CIENFUEGOS, the upcoming collaborative EP from Conffintexts and Jonny From Space is the dance record you’d expect to come out of Miami. The EP is very techno influenced with minimal sound design, long, repetitive, and morphing tracks, and vocals that focus on a single word per track. However, Miami culture has certainly influenced the sound of CIENFUEGOS, noticeable through Latin dance beats, and some Spanish vocals. The vocals, while sparse, are definitely a focus of the songs, and Coffintexts’ sensual vocal performance is perfect for dark club music. On her Twitter, Coffintexts described CIENFUEGOS, “This next project with Jonny makes me feel like I’m a robot experiencing the island life for the first time. Beep boop but make it sexy.” I can see this EP being very popular among DJs, and I can’t wait to dance to it in the club!

The first track, “Talk to Me” is dancy and brings energy to the start of the album. It features Latin-inspired drums, like much of the album, and the phrase repeated throughout the song is “I like it”. The piece also intersperses in some ghostly moaning tones, and fun whistle sounds. 

“Muy Sexy” reminded me of “Spoonman” by the 90s techno group Underworld. This song is dark, and, like the title says, very sexy. The song starts off with a heavy kick drum and builds up the drum pattern as the song progresses. The song structure has multiple quiet moments that ebb and flow, making “Muy Sexy” very dynamic. 

“TOMA” is bass-heavy and futuristic. It made me think of the theme music for Terran from Starcraft, a reference you’ll only get if you’re a huge dork like me, but it speaks to the sci-fi quality of this song. It features beepy synths and a very minimalistic, rhythm-centered production. I think “TOMA” is very unique in its use of vocals as a rhythm instrument. 

The final and title track, “Cienfuegos” is rhythm-heavy and industrial. The glitchy samples contrast with the sound of a hand drum throughout the song. Coffintexts centers the word, “what” on this song, giving it a very nonchalant attitude.

My only gripe with this EP is that I want to hear more from Coffintexts and Johnny From Space! If you like club music, you’ll be very pleased. Get your dancing shoes on, and prepare for CIENFUEGOS to drop on September 30!

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Memotone’s new album Clever Dog is experimental jazz, and electronic-influenced. The album showcases Memotone’s skill as a multi-instrumentalist. Memotone creates a mysterious world on Clever Dog. Clever Dog’s world seems surreal and aquatic, leading us through songs like “Leagues Under” and “The River Slows to a Stop”.  

Clever Dog opens with “A Shape in the Pond,” a jazzy intro to the album with a tinkly piano line. This song is indicative of the rest of the album, which features experimental interludes between full-length songs.

“Day Slipping” is the next track on the album with a bit more electronic influence while solidly exemplifying jazz conventions. This song is otherworldly and aquatic, and is the real introduction to the world Memotone is building on the album.

“Leagues Under” is one of my favorites on Clever Dog. The variety of instruments and techniques blew me away and is indicative of a genuine love of music. In “Leagues Under” you can hear the use of brushes on cymbals, and what I assume to be sleigh bells and a xylophone. In addition to the interesting instrumentation, “Leagues Under” also focuses on rhythm rather than melody, and is a true exploration of the bounds of music. 

Several of the songs experiment with a sine tone as a backdrop to the other music, namely “The River Slows to a Stop”, “Sporeprint”, and “Desert Zone”. I found this to be a unique and interesting technique as it is common to use a sine wave to amplify the sub-bass of a song, but Memotone is using this technique in an innovative and new way. 

“Lorry Driver” was another standout on this record. Listening to this song made me feel like I was watching an episode of Twin Peaks. Not only was it reminiscent of the music in the show with its jazziness, but it also felt like it was describing the character of the lorry driver referred to in the title.

I also was very intrigued by “Bloose” it builds on itself the way a techno song would – slowly morphing and expanding over time while holding on to the same rhythm – but does not feature a traditional house beat.

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September 10 was an exciting day for Beacon and Kaleida because it was their first return to touring since the start of the COVID-19 pandemic. The bands performed at the intimate Public Records in Brooklyn – a great space for a return to live music. The event was Beacon’s album release show for Along the Lethe and their first show back since playing in Bucharest Romania in 2020. Both Beacon and Kaleida blew the show out of the water with their musical talent and skillful performances.

