![]() 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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