Prilično prepoznatljiv sound ali trik je što je u svaku pjesmu ubačena "kap otrova" - neka uvijajuća zmija. Zmija koja je progutala tisuću urličućih beba, ili komad Afrike (s Afrikancima), ili nebeski crkveni zbor, ili autobus u kojem se snima film o orgijama hermafroditskih turista, ili...
Izvrsno kumulativno-zemljopisno čegrtanje.
Much of Young Magic‘s debut full-length, Melt, plants itself in a nebulous, pan-ethnic sound that’s become something of an indie sub-subgenre unto itself this past half-decade, demonstrated to varying degrees by bands such as Animal Collective and All Hour Cymbals-era Yeasayer. World rhythms, chanting, 1960′s pop harmonies, unabashedly psychedelic washes of synth, Middle Eastern tones, an empty parking garage’s worth of echo; you know the drill by now. It’s not bad music, it’s not even close to that, by any means. They’re just exploring territory that’s become very well-trodden over the last few years.
It wouldn’t be fair to clump them in with a bunch of also-rans, either: Young Magic are incredibly well-traveled and more likely to be influenced by the actual world at large than just by their Brooklyn peers. The album itself contains recordings made in a whopping 10 different countries. Last year’s single “Sparkly” features some ethereal, windswept vocals overtop a tribal beat. “Slip Time” has a fun, plodding, drunken groove, while the washed-out vibe and warbly synths of “Night in the Ocean” stick out on the album as something quite different from the rest of the tracks, as if it were plucked from another chillwave record. In fact, Melt sometimes feels like a well-made mixtape with tracks culled from your favorite indie records of 2009.
It’s hard not to get a “been here before, done that” feeling when listening to much of the record. Had this come out four years ago, it probably would have bowled us over with its innovation. As it stands today, they’re just another band doing a very familiar thing – at least they’re doing it really well. - Austin Trunick
Young Magic is an ensemble with a global reach of reference. Its music wanders the territorial edges of music, scoping out where boundaries had been erected and looking beyond them. This open-form aesthetic has resulted in multifaceted type of music that is concurrently exploratory and involving.
This trio was founded by Australian producer/singer Isaac Emmanuel, who when disbanded his band to date, Flamingo Crash, and went to travel across the world, simultaneously recording sounds and music on instruments he found along the way. He kept a correspondence with another Australian producer who was also travelling across Europe and South America with a portable recording gear, Michael Italia, and they both met in New York to juxtapose their experiences. They also enlisted another traveler, Indonesian singer and guitarist Melati Malay, to help them create the sonic mélange of Melt .
Young Magic is a drifting pilgrimage across villages, cities, valleys and oceans of sounds. Melt is the result of those experiences—a one-year journey across the globe, from Mexico City, Tepoztlan and Berlin to Rio de Janeiro, Buenos Aires and various other places. These recordings were collaged in many instances, creating different sound environments. A work of extraordinary compositional craftsmanship, Young Magic utilizes audio collage, juxtaposition and cut-up techniques to build these 11 masterpieces. Musically speaking, Melt is a constantly shifting sonic tapestry weaved together from layer upon layer of ambient keyboards, and a flickering interplay of sounds that echo and overlap to tribal West African drums and found sounds into a sonic collage that defies any categorization. The band is most effective when it spins its source material into disorienting whirlpools of voice, noise and music—when it pushes the instruments beyond their normal sonic capabilities and when it combines clips without geographical restraint.
The end result is some kind of cross between imaginary travelogue and meditation tool that evokes what composer/trumpeter/visionary Jon Hassel has coined as "fourth world" music or "a unified primitive/futuristic sound combining features of world ethnic styles with advanced electronic techniques." It really evokes the imaginary worlds and experiences found in books of writers such as Amos Tutuola or Carlos Castaneda. Credit must be given to the beautiful cover painting by visual wizard Leif Podhajsky that serves as an appropriate visual analogy for the music. While the album's impact may be limited on a song-by-song basis, it has a powerful cumulative effect. In the end, there's a total sense of calm, renewal, and the journey's completion.
In this world, there are two types of people: travelers and tourists. The first group travels and searches for experience while the second travels and searches for pleasure. It seems that Young Magic is in search and travels for both. Complicated and beautiful, this is one of the most intricate and interesting debuts in recent years. - NENAD GEORGIEVSKI,