01/09/2016 – The Microphonist-Ace of Hearts (2016)

One half Producer, one half MC The Mircophonist is looking like the complete package



Sometimes reading an artists bio can ruin the listening experience as they generally just list as many bands and musicians that they either think are cool/cult. The expectation is so high after reading a good one that the music can sound flat. However after reading The Microphonist, which I have included here, the music makes more sense and, for once, lives up to the hype:



Inspired by the sounds of J Dilla, Nujabes, Madlib, 9th Wonder, Pete Rock, and DJ Premier, Microphonist first got into beatmaking and Hip-Hop production at the age of 17. It all started on an iPad, a plethora of music-making apps, an ear for sounds and samples and a bit of inspiration. He is best known for his usage of soul and jazz based samples and frequently produces beats either with an iPhone 6, or on a third-generation iPad. His production could range anywhere between Trap-inspired beats with a jazzy tone, or a smooth, soulful boom-bap beat, backed by loud and punchy drums. Take a listen and enjoy the layered gumbo of sounds and samples meshed together to create a kind of music inspired from all forms of Hip-Hop music and sub-genres.



Usually this would sound like someone at a party banging on about what seminal albums tey like, how it’s inspired to the make music and humble bragging about how they make music on in lo-fi studio. However when listen to Microphonist’s latest release, Loveless, you realise that it does live up to this initial. Opening track Ace of Hearts juxtaposes classical samples and hard beats. If you’re thinking of the Ghost Dog soundtrack then you’re on the right tracks. The vocal samples soar, but the beats are dirty and keep everything from getting stagnant. Quest follows this pattern but, as the title suggests, it feels like the start of an adventure. Epic Theme follows on many of the motifs of the first two tracks. Massive vocal samples and huge beats lead the way. Loveless ends with Doom and Meteor. Both of these tracks follow the blueprint set out in the opening salvo, but the melody is ramped up until it totally consumes you.


Overall Loveless is a fun fifteen minutes. A little bit more variation would have been nice, but given its short length, it all feels like one big suite, rather than nine short tracks. Over all it Loveless feels like the soundtrack to a non-existent computer game re-boot of Golden Axe, but if it was set in a post-apocalyptical world. Golden Axe 3000 maybe.














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