SoundCloud Superheroes

Thanks to actor Mat Leonard for letting us use him as our SoundCloud superhero model.

This article is the first of several that is part of “SoundCloud Superheroes,” where our writers discover new artists they like on SoundCloud and share them with our readers. There are really no boundaries…the music just has to be interesting and fresh. We realize this is a huge SoundCloud endorsement. We like SoundCloud, so that is okay with us.

This week we’re presenting three acts with distinct electronic sounds.

SAWAGii

SAWAGii is David Gana from Bordeaux, France. The producer/musician composes quintessential video game electronic songs and makes them danceable. He loves the beeps and the bops, and pairs them with fat drum beats and electrified hand claps. Just like any good video game, his songs (and he has a long list of original tracks and remixes) have movement, with a beginning, middle, and end.

SAWAGii is a producer who consciously seeks to work with other new musicians in the world; he frequently posts instrumental tracks and labels them with a title implying that he’s looking for a qualified singer or songwriter. SAWAGii’s jams are playable across the globe, but “electro” fans would gravitate toward his music more than “techno” fans…definitely worthy of Will Ferrell’s “A Night At the Roxbury” head bobs. Everything heard on these tracks are computer-made, except for the singing, of course.

Noteable tracks include his Lady Gaga “death metal” remix, and his more recent original tracks like “Anyway,” and “Planets.” SAWAGii is an artist who can remix a variety of other artists’ work and could possibly make a name for himself through his remixes, but it’s evident that he would prefer to create his own music.


SHINICHI OSAWA

This pick is an extremely popular DJ in Tokyo, Japan who also has a large following in Europe. We’d like to dedicate these Japanese club tunes to our new friends over at Yancha Digs, a fresh, talented design company based out of Sendai.

Shinichi Osawa started his music career with his band Mondo Grosso in 1993, and he eventually started releasing his own electronic music in the 2000s. Osara also has some video game effects in his songs, but he has a much deeper, driving dance beat. Additionally, Osawa’s songs are devoid of vocals; he really just dives straight into the juicy club mixes, veering more toward the techno crowd (hence his admirers in Europa). Osawa really seems to understand mastering the flow of songs, throwing in smooth transitions between each varying part. The artist’s “Cyclone” track is a good example of such work.

The second when you think you can tag Osawa’s music with any specific category, you learn you can’t. Check out a theme he made for the Afghan movie, “Roots” back in 2008. The song’s completely scaled back and acoustic, with a slight underlying electronic flow, showing an entirely different side to the producer.

Overall, it seems like Osawa is headed in a promising direction. He’s already been on tours and played festivals and he has a couple big followers in the music world, including Fat Boy Slim and Boys Noize.


Tony Senghore

Mr. Senghore is from Stockholm, Sweden, although he has lived all over the world. This guy has a different game up his sleeve; something immediately noticeable when listening to his first listed track that he calls, “Mix 18.” Senghore uses distorted vocals, string effects, and other random samples that aren’t exclusively extracted from the computer’s library of sounds.

According to the artist’s bio, his first demo that he mixed and mailed out when he was 14 years old got him signed to Stockholm Records. He’s also known for assuming different monikers for different sounds, tricking radio stations and listeners alike.

Senghore has a long and impressive track record with tons of successful remixes, but the biggest question is whether his original music survives on its own. The track “Steeler” is one of his latest original releases, featuring a lot of intricate edits and noise, mainly a zippery sound that he repeats again, and again, and again. The dance beat doesn’t start until 1:30, so the song’s neither a groove track or a club beat. Contrastingly, his minimal track “Feelsso” (mixed with producer Cristian Dinamarca) has a lot more diversity and catch.

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