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Indian E-music – The right mix of Indian Vibes… » 2020 » April » 12

One to watch: Jockstrap

Delivered... Jude Rogers | Scene | Sun 12 Apr 2020 5:30 am

The London-based duo serve up retro-tinged experimental pop in a fantastical second EP

Bands often have names that summon up their sound, but not Jockstrap. Far from a macho, musky proposition, they write fantastically eccentric songs that are often about sex. They consist of Georgia Ellery (vocals/violin) and Taylor Skye (vocals/electronics), who met at London’s Guildhall School of Music in 2016 and formed the band a year later.

Jockstrap’s music is experimental pop cast in a retro sheen; ghosts of bygone bands such as Black Box Recorder and Broadcast can be heard in Ellery’s vocals and lyrics. These songs are more radical, wonky things altogether, however. Melodies warp and distort on naive-sounding analogue synthesisers. Rhythms and arrangements shift constantly. Glimmers of hip-hop, techno and rave also lurk in odd corners.

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Yaeji: What We Drew 우리가 그려왔던 review – eclectic electronica

Delivered... Kitty Empire | Scene | Sun 12 Apr 2020 5:30 am


Billed as a mixtape, Yaeji’s first full-length album is an uncategorisable treat that surfs the cusp of club music, sickly sweet pop and the blithe menace of Boards of Canada. Formerly a graphic artist and house DJ until she turned to music-making, 25-year-old Kathy Yaeji Lee returned to her native New York after a nomadic childhood, much of it spent in South Korea. Her output combines Korean-language lyrics with hip-hop and gossamer electronic soundtracks. This seriously contemporary amalgam evokes K-pop but has more in common with digital auteurs like Grimes.

The production here is both crisp and sinuous; ethereal indeterminacy trades off with crackling attention to detail. It comes as a shock when the vaporous whispers of In the Mirror unexpectedly segue into a drum’n’bass rattle. Texture really matters to Yaeji. Her close-up vocal delivery on glitchy micro-bangers such as When I Grow Up strives for an ASMR tingle. The Th1ng opens with a percussive loop of her mouthing “ck, ck, ck-ck”. And if the lyrical blind spots just add to this record’s inviting opaqueness (at least, to monolingual listeners), it’s very tempting to mumble along to the Korean flows on skewwhiff hip-hop tracks like Money Can’t Buy.

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