Kai Banda's Days At Home envelopes listeners in a cozy essence, melding classic jazz hip-hop with eclectic electronic soundscapes while balancing organic & digital sensibilities.
Reviewed by Ken Tong, edited by Alex "Ash" Han
AUTHOR'S NOTE: Before reading this review, be sure to stream Days At Home via Kai Banda's Linktree! Album art is courtesy of @ariannebanda on Instagram.
"On a cozy afternoon, lounging on the couch, sipping a cup of coffee (or any other comfort-inducing prop), turning on your radio (or putting on your headphones), and letting the warm and dreamy sound fill your ear canal…” This may sound like a typical and clichéd opening line of a radio program. However, nothing describes Kai Banda's album Days At Home better than this. Just as the name suggests, this album takes you on a musical journey that allows you to have a quiet and comfortable moment amidst the hustle and bustle of work and life. No, it is not the kind of lo-fi jazzy hip-hop on the popular YouTube playlist that makes you sleepy. It is a bit more interesting than that: its punchy, quirky sound texture and uplifting synth leads will leave you feeling energized after a brief rest, and ready to tackle whatever you want to do next.
It's hard to believe that this is an album released shortly after Kai began making his own music. Kai had a typical classical music background before starting to make music—performing classical pieces such as Chopin's Fantaisie Impromptu and Rachmaninoff's Prelude in G minor at concerts. After a brief exploration of GarageBand and Ableton, Kai ultimately chose to use Logic to complete his creations. Kai’s experience as a musician guides his every move as a producer, and his role as a producer in turn helps and guides his role as a musician in completing various recordings. In other words, the complementary relationship between these two roles is a major highlight of this album.
The very first piano chord of the opening track, "As Said", immediately transports the listener into the world of chillhop. And just as this expectation begins to form, a delightful surprise follows in the next second. The punchy, bright, and cleverly arranged electronic beats are accompanied by a sequence of bouncy synth lines that have been run by a sequencer. The sound of this sequence is full of surprises, as it brings the classic snappy envelope and Buchla-like low-pass gate sound of the analog synth into this genre of music, yet reduces its aggressiveness to provide a slightly mellow ear massage (and it’s in stereo!). The later section introduces a retro-flavored synth lead melody, with a playing style that demonstrates Kai's mastery of melody arrangement as an instrumentalist, adding another warm layer of sound to the song that complements the ear massage perfectly.
"Rec Room" exudes a rough, unpolished energy. It's a highly textured piece, where the overall graininess of the sound and occasional glitches sound like genuine imperfections rather than contrived, gimmicky glitch effects. This is a technique that showcases Kai's personal touch, utilizing the imperfections of the soundscape to create a natural and human feel, with a hint of machine imperfection. It's a unique approach that captures the beauty of the “perfect imperfection”, and one of Kai’s personal flavors that has been showcased in his other albums.
"On Wednesday" declares its opposition to mediocrity with its use of filter cutoff modulation, transitioning from a lower, sub-audio rate to a faster, audio rate—and it certainly lives up to this declaration. The track commences with a captivating modulation effect: at slower speeds, it evokes the nostalgic charm of an auto-wah, while the gradual acceleration of the modulation rate, soaring beyond 20 Hz, elevates the pitch of the carrier signal in a mesmerizing crescendo. The track’s answer to the question of whether low frequencies need to be in stereo is a resounding yes, as demonstrated by its ability to make it more engaging; while each individual sound in the drum kit may seem unremarkable, it is their placement within the stereo field that brings the song to life. The addition of a dreamy, bright piano sound in the latter half of the song completes the construction, making the song even more rich and revealing its true stance. Although this stance is hidden within a series of intricate sound designs, nothing is extraneous.