Kaleida opened, and despite half of the duo not being present due to visa issues, the band was absolutely captivating. Christina Wood, the vocalist, performed with pre-recorded tracks from producer and keyboardist Cicely Goulder. The show opened with abstract projections evoking the moon as Wood took the stage barefoot and draped in white. Her voice was stunning and matched the ethereal quality of the music. With her choreography and dress, it was clear that she was invoking religious iconography, and the music certainly seemed to hold spiritual significance for her. I was particularly reminded of Sufi whirling in which Sufi Dervishes spin for extended periods of time as a form of meditation. Wood also encouraged the crowd to dance, and even made her way to the middle of us to dance and even held my hand at the end of the performance! Finally, a moment that stood out to me was Kaleida’s cover of “99 Luftballons” originally by Nena. It was a very somber and moving cover that gave the room chills.

This show was the first on Beacon’s tour for Along the Lethe which was released just the day before. The crowd was very responsive, and it was obvious that there was much love for Beacon that night. Beacon’s music is dance-inspired but still contemplative with Jacob Gossett on much of the live production and Thomas Mullarney III performing vocals and keys. Mullarney also made use of pedals to loop his vocals, which was fun to watch in real-time. Gossett had samples mapped to a drum pad so he could play the pad to trigger samples which made for a more dynamic performance. 

Beacon’s visuals really stood out and they used projections to create a surreal atmosphere inside of Public records. Their imagery ranged from geometric shapes to undulating smoke, to clips from their music videos. In particular, “Pay my debts” from Along the Lethe had vignettes from its music video. It featured mundane country landscapes and the inside of a farmhouse turned surreal by the presence of a faceless cartoon-like figure. This figure moves through the landscape and as they explore, the landscape contorts around them. The band also showcased their recently released music video for “Harm” during the show.

At the end of the night, Beacon was running out of time and decided to play their whole set instead of leaving and coming back for the encore. They closed the first part of their set with “Marion” and then Mullarney remarked, “If we leave the stage now, we’re probably not gonna be able to come back”. The first song of the would-be encore was a cover of The Pixie’s “Wave of Mutilation”. It was a slowed-down and more atmospheric version than the original, and Beacon brought their unique flavor to the song. For their final song, it was clear that the stress of rushing was affecting Beacon. Mullarney had trouble getting playing the beginning keyboard part of  “Gambler”, but after encouragement from the crowd got back in the groove and gave us a powerful performance. 

The show was certainly a joyful return to touring for both Beacon and Kaleida, as well as a great launch party for Along the Lethe.

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Current Value’s upcoming album, Platinum Scatter, is darkly experimental. While almost entirely instrumental, it is neither pure EDM nor ambient. Platinum Scatter is genre-bending and a little industrial, with influences from both drum and bass and techno. All of these different elements come together to transport you into a dark and mysterious future. 

The first two tracks, “Focus Point” and “Weight” are very rhythm heavy. “Focus Point” uses nontraditional samples instead of a normal drum kit, and “Weight” includes beeps and boops associated with techno music (think Simian Mobile Disco), but incorporates a drum and bass reminiscent drum beat, but with a variation on the kick pattern. 

“Greed”, the only track on Platinum Scatter with vocals, is perhaps one of the more traditional songs on this record. It opens with a vocal line stating, “Greed is good. Greed is right. Greed works.” This song helps set up the dystopia that I feel the album is sucking us into. Additionally, I could see it being a DJ favorite as it has a more conventional house drum pattern and slowly evolves throughout the song.

The title track of Platinum Scatter is overall one of my favorites, and certainly a standout on the album. “Platinum Scatter”, the song, is a drum and bass track and has an intriguing spinning sound design. It is also delightfully dark. I can see why Current Value chose this song to represent the album. 

As the album progresses, the middle tracks get a little less focused on the beats, and a little more focused on creating an emotional soundscape. “Anchor”, “Miles to Go”, and “Eternal Recurrence” are all more ambient and use big pan synths to create an expansive sonic space. 

Platinum Scatter picks the energy up near the end with “Running State” and “Deep Mind”. Both are faster-paced, more dance-centered tracks. “Deep Mind” is another one of my favorites off of the album, and features repetitive, but evolving sections that are very typical of techno, but still exhibit a more DNB-inspired beat. 

Finally, the album closes out with “Procedure”. This track brings us back to the more meditative vibe featured in the middle of the album. It’s an apt ending and gives time for contemplation after the long, dark journey Current Value has taken us on. 

Platinum Scatter is very unique and it was refreshing to listen to something so different and innovative. If you listen to LORN or Dolor you will enjoy this Platinum Scatter, and if you’re more into traditional techno or DNB, I recommend you branch out and give Current Value a try.

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