New Spotify playlist is up! A few months back we started a series of playlist to share a rotating lists of artists that we love. “LAZER DAYS” is the newest entry. This is a collection of some of our favorite electronic, synthwave, and other related groups. Follow us on Spotify and scroll to the bottom of our page to find (and follow) this playlist. #synthwave #darkwave #electronicmusic #chillwave #playlist #spotifyplaylist #newmusic #metavari #survive #strangerthings #newterrors #chromatics #hyboria #desire #wojciechgolczewski #home #ellipsism #yeabig #glasscandy #johnmaus #symmetry https://www.instagram.com/p/B4V1-VLpt9_/?igshid=13eerr69o71v5
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Nate Utesch has been the leader and sole constant in the electronic band Metavari since its inception back in 2008. He’s cultivated the sound and aesthetic from the sprawling vastness of post-rock to a much tighter electronic feel quite seamlessly. If you listen to early Metavari, say something like Be One of Us and Hear No Noise from 2009, and compare it to 2015s Moonlessyou will undoubtedly…
I made this promo video for Artlink’s new series Why I Create, which I’m also producing under my new production company Space Owl! Productions.
Short videos highlighting the diverse artists making art in Fort Wayne and Northeast Indiana. Each documentary style video focuses on a different artist, their process and their stories.
Artlink is a non-profit gallery and arts advocacy organization in Fort Wayne Indiana.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Five Songs : New Sounds For Your Next Great Mixtape
Five Songs : New Sounds For Your Next Great Mixtape
I know, you’re thinking to yourself, “Man, I sure wish someone would tell me what’s great and what I should be shoving in my ear holes right about now.” Well guess what, I’m here to help you out.
Once in a while it’s nice to just talk about a song. I’m normally spreading the gospel of the LP. The holy sounds of gatefold sleeves, CD inserts, and the glorious Side A/B adventures. But I’ll admit I…
Nathaniel David Utesch leads the electronic ambient outfit Metavari out of the unlikely hub of Fort Wayne, Indiana. His latest, Soft Continuum, revisits material from a 2009 album Be One of Us and Hear No Noise, about the life cycle of stars. Jennifer Kelly reviewed it for Dusted, observing, “These cuts are precise and richly textured, reminiscent of Jon Hopkins’ cosmic work. But they also have a positive momentum, a sense of drive and purpose that links them to rave-y, dance electronics artists like Fuck Buttons.” Here Nathaniel highlights the 1980s and 1990s synthetic library music that inspires him.
The largely forgotten catalog of library music in the late 1980s, early 1990s, is such a treasure trove of inspiration. FM Synthesis at the top of its game. It's almost impossible to remove a lens of New Age nostalgia from the fragile sounds that were utilized in this short window of electronic music history. KPM Music is such a profound resource when in need of inspiration for a jarring left turn or an arpeggiated sequence that my brain just can’t wrap itself around without a nudge. Here are ten of my most favorite albums from the KPM Music library in no particular order.
David Vorhaus — “Mind Games,” 1990
Pans, flutes and chiffs for days. And yet that's only a fraction of the remarkably wild experimentation Vorhaus takes you through on this 1 hour long collection of stock music.
Keith Mansfield — Circles, 1985
Keith is one of the best there is. Circles is 26 drumless tracks of abstract sequencing and fantasy soundscapes yet drenched in melody.
Richard Myhill — “Secrets,” 1989
“Secrets” is such a great hybrid of electronic, acoustic and new age music.
Tobias Becker — Science and Beyond 1, 1993
What’s most likely meant to be an exhaustive exploration of “space sound effects," ends up playing through like some long lost hyperreality vaporwave relic.
Nicolo Bardoni, Stephen Warr — Music Beds 2, 1993
The title warns you it’s gonna span a serious width. Does not disappoint.
David Hewson — Research and Development Part 2, 1994
I have “Crystal Clear” loaded up in my live rig in the event something goes wrong and I need to fill the air while troubleshooting. David Hewson to set the tone during a stressful recalibration.
Keith Mansfield — Positive Solutions, 1993
Percussive staccato and howling digital guitars. Put that on my epitaph.
Bernd Roger — “Visions,” 1991
Will forever love the failed moments in 1990s synthesis where something wholly organic is attempting to be recreated. The fruits of those failures have given us so much wild intonation that we couldn’t have gotten otherwise.
Milan Pilar — “Space and Underwater,” 1993
Wonderfully captures the horrifying, yet still beauty of deep sea. Coincidentally plays through very similar to SEGA’s Ecco the Dolphin soundtrack.
Nicolo Bardoni, Stephen Warr — The Sure Thing, 1990
Quite possibly the best things about this entire library are Bardoni and Warr’s last ten tracks on this record. Labeled “Electric Logo 1-10” as ten powerhouse vignettes of tiny magic.
Metavari — Soft Continuum (Vital Shores Electronic Music Company)
Soft Continuum (Studies Vol.2) by Metavari
Human voices can be detected in just a few tracks of Soft Continuum, an intricate, synth-driven symphony: at the beginning of “Kings Die Like Other Men (Rediscovery),” when intelligible language gradually slips beneath a tide of woozy electronics; in “Drift,” when altered voices waft over pointillist, stop-start glitchy beats; and near the ends of “Flux” and “Bloom,” when staticky spoken word again sinks below a liquid swell of elongated electronic tones. In between, the human imprint comes indirectly, in sprightly melodies and stuttering beats, in sonic textures that are a little too pretty to be real, chopped into irregular pieces and left to glow and sparkle in an alternate space.
Soft Continuum is, in some ways, a retrospective for Metavari’s Nathaniel David Utesch. The composer lost his long-time musical collaborator Ty Brinneman to cancer in 2020, setting off a bout of reflection over his synth/new age project’s past. Soft Continuum reconfigures compositions from Metavari’s 2009 album Be One of Us and Hear No Noise in bright, rhythmic electronics.Â
A large majority of these tracks have a conceptual arc, tracing the death and rebirth of a star. You know this only because Utesch tells you so, however. The music abstracts themes of collapse and regeneration into bright bars of sound, dissolving and decaying at their edges. Still, there’s a definite progression to the three “Arc” cuts, a sense of time and distance and change, as the music erodes to hiss and whoosh, then reforms slowly.Â
These cuts are precise and richly textured, reminiscent of Jon Hopkins’ cosmic work. But they also have a positive momentum, a sense of drive and purpose that links them to rave-y, dance electronics artists like Fuck Buttons. The artist incorporates a range of live instruments, including heavily reverbed drums, bass and keyboards, into his pieces, but these organic sounds take a secondary role. The main action is in intricate overlayers of synth, MIDI and keyboard that interact in fractal complexity, as on the Tangerine Dream-ish “Mirrored Dance.”Â
Not having heard the 2009 record — it’s pre-bandcamp — I can’t really tell you how much Utesch altered the music or whether the current iteration is better or worse than the original. It is entirely engrossing, however, in this latter version, like a sci fi movie created by extraterrestrials, glittering, abstract and inscrutable.Â