PlayGame – Forbidden EP
Posted by tipkin
.jpg "PlayGame - Forbidden EP")
Is it just me or there's a new wave of interest towards trip-hop these days? New websites emerge out of the blue (like this self-proclaimed "#1 source of Trip-Hop music" - we all know ho's #1 source of Trip-Hop music 
) every other musician is trying to squeeze in "elements of trip-hop" in their portfolio one way or the other. It's getting harder and harder for me to find my way in this ocean of kindatrip-hop and almostrip-hop, and even the actual straight-up trip-hop, which is also being produced in copious amounts. Honestly, I'm not even trying anymore, and in choosing releases for reviews I follow two criteria - releases provided by friends and releases that are so outstanding that should not be left without attention. Ideally, those two parameters merge into one. I cannot say that it happened with this one. But it was close. I'll explain - Forbidden EP from PlayGame (Yekaterinburg, Russia) is an excellent record with many things going for it, some of which I'll mention later on. I didn't regret getting it into my hands and writing this review with a great pleasure. But. It this wasn't a release by my good friends Ru Trip Community, would it make it onto the pages of my blog? Not likely. In part because, yes, simply genre-wise it's rather a rock record. And this is, strangely enough, the biggest compliment. It's very refreshing to hear among all this total "indiocy" (just came up with this myself) with shriek-y genderless vocalists and barely audible noises that serve as music, a band with a powerful vocal and musicians that obviously know what they're doing, while uncompromisingly staying clear from mainstream (don't get me wrong - most of the songs from the EP would sound great on the radio, the thing is that there is no chance in hell any of them would ever end up on the modern bought-and-sold-radio, and that doesn't seem to bother the band). Uncompromising would probably be the main epithet that I would use to describe Forbidden EP. It's an honest and clear album, it's not a political statement, it's a personal statement of a human being and an artist, and just try to argue that this is less important in art. It's a dangerous statement - it divides listeners into two categories - ones who understand and share everything that the band is trying to say, every note, every line, and the ones who "don't get it". And the first category will be much smaller because of how intimate PlayGame's music is. But I suspect that this doesn't bother the musicians, they're looking for listeners who will become friends. It's not a complaint (even though I'd like to hear more wordplay instead of playing with words in the lyrics), my main complaint is the following, - the keyboards sometimes (pretty often actually) turn from the most interesting and original element of PlayGame's music into this ear-depressing irritant. The track "Shiver" was among my favorites on RTC compilation Letters exactly due to the killer keyboard parts that took the track to a whole new level. But on the EP version of the track keyboards dominate, they're everywhere and, as Mayakovsky said are "stepping on their own song's throat". I do realize that I sound like a grumpy old lady and in general, with my abnormal love for minimalism it was a misfortune for Forbidden to even get into my hands, but this is my opinion and wish to the band - to find this happy medium where the abundance of elements is not preventing the listener from enjoying every each one of them separately, because PlayGame does have lots of those elements and all of them are very enjoyable.
You can download the release for free from PlayGame's official site.
Sin Smiley (Los Angeles, USA)
Posted by tipkin
It's been a while since we FEA(U)TURE'd anyone. But don't you dare thinking that I have abandoned this category, - I still find it one the most (if not the most) important and interesting sides of this project. It's just there's not enough time for anything anymore. "Thanks" to that, while this FEA(U)TURE was in the works, the musician moved from the far Khabarovsk (Russia) to closer (to me) Los Angeles, CA. But let him talk about it (among many other things) himself.
tipkin - Traditionally, let's start with some history, - when and how did everything start, where did the name come from? Where is the project currently located?
Sin Smiley - My solo career began (I remember it as if it was yesterday) in the Summer of 2009. At that moment our beloved pop-punk band 2day, still existed, in which I was occupying the position of lead-guitarist. However, constant disagreements and schedule conflicts have done it, - the band was still alive but didn't show any activity. It was a pity, - we were getting ready for that season, worked on and already started rehearsing the new material, and then all of a sudden that was it, - no calls to each other, conversations along the lines of "Hi-Bye, how-are-you-good-how-are-you" - and nothing more. I'm sure that that moment affected all of us, I in particular first started looking into electronica and modern classical music, tried working with FL-studio... Gradually something started to appear and I decided to give "to the people" a little demo-album under the moniker Sin Smiley (Sin - my ancient internet nickname, going back to early 2000's). To be honest, those "people" were the only one to hear that "lil' demo" - it was too embarrassing to show such crude piece to the wide audience. But be that as it may, this point can be considered the beginning of Sin Smiley.