The following track, "Satellite," starts with a spacious pad and a simple bassline that immediately unfold across the spectrum. The pleasing background noise isn't a rough imitation of old-fashioned reel-to-reel bottom noise but rather a meticulously designed high-frequency grit that gives the song an levitative feel. The snare’s gated reverb is inconspicuous yet elegant, creating a rough cut-and-paste texture. The initial Rhodes-like melody and intertwined guitar sound create a high-quality relaxation soundtrack, but when the bell-like crisp melody enters, the texture elevates to another level. Kai scatters the pleasing attack of this crisp melody using a fantastic effect, combining tempo-sync delay, reverse, and panning in a perfectly balanced sound design.
It's hard to believe that this is an album released shortly after Kai began making his own music. Kai had a typical classical music background before starting to make music—performing classical pieces such as Chopin's Fantaisie Impromptu and Rachmaninoff's Prelude in G minor at concerts. After a brief exploration of GarageBand and Ableton, Kai ultimately chose to use Logic to complete his creations. Kai’s experience as a musician guides his every move as a producer, and his role as a producer in turn helps and guides his role as a musician in completing various recordings. In other words, the complementary relationship between these two roles is a major highlight of this album.
The very first piano chord of the opening track, "As Said", immediately transports the listener into the world of chillhop. And just as this expectation begins to form, a delightful surprise follows in the next second. The punchy, bright, and cleverly arranged electronic beats are accompanied by a sequence of bouncy synth lines that have been run by a sequencer. The sound of this sequence is full of surprises, as it brings the classic snappy envelope and Buchla-like low-pass gate sound of the analog synth into this genre of music, yet reduces its aggressiveness to provide a slightly mellow ear massage (and it’s in stereo!). The later section introduces a retro-flavored synth lead melody, with a playing style that demonstrates Kai's mastery of melody arrangement as an instrumentalist, adding another warm layer of sound to the song that complements the ear massage perfectly.
"Rec Room" exudes a rough, unpolished energy. It's a highly textured piece, where the overall graininess of the sound and occasional glitches sound like genuine imperfections rather than contrived, gimmicky glitch effects. This is a technique that showcases Kai's personal touch, utilizing the imperfections of the soundscape to create a natural and human feel, with a hint of machine imperfection. It's a unique approach that captures the beauty of the “perfect imperfection”, and one of Kai’s personal flavors that has been showcased in his other albums.
"On Wednesday" declares its opposition to mediocrity with its use of filter cutoff modulation, transitioning from a lower, sub-audio rate to a faster, audio rate—and it certainly lives up to this declaration. The track commences with a captivating modulation effect: at slower speeds, it evokes the nostalgic charm of an auto-wah, while the gradual acceleration of the modulation rate, soaring beyond 20 Hz, elevates the pitch of the carrier signal in a mesmerizing crescendo. The track’s answer to the question of whether low frequencies need to be in stereo is a resounding yes, as demonstrated by its ability to make it more engaging; while each individual sound in the drum kit may seem unremarkable, it is their placement within the stereo field that brings the song to life. The addition of a dreamy, bright piano sound in the latter half of the song completes the construction, making the song even more rich and revealing its true stance. Although this stance is hidden within a series of intricate sound designs, nothing is extraneous.
The following track, "Satellite," starts with a spacious pad and a simple bassline that immediately unfold across the spectrum. The pleasing background noise isn't a rough imitation of old-fashioned reel-to-reel bottom noise but rather a meticulously designed high-frequency grit that gives the song an levitative feel. The snare’s gated reverb is inconspicuous yet elegant, creating a rough cut-and-paste texture. The initial Rhodes-like melody and intertwined guitar sound create a high-quality relaxation soundtrack, but when the bell-like crisp melody enters, the texture elevates to another level. Kai scatters the pleasing attack of this crisp melody using a fantastic effect, combining tempo-sync delay, reverse, and panning in a perfectly balanced sound design.
