moozik esca-pes

Having re-entered the world of work and paid jobbism (I found myself walking down the street the other day, seeing everyone coming into life as working beings at 8:00am) it was impossible not to see it as a vast seething time-set operationality existing within the context of the majority of human life and being.  The side effect of being in this space is usually a differentialled amount of capacity to buy things other than life support provisions.

So I bought a record for the first time in probably a year. It was the Kllo album I had been so enamoured of.  It was also buoyed by discovering this very nice new single they’ve released.  Potential.

However, in returning to the Kllo tracks, I’ve developed a real yen for this tune from Backwater, which didn’t hit for a while.  Its in a kind of familiar space of a smooth R&B tune, with its percussive bell melodicity.  But it feels like its chorusline hook is a point of take off, and then in its return to the verse, it shows its effective two up, two down melodic structure (it rises twice, then falls twice) which, with its long middle 8, allows the chorus to punch back in.  That chorus beautifully and suggestively backed by its bass.

There’s also this live version which works in the stripped down setting, downplaying the beat to a backdrop metronomic loop.  The nuance is in the song, which floats along, occasionally misfiring, but with a lot of heart.  Chloe Kaul’s voice is a more delicate instrument than you hear in the recordings, subject to a delightful lightness.

While in the space of live renditions of the electronic, here’s Braids mind blowing early version of Sweet World from 2013.  It came around the same time as songs that became their second album Flourish//Perish, but wasn’t released until 2016’s Companion ep, when its sound was re-tooled towards a more earthy piano wobble.  This airily mercurial version, draped in skittering, fluid interplays, finely weaves its minor electro-fabric and dusted, breathy rhythm breaks.



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