Currently I live in Los Angeles, CA.
t. - My understanding is that (before moving to the US) you used to be the only representation of the trip-hop movement in the region. Where did you find support/listeners/critics for your music?
S.S. - I Khabarovsk region (just like in Russia in general) trip-hop and modern classical aren't very popular, but if you manage to find listeners, they will continue to listen to it almost throughout their entire lives, no other style of music is capable of giving such feelings as those and their other derivatives, it's like something very close to your soul... Later I was able to get hooked on those (it sounds like a drug dealer's monologue) the beatmaker 9Crime, whom we are friends with since college, and with him we released our first more or less listenable-sounding disc Fyrsta ("first" - Icelandic).
t. - What are your main sources of inspiration? Are there any particular musicians/bands that influenced your style?
S.S. - Our snowy winter, gloomy weather that takes up most of the time. Moments when you're not doing anything but lying and thinking about everything and nothing in particular, - I source inspiration from everything that cennot even provide it for me. I don't sit down to write music just "because I must", this how things come out that critics usually pick on. From the artists I would note the sensei Akira Yamaoka, Wax Tailor, Yiruma, Rowan Converse, Alexandre Desplat, Emancipator (cannot do without Douglas), Arms & Sleepers, Sigur Ros, God Is An Astronaut, Normand Corbeil, as well as the classics of the solo piano genre.
t. - Speaking of style - how would you define it? What is trip-hop to you?
S.S. - My trip-hop is mutating with every new track, the boundaries are getting washed out more, but it turns out to be more interesting without them, - for example when I decided to dilute main compositions on Streets Of Night with piano sketches and reprises. I would describe it as "non-Bristol", but similar sound with significant portion of classical sketches and interesting motions.
New release – Unshaped – Lifestreaming EP [TTRR008]
Posted by tipkin
TTRR is alive and well, thank you very much for asking! We are VERY happy to present this new release, because this is how the music on it is - happy. No, it isn't some upbeat-dance-techno-club kind of happy, it is a downtempo music and happiness in it comes from lightness, airiness (but not fluffiness - it never gets syrupy and sticky) - well, I guess that little birdie in the sky on the cover says it all. The record is very like that - like flying, like being able to look at familiar things from a very different perspective. Yes the problems are still there (and there are darker undertones in Lifestreaming, check out "Musicbox" for example), but they seem small and insignificant compared to the beauty and power of the world that surrounds us and the world that is hidden inside of us, which most definitely deserves a better, longer and more hopeful and optimistic look as well, no matter how dark and hopeless it may seem sometimes. Unshaped creates melodies that are actually shaped very well, and every each one progresses letting us discover new and different sides and details.
Get your copy of Unshaped - Lifestreaming EP on Bandcamp or Mininova (if you prefer torrents), as well as Juno Download (if you want to support the talent).
Eat2Pills podcast featuring VFSix
Posted by tipkin
Our friends from Ru Trip Community are keeping busy. Not only are they now a fully-functioning netlabel with the 5th release on its way (I've listened to the sampler and it's pretty damn tasty), they joined forces with a musician from Samara xpand tm [xd tm] to create Eat2Pills podcast. Episodes of Eat2Pills (the 10th just came out yesterday) feature tastefully selected and thematically cohesive tracks from various genres of electronica. The selection of music based on popularity or commercial success, purely on quality of music, so if want to discover something new (or just want to enjoy good tunes) - go ahead and Eat2Pills!
The latest episode of the podcast features 14 tracks by one of the leading Russian trip-hop projects -VFSix (which appeared on the pages of trippin' the rift in the past). Enjoy!
