Live Review: SOUNDCLOUD WRAP: Naysayer & Gilsun
Naysayer & Gilsun took some time out to show us some of their favourite tracks on Soundcloud this week.
NAYSAYER & GILSUN are probably two of the most interesting characters in Melbourne's electronic music scene. Not only are they hilarious guys (which you can see from their Facebook updates and Instagram feeds), the duo bring forward a blend of visual and audio creating a spectacular live show that needs to be seen to be believed.
The boys have just begun touring again with a show at Sydney's lovely GoodGod Small Club coming up with WORDLIFE and the CLUB MOD Djs, but we asked the boys to put together some tracks they're loving on Soundcloud at the moment because who doesn't love sharing music right?
First we have a few tracks from the lovely Luke:
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Soul Capsule 'Lady Science (NYC Sunrise)'
"When I first head 'Lady Science (NYC Sunrise)' I thought it sounded like background music in a Zamels Jewellery ad. I still sort of think it does, but it's still a masterpiece of a b-side to the dance floor bomb, 'Overcome' by Soul Capsule."
Ssaliva 'Arcadia'
"Anyone who knows me, knows that I love nothing more than fake pan flutes. This track is probably the best example I've found to date. Muffled analogue synths, harmonic bass and that flute…. In fact I might dedicate the rest of this list to my favourite tracks with fake pan flutes in them."
John Talbot 'Depak Ine'
"This is probably one of my favourite tracks of all time, and it only came out in 2011! Music for me is not an emotional thing. I have enough of my own emotions to worry about.
I don't need music having its input, too. Music is cerebral and aesthetic. This track will take you somewhere far, far away. The first time I heard it I was in the pool at a Balinese Villa. Every time I hear it, I am there again. The fake pan flute comes in at around 3:35."
Richie Hawtion 70 Minute Boiler Room DJ Set
"Okay, enough pan flutes. This is Richie Hawtin taking his live set up for a spin in 2011. It really straddles the line sometimes and nearly divulges into absolute cheese. However, It's flipping phenomenal."
Lil Louis And The World 'I Called You (The Conversation)'
"Lil Louis has about five tracks called 'I Called U' and this is by far the best mix. Could it be the only track with a cheering crowd sample in the background that actually works? Either way it changed my mind on sax solos for ever.
Hot tip: Otologic play it just about every time I see them."
And now a few tracks that Sam is digging at the moment:
Ultraista 'Party Line' (Nathan Fake Remix)
"For whatever reason (read: laziness), I've never quite jumped in all the way with Nathan Fake. Everyone tells me I'm an idiot. Having listened to this remix of Ultraista's Party Line a few thousand times I'm beginning to agree with them. Amazing stuff."
Motor City Drum Ensemble 'Send A Prayer Pt. 2'
"There is so much unbridled joy in everything Motor City Drum Ensemble produces. Even when it's an ostensibly 'dark' track, it will still lift me in strange ways. This entire EP was no different, though part two of Send A Prayer stands out for me."
A Number Of Names 'Shari Vari'
"Proto-techno track released on Detroit's Capriccio Records in 1981. Thanks to Simon P King of Radio de Janeiro for the tip on this extremely cool piece of history that flew straight over my head for a long, long time."
Roland Tings 'Tomitas Basement'
"Tings is fast approaching 'National Treasure' status. Look no further than his Club Mod EP for proof of that, though everything in the catalogue so far is great. Apparently there's an LP for Prins Thomas' label on the way, so get acquainted/excited. "
Shunya 'Painted Hearts'
"This is a shameless plug for an EP coming out soon on Bossman Records. Along with being an all-round brilliant dude, Shunya is also one of the most interesting producers I've heard from in a while.
On a superficial level, imagine the combination of a classically trained Indian composer now obsessed with experimental electronic music and beatmaking. Extremely proud to be putting this one out! "
Words by Lauren Payne
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