Interview to Architecture in Tokyo

Sin categoría

Architecture In Tokyo.

From Vaporwave to nu-disco music, Architecture in Tokyo takes part in a recent wave of electronic music that is constantly evolving. House beats, techno, disco, ambient, it’s a whole mixture that gives birth to quite energetic tracks.

1. You have a new project under the name “Young Muscles”. How is that going to be different from your previous work?

Right now, Young Muscle is a supplementary project to make more non-disco and funk related tracks. Architecture In Tokyo seems to have become synonymous with funk music, and although I admire such a favorable reaction, I want to expand my horizons and branch out into new territories via Young Muscle.

2.All of the visual work for Architecture in Tokyo is amazing, has anyone else collaborated on the making of your videos?

Almost all of the videos that I’ve seen online are fan-made, sans one early on made by the fabulous Terrell Davis!

3How do you choose the images and clips for your tracks?

A lot of the images that I choose for my tracks are a melange of images friends have taken, art that inspires me, and my own handywork too.

4. Genres like vaporwave, seapunk, witch-house, seem to have an expiration date, do you think that’s what makes them work?

I definitely think that the shortness of these “net genres” is what makes them work well, since it seems like their deaths come at the expense of oversaturation with new artists. Most of the artists that pop up from the beginning rounds of these genres have a defined sound that they work with, and it seems to dissipate as the genre progresses.

5.Architecture in Tokyo first started as a vaporwave project, long after vaporwave emerged, this genre captured the mainstream media attention. Do you think that ruined it? What’s your opinion?

I don’t think it ruined it – even though it seems like the mainstream really loves the image of net art that’s associated with vaporwave, it helps that most of (if not all) of vaporwave is too leftfield for the masses to enjoy. I don’t think the same people who love the look of the genre are necessarily the same people who enjoy the experimental plunderphonics that vaporwave is usually associated with.

6. Now that you are working on this new project (Young Muscles), are you going to stop making vaporwave?

I’ve always considered vaporwave to be my “starting point” entering the music world, though I don’t think that I would say that anything past my first album (if you can call it that) is vaporwave. I would still like to incorporate samples into my later works – albeit I don’t think I will return to vaporwave in the sense of all sample-based works. If I do return to samples, I’ll be making something closer to microhouse or leftfield, experiemental electronica.

7. Which genres do you enjoy the most to make a remix?

No genre in particular – with Architecture In Tokyo, it’s almost always classic funk / disco / pop songs, though with Young Muscle, it’s just about anything that strikes me as remix-able!

8.When can we expect to hear your new project finished?

I don’t have a set date right now as to when it will be finished. I’m trying to hone my skills to the best of my ability right now and improve my production skills, so I may stall on putting anything out for a little longer. I can say this though: my tracks will be heavily inspired by classic acid techno, microhouse and bass music.

9. Architecture in Tokyo in 2 words:

Nonstop Party!


Intreviewed by: Enrique Becerra

Reseña: Peaked

Sin categoría

Peaked. Sunshine Faces.

Peaked es el material más reciente de Sunshine Faces, parte de una nueva ola de dream-pop donde los sintetizadores y el reverb es la fórmula indispensable para crear música nostálgica.

Hay algo que es destacable de las nuevas generaciones que crean shoegaze y dream-pop, y es la transparencia en la música. Peaked logra evocar emociones con la simpleza de alguien que hace música desde su habitación, sus canciones en su mayoría no duran más de tres minutos y tienen la progresión necesaria para mantenerte enganchado hasta el final.

En canciones como “Peak City” utilizan guitarras y percusiones alegres que recuerdan a bandas como Twin Peaks. “And Talking To Each Other” es otro de los tracks en este álbum donde se escucha un mejor trabajo de producción con una influencia más experimental y progresión en las percusiones. “Walt Saves The Scene” entra con un pequeño discurso sobre lo que Noah Rawlings transmite en este proyecto: “It’s about the goddamn spirit…” “it’s about what you know deep down in your heart is good” un discurso que es el preámbulo a la pieza que tiene más tintes de un noise digerible.

Conforme avanza el álbum los momentos lo-fi poperos son los que predominan y crean un ambiente introspectivo parecido a lo que bandas como The Radio dept. transmiten. En general es un álbum que demuestra que la música etérea puede transmitir mucho con pocos elementos.