Nightlife Of Our Books – Life Is
Posted by tipkin
I'm not entirely sure why I even bother translating this review into English. Nightlife Of Our Books (Ночная Жизнь Наших Книг) is such a uniquely Russian project that hardly any non-Russian speaker would be able to even remotely enjoy their music. It's hardcore poetry, not even pretending to be singing or rap, combined with ambient strings and piano with gentle but firm drums and occasional electronic samples (a very strange direction that quite a few electronica bands in ex-USSR are taking and in which NOOB to my knowledge have advanced the most). It's just that I have some sort of sentimental connection with this group of young people, I sincerely believe in what they do and want their music to get as much exposure as possible. No, it is not trip-hop, but as long as it's being classified as such due to some purely formal criteria, I'll be happy to write about it, for it makes me feel like some sort of adventurous explorer. And I think that their music is full of desire to create for the sake of creating, but at the same time it has none of that self-centered don't-give-a-fuck attitude towards listeners that most of the experimental electronica tends to show. NOOB clearly understand just how does their music sound, they're gentle with it but, even compared to their debut release they're almost rid of that unnecessary shyness in choosing the means of getting their material to the listeners. Life Is - is a very fitting title for the collective's sophomore release. They felt the firm ground underneath their feet, they got some support from the listeners, and now they are breathing in deeply, straightening their wings and leaving the tight nest of teenage angst and naive maximalism which were breaking through here and there in the debut just like pubescent acne. There is much less self-digging and dark confined despair, but they aren't trying to look away from everyday problems, which are a part of this very life, that is. And while NOOB's "love songs" are still more like the ideas of love ("Jim's Little Cafe", "To Part") than its real life incarnations (and thank god for that), their social-oriented songs reflect the grown-up anger and readiness to fight those forces that seem so overpowering earlier. As far as technical side goes, the band is also on the right path. If their debut drew my attention mostly with the uniqueness of the concept, Life Is shows that NOOB is not "poetry with musical accompaniment", but an actual music collective able to create well-balanced compositions where poetry has the lead, sure, but not more than vocals in any decent band that has a lead singer, and can step back if a song requires so. Wonderful "To Decide" is a good example, the words here are just another instrument in creating the needed atmosphere, and strings and piano are pushing their way up until the amazingly unexpected electronic finale. Or "To Stay" - a great ambient track, which would probably sound just as good without any vocals. And that might be my wish for NOOB's upcoming works, - I think that they proved their ability to write deep intelligent poetry and that they have enough skills to create a concept album (Life Is undoubtedly is one), so instrumental tracks would maybe help to draw some attention to the just the music side of their work without hurting the integrity of their style.
Here, challenge yourself, download their album, listen to it and tell me what you think.
R.I.Y.L. rain
personal favs: "To Decide", "To Stay", "[They Are] Playing"
tipkin's rating
Ru Trip Community – Letters
Posted by tipkin
There aren't that many things that are awaited by me these days with such anticipation as new Ru Trip Community compilations. RTC has by now established a considerable status among trip-hop fans and musicians related to the genre, so they would have to try really hard to release a bad compilation, for at this point in their work the issue is not in getting enough submissions, it is in choosing the best from the many. Or, as with the current release, the most fitting the concept. Yes, Letters is a concept compilation, where the necessary criterion was the presence of vocals on the track. Great idea, isn't it? Letters, i.e. words are written to someone and addressed to someone. And music could be anything that is related to those words - photographs, memories, dreams... Did I like this compilation as much as the previous one? I can't say that i did. Is it not as good? It's fantastic. Like I said, RTC is dealing with the quality and very inspired material. But I'm getting ahead of myself.
Let's talk about something less pleasant first, especially considering that there's just a tiny bit of it. Why did I, usually a sucker for vocals in trip-hop, suddenly craved instrumental tracks? It's not that vocals are too similar, au contraire they are represented in the most wide variety, genre-wise (from the traditional female to rap and spoken word) and language-wise (besides the obvious Russian and wildly diverse, as far as pronunciation and grammar goes, English there's also racy Ukrainian from Леся feat. Самата and The Limited Edition and even somewhat shy French, again from The Limited Edition). I think the issue here is that while previous compilation showed how diverse trip-hop can be, Letters bring a slightly different thought to mind, - whatever could be called "trip-hop" if it meets certain criteria, the main being, yes, the vocals. There are tracks on the album from the notorious post-rock territory, there are songs that didn't go far from that odd genre of "Russian alternative" and there are songs that bring to mind that nasty little word 'fusion'. The desire of the authors to reflect all the shades in the spectrum is understandable and will be surely appreciated by many listeners, but the more quality material there is to choose from, the more important becomes the need to leave some of it "on the cutting floor" in order to make the compilations more compact and cohesive.
