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An Artist's Vision - Synesthesia

Synesthesia: hearing music and seeing colours, pairing letters and numbers with specific colors, tasting sounds, perceiving numbers in physical space. It’s unique to each person, often found in creatives.

Chromesthesia, a form of synesthesia, is the phenomenon where sounds trigger visual experiences, often in the form of colours. For some of music’s most innovative artists, this phenomenon plays a vital role in shaping their sound and artistry.

While scientists are still exploring how chromesthesia works, it's thought to occur due to increased connections between sensory regions in the brain. This condition affects ~ 1% of the general population, but is prevalent among musicians, artists, and writers, who identify as "synesthetes".

Here we have interviews from Frank Ocean, Billie Eilish, Kanye West, Pharrell Williams and Lorde, who each describe how synesthesia has shaped their creative processes and influenced their music.

#SkinFayde #synesthesia #music by @skin.fayde

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2 years ago

Hyperpop: Where Glitch Meets Glam

If TikTok had a soundtrack, it would be hyperpop—loud, chaotic, and unapologetically unfiltered, just like the videos on your #fyp. Born from the internet and made for the meme generation, hyperpop blends glitchy beats, distorted vocals, and maximalist production to create a sound that’s as catchy as it is confrontational. Lyrically, it's raw and vulnerable, exploring themes of identity, love, and alienation, while visually, it’s neon-soaked, Y2K-inspired, and unapologetically OTT.

Hyperpop’s roots trace back to the early 2010s with the launch of PC Music in 2013, founded by A.G. Cook. The label was crucial in shaping hyperpop’s sound, embracing a hyper-commercial, glossy aesthetic that both parodied and celebrated mainstream pop. Early releases like Hannah Diamond's "Pink and Blue" (2013) and QT's "Hey QT" (2014) captured the genre’s signature blend of sugary melodies, artificial vocals, and digital excess. These tracks laid the groundwork for the chaotic, experimental hyperpop to come.

By 2017, artists like Charli XCX and Shygirl brought hyperpop to the mainstream, with Charli’s Pop 2 album pushing the genre’s boundaries. 100 gecs’ 1000 Gecs (2019) further solidified hyperpop's genre-blurring style, combining punk, EDM, and glitch pop into something totally unpredictable. This era foreshadowed the transition from hyperpop’s underground origins to a viral movement, amplified by platforms like TikTok, where the genre’s frenetic energy resonated with Gen Z.

The rise of hyperpop has always been tied to online subcultures, where music, identity, and self-expression fuse. 2024’s Brat Girl Summer exemplifies this intersection, blending hyperpop’s rebellious energy with a cultural movement that embraces freedom and bold aesthetics. Charli XCX’s 2024 Boiler Room set showcased hyperpop’s daring spirit to a global audience, while Ringtone magazine has been a vital platform for celebrating hyperpop’s intersection with fashion and culture.

Will platforms like TikTok turn hyperpop into a fleeting trend, or will it remain a genre that empowers the internet generation to reinvent identity and push creative limits?

#SkinFayde #hyperpop by @skin.fayde

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2 years ago

Rich Brian: ironic or iconic?

Indonesian-born rapper, Brian Immanuel, has catapulted himself into mainstream music after migrating to the US, alone at age 17. Coming from humble beginnings, Brian was homeschooled in Jakarta while helping out at his parent’s café in his spare time. He learnt English through the internet, listening to hip-hop artists such as 2 Chainz and Childish Gambino. Now, Brian has released 2 studio albums, 2 EPs and numerous singles and features, including Marvel’s Shang Chi: The Legend of the Ten Rings.

Originally “Rich Chigga”, the choice of name was intended to be a jesting play on words, though it was changed for obvious reasons. Brian’s musical style resonates with this tongue-in-cheek attitude. Their viral yet controversial single “Dat $tick” verges on being parodic, with the music video showing Brian strutting down neighbourhood streets equipped with a Reebok fanny pack, dabbing alongside 2 generically dressed males waving pistols. The troll-like nature of Brian’s music echoes other modern rappers who tread the line between irony and genuineness. Tyler, the Creator, is a prime example of an artist that lives by facetious and ambiguous remarks.

