#sam grawe

Sam Grawe’s Hatchback project is a fantasy panorama of all the music I like most, weaving new age, krautrock, balearic, kosmische, and post-rock into heavenly tapestries that I could float on forever. But the project had been virtually silent since 2013’s incredible Marin County 12” on Adult Contemporary, leaving the world bereft of his soothing sonic meditations until a surprise appearance earlier this year on Cocktail d’Amore’s Iury Lech remix album. There Sam transformed “Posimeridiano” into a blissed out expanse of soft ambient propulsion and shimmering synth starscapes and now, building on the incredible strength of that remix, he has joined Lo Recordings once again for the much awaited third volume of his “California Cosmic Sound” series, Year of the Dragon. As usual, Scott Hirsch and Daniel Judd are along for the ride dropping golden waves of guitar alongside Sam’s cosmic vibrations, with Daniel in particular adding his Sorcerer sunshine to one of the coolest tracks I’ve heard in a long time, “Humidity Report 1976.” Elsewhere we get majestic new age soundscapes and tropical saxophone jams, as well as a stunning journey into the blinding light of climactic post-rock.

Hatchback - Year of the Dragon (Lo Recordings, 2018) The centerpiece of “Evening Mountain” is the repeated appearance of thick and soul melting saxophone lines in the vein of Seahawks, which initially explore soft sauna jazz over cavernous reverb toms, flashes of hot static, and warm throbbing bass currents. Kick drums and splashy white noise cymbals evoke slow motion disco but when the full beat comes in, the vibe skews closer towards crashing and epic funk. The drums also sound double-tracked and with each layer slightly out of phase, creating the effect of colorful percussive tracers flying through the stereo field while an overflowing rainbow of synthesizer arps dances with LSD-soaked chime percolations and cosmic streaks of harmonious light panning back and forth. Towards the end, a searing space sequence overtakes the mix alongside droning angel choirs and the “topographic slide guitar” of Scott Hirsch, which dots the landscape with echoing bell tones and wailing solos, adding a naturalistic romanticism to the polychromatic synth euphoria. And as the track comes to a close, saxophones are smothered in deep space harmonizers while Sam’s squiggling synthesizer madness pushes everything towards some wild tropical landscape of alien colors and psychedelic visions.

“Onarimon” sets the spirit afloat on meditative bass currents while chiming e-pianos sound like drops of golden glowing liquid. Anthemic polysynths are transmuted into new age shimmer and celestial pads move around majestic washes of Manuel Göttshching-style spaceguitar (possibly sourced by Is it Balearic? alumnus Kensuke Saito/9dw, who is credited here with “neon halo guitar”). Arcing layers of distortion wash blissfully over the body and a hovering cloud of synthetic wind and kaleidoscopic feedback glows with warm sunset hues, while the starlight electric piano arpeggios continue to fade in and out of the mix. Gentle acid sequencing forms a sort of bass lullaby as the glorious guitars weave layers of lustrous light and eventually the acid bass is moved up a few octaves, now sounding like an otherworldly harp. Then a throbbing four-four beat emerges while cascading repetitions of twinkling minimalism build us towards a washed out climax wherein the aqueous guitars sing underwater songs of dolphins and whales and kosmische solos bubble up into the starry sky. Ever growing tremolo chords flow out to sea and shooting stars rain down and then morph into brain-piercing streaks of light and there is a spellbinding yet understated back and forth between delay soaked guitar riffs and pillow bass synths as Sam lets the sound layers grow into incandescent clouds of solar spiritual beauty.

In “Humidity Report 1976”, aquamarine synths float alongside lush Rhodes melodies and outerspace sequences over clattering percussion and a building sense of rhythmic urgency. As the cymbals grow in strength and strange layers of sound threaten to overwhelm the mix, Sam and Dan drop us into a gloriously booty-shaking expanse of cosmic magic with perfectly placed claps sitting above a tight funk beat and interstellar synths and guitar arpeggios working in counterpoint to the dreamy e-piano ascents. Then we head into a gorgeous instrumental chorus with soft fusion synths weaving melodies of eternal prog romance over breaky lounge drums…like a soundtrack for fantasy kingdoms in the sky where shimmering light of all colors reflects off of every surface. And when we flash back to the body-moving funk jam, intergalactic synths now solo over thunderous bass waves and the guitars are smeared into blankets of solar flare fuzz. After a few more alternations between the smooth funk groove and the paradise fusion/prog chorus, we transition via a minimal jam of dusty MPC drums, tambourines, bouncing synthbass, and growing layers of dreamland keys into a new melodic world, one where the guitars build into a repetitive refrain of California coastal magic over a grooving ocean of positivity. And the track ends on a “Wish You Were Here” style AM radio cut-out, here joined by chirping crickets and other insect songs.