But this is just nit-picking of an old fart, let's talk about the good, and even the great, of which there is luckily much much more. The record has a few simply exquisite tracks, true discoveries - one of the main reasons I always wait for the new compilations so eagerly. Escome feat. Flyfoxmusic - "I Was Made For You" - absolutely out-of-this-world trip-hop ballad that doesn't have anything unnecessary - enchanting voice, beautiful piano and structure-holding beat (plus various appropriate inserts that arent cluttering the song). Despite some upsetting mistakes in English this track finds the perfect balance in delicate minimalism that reminded me of Antenne resulting in a powerful sound that in its effect could be put next to such giants as "Nothing Compares 2 U". PlayGame - "Shiver" - an undoubted hit, with all the positive and negative aspects of the term, - ready for the radio, to listen again and again until it makes you sick (which won't happen soon). Special thanks to the keyboardist who "makes" the track filling it with with 70's psychedelic atmosphere. Plat-On - "Burn" - a luxurious track that delivers this combination of cold, ruthless electronica and the vocals that are sort of languishing in captivity but not really trying to break free either, - which I'm always trying to find but rarely do. Straight to Repeat. Another discovery - Леся feat. Самата and The Limited Edition - "Там за рiкою" - it's like a drink of cold spring water on hot summer day. And it's not just due to the exotic Ukrainian vocals (even though they certainly do add some racy cuteness to the song), but in general due to the fresh construction of the track, which came out so... three-dimensional? I just want to hold in in my hands and look at it from every angle. And then there is Ломаные Плоскости (Broken Planes) - "Играй" ("Play") - a perfect conclusion for the compilation, more like meaningful suspension points than a sprawling confident signature. I'm glad to see that new unique sub-genre - how should I call it - 'poetic trip-hop'? - becoming more popular.
Ночная Жизнь Наших Книг (Nightlife Of Our Books) (Nizhny Novgorod, Russia)
Posted by tipkin
To be honest, when I first started listening to Ночная Жизнь Наших Книг (Nightlife Of Our Books), my hand instinctively went to the STOP button. "Eh, another amateur crap," - I thought, - "another inarticulate self-indulgent mumbling on top of handicraft almost-music". But something stopped my hand, some unknown energy, or actually very well known - the energy of NOOB's music. The more I listened, the more its mysterious atmosphere filled me, the more I understood how terribly wrong my first impression really was. If there is an indulgence in their work, it isn't in any way "self-" - it's indulgence in poetry, in the surrounding world in its every manifestation, and in people - which is an especially strange phenomenon. And the minimalism in the arrangements is actually very subtle and thoughtful - instruments are not dominating or submitting to vocals, but carry on a live and harmonious dialog. NOOB's music reminded me, an early 90's kid, of that "Russian rock" which is so trendy to dump all kinds of crap on nowadays, but which, despite its technical imperfections had a soul and desire to actually say something rather than make a quick buck with a loud hit. I asked the guys a few questions about their project.
tipkin - As usual let's start with a bio - who are you, where are you from and where did such name come from?
NOOB - In English language there is a word 'Serendipity'. One of its definitions is "discovery made without deliberate actions". This exact word perfectly describes the formation and development of Nightlife Of Our Books. But if you want to go into details, it all began in a provincial town Kstovo on the Volga river, when certain multi-instrumentalist Daniil Rubtsov (Даниил Рубцов) one day invited his friend, an aspiring guitarist and poet Roman Bizyaev (Роман Бизяев), to just for the sake of it try and experiment with recording some ambient music at home, just for themselves. Then the name came about. Have you ever fantasized about what the characters of your favorite books are up to when you ignore their drama and/or happiness filled lives? And then there was a show of the band Записки Неизвестного (Notes Of an Unknown). They left a deep impression in guys' minds and they decided to just for the sake of it, for themselves, try to work in the genre of abstract hip-hop. The recipe turned out to be simple - guys just combined the accumulated Daniil's keyboard pieces and Roman's poetic exercises, simply laying them on top of uncomplicated trop-hop betas. This is exactly how in the course of a few weeks 11 songs were recorded, that together make one story called Твоя Ночь. Моё Утро (Your Night. My Day). After we uploaded the first album on the internet, the duo was joined by their friend Roman Beloglazov (Роман Белоглазов), who became a permanent member of the group. In this exact lineup - Daniil, Roman and Roman, based on the good and bad sides of the first album, guys started recording their second album Жизнь Есть (Life Is).
t. - Even based on online comments I can see that you're being categorized as trip-hop "just because". What is trip-hop to you and is the genre identification of any importance to you at all?
