Chroma-kei loves Asian music and culture. The Melbourne producer’s second EP Star Clouds contains oblique references to kawaii culture, specifically J-pop and K-pop.The influence of Asian pop on Chroma-kei’s experimental bedroom production results in wonderfully psychedelic and heady soundscapes, backed with thumping bass and steady rhythm.The two-song EP is a sparkly-bright and quick shot of pop brilliance. “All Things” is a meticulously crafted and energetic club track while “Slink” is a slightly mellower affair, heavily loaded with groovy drum and vocal samples. Think wonky soundscapes and half-time club tracks by Flume.Star Clouds can be best compared to the sounds coming from divisive label PC Music or from the more upbeat, pop-centric music arising from the future-funk or instrumental trap movements.Have a listen to the new EP and read our interview below.Noisey: Why do Asian cultures play such a crucial role to your work?
Chroma-kei: K-Pop was really the first thing that got me hooked on Asian culture. I was sixteen when I first heard it and it was inspiring not only in how different it was on face value, but also the entire cultural context behind it. I loved figuring out how the whole modern history of Korea led to this product that I was listening to and watching.About a year later I turned my attention to Japan. Kyary Pamyu Pamyu's "PONPONPON" wasn't my first introduction into Japanese music, but it was the first time I heard (and saw) something so creative and audacious. Kyary naturally introduced me to Nakata Yasutaka (her producer), and after seeking out and listening to more of his work I found something deeper than what I was hearing from Korea.The way Japanese artists (musicians and otherwise) take influence from both Western culture and their own to make something that you won't find anywhere else is really inspiring to me. I try and create what I think the other side of that coin would be. I take their fresh ideas, aesthetics, and sounds and then feed them into my own personal context to create my work.Eight-minutes is short for an EP. Do you subscribe to the theory that our attention spans are shrinking and that accelerationist mini-albums like this will soon become the norm?
I think that club music has always been slightly removed from the notion of the "LP", and what we're seeing as the worlds of pop and club collide (along with the advent of the internet and the iPod) is the possible irrelevance of that structure.I love albums, I think that they are a great way to present and communicate your art, and I don't want to see them disappear, but they are also not the only way to have a valid catalogue of music.I think movements like PC Music are doing great work to create a new social mindset that encourages cynicism towards the established methods of business in the music industry. The fact that SOPHIE called his album "PRODUCT" is an apt example.
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Chroma-kei: K-Pop was really the first thing that got me hooked on Asian culture. I was sixteen when I first heard it and it was inspiring not only in how different it was on face value, but also the entire cultural context behind it. I loved figuring out how the whole modern history of Korea led to this product that I was listening to and watching.About a year later I turned my attention to Japan. Kyary Pamyu Pamyu's "PONPONPON" wasn't my first introduction into Japanese music, but it was the first time I heard (and saw) something so creative and audacious. Kyary naturally introduced me to Nakata Yasutaka (her producer), and after seeking out and listening to more of his work I found something deeper than what I was hearing from Korea.The way Japanese artists (musicians and otherwise) take influence from both Western culture and their own to make something that you won't find anywhere else is really inspiring to me. I try and create what I think the other side of that coin would be. I take their fresh ideas, aesthetics, and sounds and then feed them into my own personal context to create my work.
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I think that club music has always been slightly removed from the notion of the "LP", and what we're seeing as the worlds of pop and club collide (along with the advent of the internet and the iPod) is the possible irrelevance of that structure.I love albums, I think that they are a great way to present and communicate your art, and I don't want to see them disappear, but they are also not the only way to have a valid catalogue of music.I think movements like PC Music are doing great work to create a new social mindset that encourages cynicism towards the established methods of business in the music industry. The fact that SOPHIE called his album "PRODUCT" is an apt example.
‘Star Clouds’ is available now from [MAGIC YUME.](http://https://magicyumerecords.bandcamp.com/ records.)