7inch Sunday is a segment devoted entirely to 7” vinyl and the all-encompassing experience surrounding it. Although most publications cover major releases, the vinyl single is often overlooked and given nothing more than a half-hearted nod of acknowledgement. This weekly feature is a hub for 7” reviews, exploring the B-sides and rarities of artists that may often go unnoticed.
Each Sunday I will review 7” vinyl from artists who venture this extra mile to hold their singles high above the sea of digital releases. I hope to embody the spirit of vinyl while sharing some fantastic music with you, the reader. Let’s get started.
Nick Zanca, a twenty-year-old philosophy student at Chicago’s Columbia College, has established himself as quickly as he entered the scene under the moniker Mister Lies. Blending folktronica with his own brand of trance-hop, Zanca has already secured a Lefse label deal and critical praise from countless media outlets. Following his February Hidden Neighbors EP, the recent Dionysian 7” release concludes his 2012 on a firm and promising note.
With artwork by fellow Chicagoan Brad Rohloff from School of the Art Institute of Chicago, the cover of the single looks like a slowly-melting Hypno. Complementing the pensive monk on Hidden Neighbors and the wolf head-cradling treefingers of the forthcoming Mowgli, Dionysian’s cover is consistently on par with it’s fellow releases.
The opening track, “Dionysian,” begins with an ambient underscore against organic percussion that proceeds in a lackadaisical trance. Interrupting the soundscape is an ungodly low-register voice that facilitates the token build of electronica, culminating into a shaky synth line that leads the track to it’s slow-burning conclusion. It has the instrumentation of Four Tet and the ambience of Burial, but Mister Lies’ music is a style unto itself.
“Waveny,” similar to the A-side, is introduced by a bass beat as consistent as a heartbeat – assuming the heartbeat was irregular and rhythmically complex, of course. The beat is complicated with excessively reverbed samplings and the same booming voice found in “Dionysian.” The most mesmerizing part of the track, however, is the piano sprinkled throughout the second half of the work. With no discernible Modus Operandi, the piano leads with a hypnotic improvisation that is both aleatoric and melodically pleasant.
Check back next week for a look at Aqua Nebula Oscillator’s Om Na Mio.
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