![]() A handful of my current favorite artists- Nick Hakim, Kwabs, Sonder, and Kaytranada, whose novel flip of Janet Jackson’s enduring ballad “If” I still spin weekly-I first came across on the platform. You would be hard-pressed to find a platform that has allowed for organic discovery as seamlessly as SoundCloud. Stresswave not your thing? Try chillwave. If SoundCloud set out to build a business model on community-oriented music streaming for DJs, musicians, nascent podcasters, and mixed-media artists, it soon reflected that plurality in every regard, a network whose parameters seemed borderless. The platform is an utterly one-of-a-kind domain. In spite of the company’s nebulous future, Ljung was right about one thing. Stresswave not your thing? Try Chillwave. “You better know he’s got a plan for you,” she croons just before the song’s conclusion, a sweetly sung aphorism that could just as easily have been pulled from the Bible. “Let’z” draws from a multitude of sources-a Motown-soul-meets-Chicago-juke jambalaya of sonic bliss-but its core is imbued with the essence of gospel music: uplift, faith, a dogged optimism. ![]() Collectively, her songs could fit somewhere within the expanse of R&B, but a truer estimation of her work shows how each song belongs to a singular classification. There are also artists like Sugg Savage, an ascendant Maryland newcomer who’s creating some of the best music of the moment and has become something of a Picasso in this regard: She has mothered genres as disparate as lowkey gospel (“Let’z”), spirit bounce (“Funk Bounce”), midnight boogie (“Party Dawg”), and bleep bloop blop pop (“Fill In The Blank”). (A casual listener might be inclined to label “Please B Okay” as simply house music.) This has given the Berlin-based platform a unique advantage not just in breaking unknown talent but in becoming a breeding ground for experimental sounds.Ī cursory scan of the streaming service reveals a deluge of genres: from kawaii trap and Nu Soul to On SoundCloud, genres thrive on amorphism, defined more by a song’s uncompromising sentiment-rage, anxiety, body-rolling euphoria-than the pulse of the beat or musical composition. Looking back, her remark shouldn’t have been a surprise: Oedipus had tagged the two-minute track as “selfcarecore”-a sure nod to its calming, feel-good properties.īy conventional industry standards, selfcarecore is not an established music genre, but it carries significance just the same. “This instantly makes me feel better,” she said. I first came across the song because I’d been having an atypically unfavorable week and a friend messaged it with the hope of it being a momentary cure-all. Titled “Please B Okay”, it was a bright horn-driven melody that sampled vocals from Japanese soul-pop singer Taeko Ohnuki’s 1977 album Sunshower. ![]() Last year the self-professed “communist farmer” and “saxophone kisser” known as Oedipus uploaded a song to SoundCloud, the artist-first music streaming platform that launched in 2008. ![]()
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