The introduction of “Year of the Dragon” surrounds piano chords that penetrate to the depths of the heart with aching slide guitars and a loose drum flow accented by sizzling hi-hats and island breeze bongos. The vibe is like riding through spaghetti western expanses on some faraway planet of peace and harmony, especially as e-pianos soaked in vibrato bathe the mind in a calming tropical light. At some point the song switches into a section dominated by spindly acoustic guitar riffing and gliding drumbeats, while hand drums continue adding colorful island wonder and mesmerizing arpeggios and electric guitar leads sweep everything into a triumphant drift. All the while, classical post-rock tremolo picked guitars ebb and flow in the background, building and building as the song progresses towards a soaring climax of overwhelming power, reminding me of nothing so much as Godspeed You Black Emperor!’s epic “BBF3,” only as if blasted into the balearic sunshine. Propulsive and explosive drums and chugging bass hypnotics underly the massive clouds of post-rock beauty as squelching acid synths diffuse through walls of hazy guitar brilliance. And after the drums back away for a celestial passage dominated by liquid six-string ambiance, we build back up for one more ecstatic rush through Sam’s starshine seascape before everything drops away, leaving just sparse piano chords to help the soul return to Earth.

Nike: Better Is Temporary is authored by Sam Grawe; the writer grants exclusive access to Nike's world headquarters, incorporating insights from brand creatives and executives who delve into the company's ethos-driven design formula. Throughout the five-chapter publication, Grawe hones in on key elements that charged Nike's meteoric rise, including performance, brand expression, collaboration, inclusive design, and sustainability.

The book begins with an inside look at Nike's 2017 attempt to achieve the first-ever sub-two-hour marathon — a project that jumpstarted an entirely new approach to Nike design — before concluding with a section dedicated to sustainability, the company's most important goal regarding its present and future strategy.

”I fundamentally believe that the central thesis of Nike is, ‘The best is temporary at best,’" Nike’s Chief Design Officer, John Hoke, said of the book's title. "As soon as the record is made, we look for it to fall; we seek this ever-encroaching ‘What’s possible?’ We think we find the limit—and the limit is then broken. You think it’s unachievable— it’s achievable. Once you get these breakthroughs, there’s a pull to, ‘Okay, what else can you do?’ That’s as true in design and innovation as it is in athletics and sport.”

Nike: Better is Temporary

フュージョンからテクノ･ポップへ、そしてテクノ・ポップからエレクトロ・ファンクへ。さらにはアナログとデジタルが交錯し、スパークすることでイノヴェイティヴな音楽が生まれた70年代後期から80年代中期の音楽シーンに対する尽きない憧憬。無邪気な未来志向がまぶしい映画『トロン』に象徴されるレトロなデジタル・アート、YMOがそうであったように、オリエンタリズムとモダニズムを同居させたジャパニーズ・カルチャーの折衷性……ある種のエキゾチズムを喚起させるそういった要素をブリージンなトラックに溶かし込むことで、ウェストコースト・オリジナルなバレアリック感覚を育んできたサンフランシスコのプロデューサー・デュオ、ウィンドサーフ。それぞれ、ハッチバック、ソーサラーというソロ・プロジェクトでも素晴らしい作品を発表しているサム・グロウとダン・ジャッドが、2008年の『coastlines』から4年振りとなるアルバム『Weird Energy』をここに完成させた。

モダン・デザイン＆アーキテクチャーを扱う『ドウェル』誌の元編集長にして、ヴィンテージ・シンセサイザーのコレクター、さらにはジャパニーズ・フュージョンのマニアでもあるセンスとデザインの人、サム。そして、ファイストとも縁が深いソフトロック・バンド、コール＆レスポンスの元メンバーにして、2011年の結成後すぐにNMEが取り上げたコズミック・ポップ・バンド、ショックの一員でもあるバンド畑出身のダン。この作品は、そんな彼らの異なるバックグラウンドが鮮やかなヴィジュアル・イメージを喚起する洗練されたサウンド・デザインと甘美なメロディラインや生楽器を交えたアレンジメントとなって響き合い、まばゆい光を放っている。収録されているのは、2009年にYouTubeで公開された自作ミュージック・ビデオが大きな話題になり、その後、長らくリリースが待望されていた夏のフロア・アンセム「Weird Energy」、米国の音楽誌「FADER」のレーベルより7インチでリリースされたメロウ・チルアウトな「Vapour Trails」を含む珠玉の6曲。ビーチ・カルチャーとサイケデリック・カルチャーのクロスポイントである米国西海岸らしいオープンエアのアトモスフィアをたっぷりふくんだ本作は、日差しがいっぱいに降り注ぐこれからの季節にその魅力が最大限に引き出されることになるはずだ。

From fusion to techno-pop, and techno-pop to electro-funk: everlasting longing to the late 70s to mid 80s innovative music, full of analogue and digital sounds sparking and crossing over. Symbolized by the retro-futuristic digital art of innocent future-oriented movies like "TRON", and as YMO was, Japanese culture's eclecticness mixing oriental and modern flavors. Mixing some sort of exotic flavors into breezin' tracks, San Francisco's producer duo Windsurf came up with their original west coast Balearic sound. Sam Grawe aka Hatchback and Daniel Judd aka Sorcerer, put together coastlines in 2008, and after 4 years they're back with a new album "Weird Energy".