NOOB - NOOB never defined themselves as any kind of genre. It isn't an attempt to escape everything old and reinvent the wheel, it's just no one ever really thought hard about (other than times when we had to submit the album to websites and online forums).
But trip-hop had a very serious influence on all of us, especially such projects as Portishead, Arms And Sleepers and Tricky. By the way, "just because" NOOB is also being categorized as post-rock (it's hard to overvalue the influence of the Icelanders Sigur Ros on us) and abstract hip-hop (it sure is hard to compare Bizyaev's amateur melodeclamation with rapping, but what else would you call music that is based mostly on modern poetry?).
t. - How is the creative process distributed within the group? Does it ever happen that a song is radically changed from the moment of the author's idea under the influence of collective creativity?
NOOB - In the collective there is no such things as author's idea. The entire creative process is based on the formula "1+1=3", where the combined work of several talents results in something bigger than the sum of those individual talents. There three of us, each one comes up with his own part and combined and complementing each other these three pieces become something ready and finished...
But in general we have a healthy anarchy - no one is directing what every one should do, but everyone knows a priori what their goal is at the moment.
UCHU – Shamen Funk
Posted by tipkin
Reviewing works by people you know personally is both joyful and difficult. Joyful, because it makes me happy that I actually have a direct connection with such talented people and can chat to them online and say "what's up" without submitting an official request first. Difficult, because what if I don't like their new release? I have no problem ripping Tricky or Morcheeba a new one, but the thought of writing a review that the record's creator is going to actually read makes me want to throw up a little. No pressure, right? Luckily, I wasn't lying when I said "talented" people. The only way new release by UCHU (aka Pavel Burylichev, whom I FEA(U)TURED a little while ago) would make you want to throw up would be from dancing to it right after eating a heavy dinner. So, here's the warning: Shamen Funk will make you want to shake your curvy parts. Even if you're listening to it by yourself. And even if you don't have any curvy parts. Maybe it's even better if you're listening to it by yourself, because the kind of moves the album will make you produce will not be likely appreciated by a regular club-goer. Unless the club is in the depth of Amazon Rainforest. Yes, as the cover suggests, it's very "tribal". Or "ethnic", whatever you wanna call it. But I put it all in quotation marks, because saying that would just shove Shamen Funk into this vast swamp of "world music" and deprive it of the "funk" part. Shamen Funk is world music, but it's UCHU's own world, where craziness comes from originality rather than from creative sample usage. It is not trip-hop in the conventional sense. It's hardly even "-hop" at all. But it definitely is a trip. Which begins with the turn into the "Wrong Direction" - the opening track couldn't have had a more fitting name on many levels. For some listeners it will be a realization that they did, in fact, make a wrong turn on their journey of searching for trendy electronica. And I can see some of them making rapid U-turns with expressions of fear and disgust, trying to get back to the road more traveled. But I can see many who will keep going into the "Wrong Direction". And if they reach the "Wild Place" (title of the second track), they will stay. In my FEA(U)TURE I mentioned that UCHU's music reminds me of 90's techno. I keep coming back to this thought while listening to Shamen Funk. No, it doesn't follow any traditions or tries to copy any of the techno dinosaurs. The similarities go way beyond that, and they lay in that adventurous and exploratory spirit of the music, in the intention of creating a deep complex music experience rather than a hit, a pleasant but forgettable internet sensation, - at the same time refraining from excessive experimentation and keeping the overall listening process very enjoyable. The album is massive though. You won't get tired from listening to it, but it's... pervasiveness might make your head spin a little. I won't even go into describing each individual track. Partly because it's better to consume the record as a whole, partly because each and every track is (just like the title to one of them) "The Universe In A Nutshell". If you are familiar with UCHU's work, you know that the technical side is superb. The sound is crisp and every single instrument and sample (of which there aren't too many, and that makes them way more effective) is in its right place. A very interesting work, intense and soothing, thoughtful and thought-provoking, compact and limitless, just like Universe itself.
Release page at Spaceradio.ru, where you can listen to short previews of each track and purchase the album (which you should totally do).
