Morning Side, Four Tet

20 minutes of bliss...

Nova, Four Tet + Burial

As a general rule, the combination of two great creative minds, will produce a greater product. This is obviously not an exception. The deep, dark yet mermaid-like voices of Burial blend perfectly with the optimistic beats of Four Tet and we feel that there can be light on the other side of the tunnel.

Villa Nah

It's been a while since last time I came to hear an interesting electronic project. After burning the experimental minimalism era (Pan Sonic, Fennesz, Villalobos and so on), having embraced Folktronica willingly and oblivious to all the criticisms made towards this type of music beginning with the idea that it isn't even a type of music but an invention, because the pleasure of listening to Fridge, the first Four Tet, The Notwist or Tunng is well above silly fights about labels. After having lived the originary and first excitement of The Chemical Brothers, the neverending wait for the releasing of Prodigy's The Fat of the Land, or the breathtaking power of Portishead's, Massive Attack's, the first Morcheeba's and Tricky's trip hop. After everything experienced, the interest for electronic music had diminished as this kind of music had evolved and entered realms I really don't care about, either for its darkness or its noisiness.

It was, thus, a great satisfaction last year's revival of classical electronica. An electronica that kept an eye on the 80s, the synths, the so-called electro, practised by Tarwater, Static and a good amount of present German bands that interact amongst each other creating an odd but interesting web of sounds and characters.
Within this last group, of those that we might call inheritants of Depeche Mode, of those who are looking backwards towards synthetic melodies and modified voices, I've found Villa Nah. Thanks to their recording label site, Sähkö Recordings, we can listen to excerpts from their record Origin released on March 2010.
An experience that I sincerely recommend to everybody. To those who like electronic music and to those who don't. Because good melodies depend on sounds, on the musician's will, on the listener's perception of them, and that is well above the machinery used to achieve them.