Having said that, Brian’s later music shows that he has distanced himself from his comedic approach, reminiscent of the rebrand of Joji, previously famed as Filthy Frank on YouTube. Brian’s latest EP Brightside (2022) takes a more serious stance, both lyrically and stylistically. However, what initially drew listeners to Brian’s music was his absurd and flippant lyrics, operating the muddied space between irony and sincerity. Arguably, Brian’s music is at its best when he is not taking himself too seriously. Nevertheless, Brightside is a killer EP, bringing a “seriousness” to their evolving musical material. by @skin.fayde

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5 years ago

Cult Classic Not Best Seller: The Story of The Streets

Under the moniker of the Streets, British lyricist Mike Skinner captured the zeitgeist of the early 2000s by effortlessly layering characterful wordplay over grime and garage beats.

Born in London, raised in Birmingham, Skinner grew a product of his working class environment, immersing himself in the rave scene of the 90s and MCing at open mic nights across the city. Skinner began writing in a makeshift sound booth in his teenage home, sowing the seeds for his unique sound with influences ranging from Wu-Tang Clan to Daft Punk.

Following a move to Brixton, Skinner would release 2002’s ‘Original Pirate Material'. The album was recorded in his bedroom using an emptied out wardrobe as a vocal booth and a mattress to reduce the echo, with the total cost of production coming to under £4000. Skinner emerged with a distinctly British voice, with a spoken word utilising his Brummy come Cockney accent whilst telling tales of going out and being broke, with bars that were sometimes dark, sometimes witty. Over two step beats and operatic strings influenced by Ridley Scott’s Gladiator, The Streets carved their niche, intricately detailing the drama of the everyday.

The follow up to ‘Original Pirate Material’, ‘A Grand Don’t Come For Free’, extended Skinner’s storytelling legacy with a narrative following a central protagonist attempt to recover £1000 he has lost. The concept album mundane drama lies at the centre of each track from the drug-infused Blinded by the Lights which sees the protagonist hunt down his friends in a busy club to the solemn Dry your Eyes, where he tries to cope with a break up.

Alongside early projects, Skinner frequently intwined within the grime scene, collaborating with the likes of Kano and D Double E on numerous B-sides. On stage, Skinner’s fashion influences rose from his contemporaries, often donning TNs, whilst also being influenced by ‘late-period football casual’ garments and brands like Stone Island, CP Company and Burberry.

Although almost 20 years on from the release of OPM, Skinner’s pioneering sound remains, as an authentic voice enthused by experimental beats.

@tommancini_ ✍ by @skin.fayde

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5 years ago

Spider-Man: Into the Spider-Verse

Emmy winning English composer Daniel Pemberton scored the adult-animation iteration of Spiderman, featuring the new protagonist, Miles Morales. The soundtrack of the animation is heavily influenced by electronica and hip-hop roots, featuring artists including Post Malone, Juice WRLD and Vince Staples among many other big players in hip-hop.

Each song is tied to a particular scene. The track "Familia" by Nicki Minaj, Anuel Aa and Bantu, initially seems out of place with its Latin flavours and Spanish lyrics. However, when the audience learn that Miles is half African-American and Mexican, the meaning of the song becomes clear, representing a lyrical tribute to Miles' heritage.

One of the film’s most memorable moments occurs during the "leap of faith" sequence, set to "What's Up Danger" by Blackway and Black Caviar. In this scene, Miles jumps from a skyscraper, using his web-slingers for the first time in his new black Spider-Man suit. The animation reflects this pivotal moment: prior to this, Miles is deliberately animated at 12 frames per second, emphasising his uncertainty and lack of control. As he makes the leap, the animation shifts to 24 frames per second, symbolising his transformation and newfound confidence. As Miles jumps, the frame rotates 180° showing Miles rising into the city, rather than falling.

The interplay between cinematography, music, and animation is a defining feature of the film, contributing to its distinctiveness and elevating it beyond typical superhero fare. by @skin.fayde

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5 years ago

Sound System's Sound Clash

Think dance off or rap battle. A sound clash is a musical competition between 2 or more soundsystem crews. Whoever wins the crowd, wins the game. The popularisation of these organised battles began in Kingston Jamaica during the 50s.

While traditional stereos produce treble and bass frequencies, a Jamaican soundsystem provides two to three times the number of frequencies. This dynamic range is emitted through towers and walls of speaker boxes, designed and constructed to shape the sound clash arena.