R.I.Y.L. Leftfield, early Orbital, ancient artifacts
personal favs: "Particles", "The Universe In A Nutshell", "Wrong Direction"
tipkin's rating
Non Dolet – Inner
Posted by tipkin
Inner is a fragile and delicate record that may just fall apart when not handled properly. And when it is taken apart, when it isn’t listened to in its entirety, then it cannot be heard. This record is like an icicle, trying to embrace the sun but slowly dying from its burning kisses, and every hit of the piano key is like another sparkling teardrop that sings its love song to the world before disappearing in the muddy waters below. More ambient in its nature, with slow, cinematic tunes filled with, besides dominating piano, various types of exotic strings and percussion, Non Dolet still delivers a few trip-hop delights, such as wavy “Searching The Water” or harmonica-driven “Outback”. The sampling is minimal – absolute most of the music is original and created by the single individual behind Non Dolet – a young Russian music conservatory student named Alisa (or Alice, if you like. I do – her music does take you to the Wonderland, but the grown up, and therefore not as cheerful version of it). Classical background is evident, sometimes perhaps too much so – some tracks sound like improvisational essays, which does not make them less impressive, but shifts the perception of the album, significantly narrowing its potential audience. It is hard to recommend such record, because from the listeners with very similar music tastes the reaction could vary from sighs of quiet amazement to yawns of utter boredom – depending on their current mood and the history of how their taste developed into its current form. Some tracks are too literal, e.g. “Train #312” or “Bushido” (which, not surprisingly, happens to be my favorite track – I’m not too deep kind of guy), some are too personal, but overall Inner is a very impressive piece of work from a very talented musician and composer, who possesses an immense amount of potential. Whether this potential develops into an exciting career in electronic music or into something beyond that – time will show. I am sure we will hear more about Alice one way or another. But for now we have Non Dolet and let’s listen to it carefully.
Listen to Non Dolet - Inner here and download it for free at Section 27 netlabel.
R.I.Y.L. classical music, early Spring
personal favs: "Bushido", "War Field", "Outback"
tipkin's rating
coldreavers (Saint Petersburg, Russia)
Posted by tipkin
This FEA(U)TURE is very special to me. Here I talk to a musician and a person without whom not only the existence of my tiny but mighty netlabel TTRR would be impossible, but quite possibly the very idea of promoting independent electronica on the pages of this blog would have been mercilessly abandoned. You may already be familiar with his work - if not from the latest release Blue Eyes (my microscopic involvement in which still makes me indecently proud), then from his multiple previous albums, EP's and single tracks floating around the interwebs. His music has a quality that is pretty rare these days - style. And everyone seems to hear this style in a different way, which is also pretty amazing. Well, without further ado - coldreavers.
tipkin - When and how did it all start? Where did the interest for electronic music come from and how did it develop from an interest into the actual creating?
coldreavers - It began around the year 2006, - I didn't have anything to do and I started working with sequencers and such. I didn't have enough patience back then and until 2009 I gave up on it and was just a listener. Then in 2009 it all started spinning again, this time for real. At first the works were primitive, with time the level built up. I've been listening to electronic music for a long time, as all the other ones however, I don't have preference to one genre.
t. - Then why in your work your prefer downtempo/experimental electronica, and not, say, techno etc.? Was there a particular influence? Or...?
c. - I just like more melodic and slow music, with BPM up to 100 maybe. And if it's faster... it just doesn't fit me. But there are exceptions, like if you take house, I just adore Beach House from Hed Kandi and some of the releases by Defected. I don't know what influenced me in particular, - I'm not a huge fan of Massive Attack or Portishead, even though Tricky's first album I almost know by heart.
t. - Another standard question - what is trip-hop to you and what do you feel when coldreavers is being referred to as a "trip-hop project"?
c. - To me personally trip-hop has expanded so much so long ago that one can shove anything in it. I personally go by this line - Tricky's first album is a trip-hop perfection, I haven't heard anything better. The rest is to some extent repeating it, but still cannot get even close. Well, he cannot get close to himself in his early years to be honest. Regarding coldreavers as a trip-hop project... well, I guess that's what it is, what else?
t. - No, really, what else? Can you describe your style to someone who never heard your music?
c. - Well, if you think about it, it would probably be some kind of ethnic-hop, or what they called Four Tet - folktronica.
t. - OK, let's leave alone genres and styles, I know artists usually hate talking about things like that. What is music for you at this point - hobby, passion, life's work?
c. - At this point I'm sort of at the crossroads. On one hand I love doing that and don't know how to do pretty much anything else, on the other hand I'm scared of what would happen if I dedicate all my time to music and end up with nothing as a result. I'll see how the new album will do and then make the final decision.
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