nobody’s home” that feels a little nervous and unsettling, as the Drum and Bass sequences gains traction and sits at the rear view mirror when the pre-chorus comes in. The chorus itself has brooding and pulsating elements that doesn’t quite allow the Bass and the Drums to fully unleash just yet, with a lean structure held together by the polished Pop sound and the viscerality of the dark Synths. It materialises with MAY-A’s declarative croon of “Say nothing, If you don’t wanna say goodbye” that feels a little poignant, and it feels emotional, especially for what predominantly remains a Dance-Pop track. ‘Say Nothing’ shifts away from Straten’s Future Bass origins to acquire a bolder Drum ‘N’ Bass feel, especially in the concluding moments where it feels more aggressively percussive. Behind the decks, he plays with duality in the track by blending dissonant drums with slower chords and elegant vocals in the backdrop, a combination that shouldn’t naturally go together on paper, but it feels pretty cohesive enough due to the Pop feel that lies underneath the leaner, experimental structure. There’s a lot of intricate details in the melting pot of sounds, but it could also fit right in with pop heavyweight DJ’s like Calvin Harris or David Guetta as it feels Pop-oriented and very polished. For me, the ‘Pop Polish’ does feel a little by-the-numbers at times as the chorus doesn’t feel particularly psychedelic or ethereal, however, I feel the production flair would be appealing to many listeners of a more casual variety, although I personally felt it didn’t connect as well as the prior section. That nitpick aside, Straten shows that he’s an excellent producer again by mixing a wide variety of tones together in a way that works to create the overall texture and the songwriting feels more interesting than it may appear on the surface due to the fractured effects on the vocals and the twists on duality as a theme. Appealing to a mainstream audience while experimenting with the tropes of modern Pop, albeit to slightly mixed results on the latter in my opinion, there is laughably an awful lot you could say about the summer-ready ‘Say Nothing’.

If you want to hear ‘The Difference’ that Toro Y Moi made to Flume’s sound, click here:

Flume & Toro Y Moi – ‘The Difference’ (2020) – https://onetrackatatime.home.blog/2020/06/06/todays-track-flume-feat-toro-y-moi-the-difference/

That brings us to the bottom of the page for another 24-hour period! Thank you for your continued support for the site, and please make sure that you join me again for ‘Scuzz Sundays’ tomorrow as we take a listen to something British from the 2000’s that was probably heavy enough to be played on the channel. It comes from an Alternative Rock band from Newcastle who were pretty beloved on the blog when they released their most recent LP ‘Nature Always Wins’ last winter. This time, we’re going to look at the retro incarnation of the band who are led by Paul Smith and their first studio album – ‘A Certain Trigger’ – was nominated for the Mercury Prize in 2005.

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