A sound clash may be split into 3 rounds. The first being a "juggling" round where each crew plays for 15 minutes to get the crowd moving and dancing. The second round may be known as the "tune fe tune" round, where sound systems play out commercially released tunes. The final round would be the "dub fe dub" stage, where systems alternate playing out exclusive dubplates, fighting for the biggest crowd reaction. A traditional rule would state that the dubplate needed to feature the DJ's name to demonstrate the track was exclusive to them. Otherwise, the DJ may face disqualification.

The Carribbean sound system culture migrated to the UK during the Windrush generation settlement. The culture is now kept alive in the UK through Notting Hill Carnival and notable systems such as Sheffield's Sinai Sound System, Bristol's Arcadia and London's Reggae Roast Sound System. by @skin.fayde

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5 years ago

Sony's Walkman

Originally known as the "Soundabout" and the "Freestyle," by the 1980s, Sony's portable music player had become universally recognised as the "Walkman." First conceptualised in 1977, the Walkman was Sony's ambitious response to the growing personal audio player market.

Sony co-founder Masaru Ibuka identified a gap in the market—existing personal audio devices were bulky and impractical for travel. In 1979, the first iteration of the Walkman was launched, roughly the size of a cassette player. Sales were slow at first, but the device quickly gained traction, far surpassing Sony’s expectations and becoming one of its most successful products.

The Walkman fundamentally changed how people experienced music. Today, listening on the go is second nature, but in the 1980s, it was revolutionary. At the time, headphones were cumbersome, and portable music was a rarity. The Walkman introduced lightweight headphones that combined portability with privacy, making it possible to enjoy music while commuting, jogging, or simply walking around. This innovation paved the way for future devices like MP3 players and iPods.

Sony approached Walkman marketing with an awareness of inclusivity. The company feared the name might alienate women, so adverts highlighted both "Walk-men" and "Walk-women," emphasising customisation and the device’s adaptability to all musical tastes. The ability to swap cassettes and mixtapes offered users a personal and private listening experience, a novelty at the time.

Initially released in plain black, the Walkman later gained an iconic yellow model that was water-resistant, appealing to active, sporty users. Sony’s clever marketing strategy included distributing these vibrant devices to the public, creating visibility among joggers and commuters. The sight of the distinctive yellow Walkman soon became aspirational, cementing its status as a must-have accessory.

By 1986, the term "Walkman" had earned a place in the Oxford English Dictionary, a testament to its profound impact on global music culture. The Walkman was more than just a product—it was a cultural phenomenon that transformed how people interacted with music. by @skin.fayde

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5 years ago

Screamer - MPH
@mph_uk
@gentlemensclub
@nightbass

#music #rave #dj #mix by @skin.fayde

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5 years ago

Kurupt but Undoubtedly Genuine

From making online comedy shorts to having their own TV series, sold out tours, a movie and millions of plays on their tracks, Kurupt FM are a pillar of UK dance music and media.

Despite the premise of their show, People Just Do Nothing, portraying the group as low status, unpopular and somewhat overly confident, the artists write and produce legitimate garage and drum and bass tracks, taking over BBC's Radio 1Xtra and gaining millions of plays on Spotify alone. Their songs feature huge names including Jaykae, Big Narstie, Craig David and D Double E to name only a few.

In spite of their character's clownish personas, self-proclaimed "best MC in the galaxy" Allan Mustafa (MC Grindah) possesses natural lyrical flair, or "lyrical parkour" as demonstrated in Radar Radio's viral Bleep Test Freestyle video. Having said that, most of the cast have musical backgrounds. Most notably, Hugo Chegwin (DJ Beats) is an Ivor Novello Award holder and has composed songs with Tinie Tempah, Sam Smith and Leona Lewis. He was also a credited songwriter on Emeli Sande's hit song "Next to Me" (2012).

Kurupt FM manages to blend the best of UK dance music, recreational drugs, rave and pirate radio station culture, in a way that is accessible to everyone watching, regardless of whether they know UKG or the history behind pirate radio stations. Their UK tour begins in February and the group have seen their show in the capital sell out two dates in the landmark venue @printworkslondon. Expect champagne and a number of special guests with a fiery selection of UK tunes.

