Top 100 Chart placements for YUKU
Updated 17 hours ago
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"Hello, my friends. It's a big honor for me to release this EP on YUKU because I sincerely love lots of releases of this label and follow them practically since the day they started. I've created 5 tracks specially for this release. They turned out to be very diverse, quite different, but at the same time cohesive. 5 tracks — like 5 variations and 5 stairs of my life. The cover by my friend, Kyiv-based artist Bohdan Burenko, perfectly outlines the mood of this EP. It shows 5 faces, 5 characters, and 5 stories. I should mention that some demos for these tracks I wrote back in 2018, when I lived in California. And the basis for 'The Wall' I wrote in the suburbs of Los Angeles in a small town Walnut. This explains the song title. Back then, I listened to a lot of old-school Metalheadz tracks, and I guess this music had a big impact on the atmosphere of this track. Same story with 'Runnin' Out' - I made the demo in US, then finished it when I was preparing the release for YUKU. 'Offset Range1' is my personal favorite. I wrote it in Kyiv, when I had Covid and was tweaking knobs on my sampler and automation on my synth. 99' is my nostalgia for good ol' breakbeat and 'Vezhlivy Otkaz' has the most unusual drop I have ever written. Of course, it's an honor for me to have a remix by Tim Reaper on board, because I'm his fan. I'm writing this text now in Kyiv. Because of Russian invasion, I'm not sure what my future will be like, but I don't see any reason to postpone this release. All the profit from this EP I'd like to send for the charity & restoration of the infrastructure of Ukraine. Big thanks to YUKU team for understanding, professionalism and support." —Igor (Hidden Element)
I love watching bodies of water. Ripples in the swan's wake make the image of the willow above shimmer and play; the swirl of the algae reveals the complexity of these currents; even crashing waves on the coast begin with a single drop, if you listen closely. Last year's Sinking was all about the action, the warp and weft, the striated emerging from the smooth emerging from the striated, and so on. It was a toil, well aware of its own futility. With this album I wanted to stop squeezing the life out of the moment, but still to capture its richness. In more direct terms, I avoided meticulous editing and instead built up a hodgepodge of custom sequencing software over the course of about 18 months, recording things as I went. These tracks all came out rather effortlessly from a damp and dreary two-week span in the height of summer, after which the systems that created them collapsed into an overwrought mess. —Fiesta Soundsystem