I am currently working on two new websites, one which will be tech / tech news / tech review oriented website: http://tech.rekapper.com, and the other being a album and game review oriented website. More news will come soon about the location of these sites and how I will tie it into the Rekapper (network) but I will probably write about in more depth on the tech site. But as visible now all of the current Rekapper and The Hai sites are more dynamic and responsive then ever before mostly due to the help of moving from one server platform to another with a smooth transition and also due to a redesign like the recent mobile first Rekapper Studios site (which still needs a full width media query but that will arrive soon, factoring the primary visitors were mobile users in the first place).
As far as new music goes, I’ve been working on several singles that will hopefully be released throughout the rest of this year, maybe as an ep, but they are primarily in their starting phase right now as I am quite busy trying to locate both an internship/job and dealing with a final quarter of primarily 400 level classes.
Kero or ケロ has released today as a special limited release as part of the 1 year of amazing success of the Erase album of mine. This is what I will be producing for the last few months, just hours and hours of frog recordings, so expect a new album in about a month.
The harsh robotic distortion produced on Maria’s voice by Mattir makes the song the perfect combination of wacky electronic dance sonic character but at the same time, still has that pop character shining out of the depths of the water. Yet this is all coming from the guy who loves Ween’s Pure Guava album. It’s equally a very playful track too. And then you have All Fall Down which has that sonic character of a haunting night at a graveyard which is kind of why it was originally on Hailloween album. All Fall Down also has Water Gun Water Gun Sky Attack featured on it, and his Texan voice is showcased on this scary pop track. Oddly it still seems to have a feel of London Bridges falling down in phrasing and pieces of the lyrics but has it’s own uniqueness that really can’t be described perfectly because it’s just a hair too cheerful, not to factor that I may have changed it’s character a bit in mastering of it to be louder.
Factoring how bad the usual selection for the Grammys across the nominees are due to it being a $100 buy-in process which means only radio tunes ever make it in. Beck’s album Morning Phase is what I would argue to be Beck’s worst album, but that only showcases how bad the rest of the picks from this last year were out of the pop-top 5. If you want to properly enjoy Beck, find a copy of Sea Change in surround as youtube obviously does not do it justice, mostly because this is still by far the best produced surround album and Beck’s best album. With Morning Phase you can pick out the parts where his aim was to sound like the D side of Sea Change but it doesn’t really do any justice.
Looking at the record of the year going to Sam Smith, it’s sort of the same story with Beck, out of the alternatives, it was the best choice, but by far Smith is better featured in other music and not his own.
Best Dance Recording and Best Dance Album categories were also a hilarious joke filled of the most generic music in the past 10 years out of the EDM side, and Aphex Twin’s worst album yet Syro.
Best R&B album probably should have gone to Black Radio 2 by Robert Glasper Experiment especially factoring Black Radio (1) was overall solid album, but Ill leave this to other listeners to argue about but here’s the winner of this year (quite boring and generic) vs Black Radio 2.
Best Improvised Jazz Solo category is clearly a joke if they are picking selections that were not live in the first place, though I do enjoy Chick Corea, Brad Mehldau and Joe Lovano, none of these were by far their best improv solos or even the best of jazz in the last year.