@kuruptfm @outofcontextkuruptfm by @skin.fayde

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5 years ago

No Woman No Cry

One of the most famous reggae songs in history, covered by legends like Linkin Park, Nina Simone and The Fugees, has had its chorus misinterpreted by many. Although performed and made famous by Bob Marley and the Wailers, writing credits went to Jamaican songwriter Vincent "Tata" Ford, a friend of Marley who ran a soup kitchen in Trenchtown, Kingston. Ford allowed the band to practise on his premises and spent many days with Bob in the kitchen.

The common misinterpretation is that if there's "no woman", then there is "no cry". But this is a mistranslation. The lyrics should be read as "no woman nuh cry", "nuh" being the Jamaican patois for "don't". Therefore, "no woman, don't cry".

The song is a window into Marley's earlier and present life, reminiscing about his experiences in poverty with his mother in Trenchtown. He references sharing his meals with those around him, with his feet as his "carriage", unable to afford a car or public transport.

Despite the somber tone of the verse and chorus, the bridge creates a brighter feel with the archetypal reggae off-beat stacato guitar with Bob singing "everything's gonna be alright", foreshadowing the iconic words from his later song Three Little Birds. Despite Marley's personal and political hardships throughout his life, he maintained an incredibly resilient attitude towards life.

No Woman No Cry is a song about poverty in the Jamaican ghetto, highlighting the struggles of women surviving and raising children in areas of destitution. by @skin.fayde

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5 years ago

Baby Driver's Genius Soundtrack

The soundtrack of Edgar Wright's film Baby Driver uniquely creates and presents character development through music. Described as an action musical, the clever use of specific tracks to compose scenes allows viewers to feel more immersed and connected to the story and characters.

Not only does Baby, played by Ansel James, use his old-skool U2 iPod to aleviate the harsh ringing of his tinnitus, his selection of songs are used to drown out the dangerous world he finds himself trapped in.

The opening scene is scored with Bellbottoms by John Spencer Blues Explosion (1994). Edgar Wright envisioned the opening car chase scene in their head when listening to this song, noting its slow, catchy blues riff at the beginning before breaking into a heavier, unhinged rock jam. This track mirrors the begining scene where the bank heist, while initially under control, frantically becomes a hot pursuit.

Throughout the opening sequence, Wright deliberately synchronises the tyre screeches, car horns, gear changes, chewing of gum, revving of the engine, all to the beat of the instrumental.

The next morning, as Baby grabs his coffee, he strolls through the streets of Atlanta to the vibrant rhythm of Bob and Earl's Harlem Shuffle (1965). His understated, introverted swagger stands in sharp contrast to the chaos around him—people arguing on their phones and yelling at passing taxis, creating a dynamic backdrop for his quiet confidence.

Wright synchronises the music to particular scenes. Lyrics of the song appear graffitied on objects as they are sung, ATMs beep in time, bells and sirens are aligned to the beat, Baby passes a Brass instrument shop as the trumpets play out, and while ordering his coffee Baby murmurs "yeh, yeh, yeh" in sync to the song.

The deliberate synchronisation of visual and audio cues are done purposefully to show the audience that Baby's world is alive with music, composing sounds in his head that represent experiences throughout his life. This is something that the character literally does later in the movie, recording sounds and conversations on cassettes, remixing them to create unique musical snapshots of his life. by @skin.fayde

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5 years ago

Mungo's Hi-Fi: Tower of Power

Taking inspiration from traditional reggae and dub, the Glaswegian collective have created one of the UK's most renowned sound systems. Playing out their take on Caribbean dancehall, ska, reggae, dub and every riddim inbetween, the Scotts have branded themselves as the reggae roots revivalists of this generation.

The iconic sound rig was built from just speakers found in a tip. After hooking them up to amps, the first iteration of the rig was born. Parts of the system were upgraded to create cleaner and heavier sounds. Relying on kick bins and scoops, snares and drums are crisp and responsive, crucial for music like drum and bass.

Mungo's Hi-Fi have gone on to produce several multi-genre albums collaborating with acclaimed artists including Congo Natty and General Levy. As well as their incredible sound production, their catchy selection and 2-stepping dubplates bring the sounds of Caribbean carnivals to the UK. by @skin.fayde

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5 years ago