Sam is the kind of guy that has that sense and knowledge of design, as he was the former editor-in-chief of "dwell" magazine specialized in modern design & architecture, a vintage synthesizer collector, and also a huge fan of Japanese fusion music. Dan was a former member of a soft rock band Call And Response that was close relationship with Feist, and now a member of a cosmic pop band SHOCK which was featured on NME right after they formed the band in 2011. This album crosses over their different back ground and stimulates a vivid visual image, from the sophisticated sound design, luscious melodies, and live instruments well arranged resonating and shedding bright light. Including 6 tracks, featuring long waited 'Weird Energy' a definite summer anthem which spread out with their self made video on Youtube back in 2009, and a mellow chill out tune 'Vapour Trails' which was released as a 7 inch from the FADER magazine label. Packaging the west coast beach culture and psychedelic culture's open air atmosphere, Windsurf will appeal in the bright sunny season coming soon.

ビーチ・カルチャーとサイケデリック・カルチャーのクロスポイントである米国西海岸。なかでも、近年のサンフランシスコではエレクトロニック・ミュージック・シーンの充実もあって、ウェストコースト・バレアリックとでもいうべき新種のクロスオーバー・ミュージックが続々と誕生しつつある。その先駆的なユニットがサム・グロウとダン・ジャッドという2人のプロデューサーからなるウィンドサーフだ。それぞれがハッチバック、ソーサラーというソロ・プロジェクトでも作品を発表している彼らは、2008年にノルウェーのディスコ・プロデューサー/DJのプリンス・トーマス主宰のレーベル、Internasjonalよりアルバム『coastlines』を発表。アナログとデジタルを行き来しながら、シンセサイザーやギターなどが織りなす美しいレイヤーと空間を活かしたリズムトラックから生み出される彼らのメロウ・チルアウト、オーシャニックなダンス・トラックは世界的に高く評価された。

そんな彼らの3年振りとなる新作「Weird Energy」は、2009年にYouTubeで公開された自作ミュージック・ビデオが大きな話題になり、その後、長らくリリースが待望されていた1曲。アシッドなシークエンスと波打つシンセサイザーをフィーチャーしたスペーシーなエレクトロ・ファンクが高度を上げながらフュージョン・ディスコへと展開する2012年屈指のサマー・アンセムだ。また、この作品は夏にリリースを控えた新作アルバムからの先行シングルでもあり、ウィンドサーフのめざましい進化が実感出来る。

そして、2曲のリミックスを手がけるのは、ハイ・クオリティなエレクトリック・フュージョン/ブギーが海外でも高く評価され、2009年にいち早くウィンドサーフの来日公演を実現させた斉藤健介のソロ・プロジェクト、9dw。そして、昨年リリースのシングル「Feel It In Your Body/Heatache」がアンドリュー・ウェザオールとデヴィッド・マンキューソにピックアップされた川崎在住の英国人プロデューサー、マックス・エッサ。中盤にトリッピーなギター・ソロをフィーチャーした9dwリミックスはボトムを増強し、よりストイックに。マックス・エッサによるリミックスは、オリジナルの洗練されたメロディ・ラインを活かしながらドープに。どちらもダンス・フロアで大いに活躍しそうな素晴らしいリミックスに仕上がっている。

West coast in US is a place where the beach culture and psychedelic culture crosses. Especially in the past few years, San Francisco has enhanced in the electronic music scene and has grown a new crossover sound that can be called something as West coast Balearic sound. One of the most pioneering units of this movement is Windsurf: formed by two producers, Sam Grawe and Daniel Judd. Each of them have their solo projects, Sam as Hatchback and Daniel as Sorcerer, but in 2008 they got together and released their first album coastlines from Norway's disco producer/DJ: Prince Thomas's label Internasjonal. Going back and forth from analogue to digital, beautiful layers of synth, guitars and spaced out rhythm tracks resonate, and creating mellow chill out oceanic dance music got good attention all over the world. 

'Weird Energy' with a self made video spread out widely via YouTube in 2009, and it is finally coming out after three years. Featuring acidy sequence and rippling synth sounds, the spacey electro-funk slowly expands into a fusion-disco sound as a summer anthem in 2012. You can hear the significant evolution in their sound, and this will be the lead single from their up coming album this summer.

Also there are two remixes by Kensuke Saito's solo project 9dw and Max Essa. 9dw is known for it's quality electric fusion/boogie sound worldwide, and curating Windsurf's Japan Tour in 2009. 9dw remix has a trippy guitar solo and a powerful bottom for the dance floor. Kawasaki(Japan) based Max Essa, whose single "Feel It In Your Body / Heartache" being picked up by the likes of Andrew Weatherall and David Mancuso came out with a dope remix featuring the original refined melody. Both remixes will surely be a banger on the floor.