Kona Triangle, Viking Moses & Australian Idol

March 1, 2010 § Leave a comment

I can’t believe I haven’t mentioned Kona Triangle before, ok basically, listen until 2 minutes 10 seconds of Mango Rubicon, and tell me you don’t have the urge to ostentatiously shout some sort of meaningless syllable (eg. Woah, Gargh etc.).

It’s the way it makes you endure the best part of 2 minutes of obscure (yet essential) steel drums/bird song, and then introduces one elephant of a big beat. Hard not to find appealing in my book. I lie, I have technically mentioned these guys before, see, it’s a collaboration of Lone and Keaver & Brause, both of whom I referenced in the Gran Turismo article. They are the real kings of ambient/glitch/IDM/Beats which unfortunately is a rather small spectrum. Other gems from Kona Triangle’s impressive album “Sing a New Sapling into Existence” include ‘Flesh Flowers Ahead’ and ‘Airlock’, but the whole album you can easily get off itunes (that is beside the usual immoral methods).

Yay, as if I was going to forget my usual dosage of some form of pleasant folk:

Something to think about, whether it be necessary or not, is the value of these songs. For example, I find this specimen by Viking Moses relatively invaluable, simply because he generally sounds quite similar to thousands of other artists, I might also say the same for someone like Lisa Mitchell in terms of lacking value, purely because she’s been put together by some businessmen who happened to watch the 2006 season of Australian Idol. For some people, the value of a song is extremely important, and some people might even say that a song’s value becomes much less if it becomes worldwide famous, so much so that they would skip the track or turn off the radio. For me, I would say value is slightly relevant, but not so much that I would skip a song because of it, the simple fact is, I like listening to songs that sound good; even if they have been manufactured by some large American or even sound an exact replica of someone else, I’m sure many other people would agree. Of course, this may be an unnecessary topic.

Whatever I was trying to say, I feel it’s a good enough excuse to upload Lisa Mitchell who has only just hit my social scene here in Germany.

simply because it sounds good.

On one final note, Pitchfork just reviewed Slow Club‘s Yeah so



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