"My process for… recording, mixing, and mastering can vary over different pieces, but I make it a point to compose my music from scratch with both live and electronic instruments. 'Cut In Line' includes live drums and bass, and I include live keyboard and synth performances in every song, rooted in my love for classical music and jazz." –Kai Banda
"Cut In Line" is a track that explores frequency content and phasing. Throughout the song, a misty layer covers some parts, while in other sections, shiny elements suddenly (but effortlessly) break through this mist, and everything starts to shimmer. At one point in the middle of the track, everything starts to become too bright, like when you turn up the brightness of an old TV to the maximum and everything just starts to turn white. You don't feel dazzled, but you feel that the image gradually disappears, and your consciousness becomes a bit fuzzy… The live drum recording in this song is particularly intriguing: a very slowly introduced phasing effect suddenly occupies your eardrums before you even realize its existence, making you feel a bit disoriented. At the end, the filter unexpectedly enters an unstable state, as if Kai is improvisationally turning the knob of the filter cutoff—I like his use of deliberate overstatement of the main musical ideas.
The bassline of “V Works” exudes a cozy aura with its slightly gritty, granular texture, while the repetitive, punchy drumbeat lays a solid foundation, exhibiting a refined sense of restraint. The main melody on the keyboard shines through with a lustrous synth pad, followed by an exceptionally pleasant piano melody. The distinct timbres of various bright voices emerging in succession against the backdrop of the repeated warm atmosphere, create a delightful effect. The track's entire frequency spectrum and stereo field are thoughtfully utilized, resulting in a well-structured soundscape. Following a stirring solo, the piano continues to repeat, until the synth pad rejoins, halting the piano at just the right moment, avoiding monotony. The latter half of the piano is characterized by a somber tone, culminating in a relaxed cadence of a few casual chords, conveying a sense of comfort. Overall, the composition exudes a sense of refinement and tranquility, fittingly positioned within the album's trajectory.
“Everything Else” showcases Kai's unwavering attention to detail in the artful orchestration of diverse instruments. Each melodic line, when listened to with intent, reveals delightful surprises, culminating in an organically harmonious soundscape. The main melody features an artful keyboard progression, punctuated by judiciously processed intermittent effects. Eschewing a formulaic, traditional approach, the stereo field's instrument placement more closely evokes the essence of a live performance. Post-mastering, the dynamic range of the left and right channels exhibits subtle variations: this calculated separation imbues the entire piece with an immersive quality, reflecting Kai's ambitious pursuit of a "man-made organic sound field." Consequently, it is difficult not to regard this composition as a refined example of the artful manipulation of digital panoramas in the computer music era. Perhaps as an emulation of the live band's instrumentation positions, the bass content and main keyboard placement in the stereo field of this piece have a unique experimental quality, which may be the cause of the peculiar dynamic range found in the mastering.
Evoking the distinctive style of legendary artists such as Nujabes, "Reverse Hands" instantly transports listeners back to the classic jazz hip-hop era, exuding an air of refinement, poignancy, and nostalgia that is reminiscent of these influential acts. The masterful arrangement, sense of depth, and overall sonic quality leave nothing to be desired. The melancholic piano timbre, replete with warm and intimate hammer strikes, takes center stage, while the meticulously calibrated reverb in the backdrop imparts a delicate luminescence. This piece stands as one of the most distinguished homages to the genre. The lo-fi drum kit, characterized by a faintly raspy texture, lends the composition a natural and organic ambiance. The pristine kick, subtly executed, and the comforting reverberations of the snare demonstrate an acute attention to detail. While the cymbal sound is gratifying, it could benefit from being marginally subdued. Kai's work showcases his heightened sensitivity to frequency response, achieving an impressive level of mastery. However, it is important to note that not all compositions can be pigeonholed into a frequency response template, and this is especially important in the master process. In summary, should this piece be classified as a type beat, it would undoubtedly rank as an extraordinarily well-produced and exceptional work.
In comparison to its counterparts, “New Voice” exhibits a more relaxed dynamic range, with its perceived loudness slightly diminished relative to the preceding song on the album. This distinction may arise from a unique interplay among the arrangement style, instrument placement, and mastering algorithm employed in this piece. From a production standpoint, the track seems to lack a certain depth when contrasted with the previous offering, particularly in light of the lasting impression left by the superb production of "Reverse Hands." This composition misses the warmth and full-bodied resonance of "Reverse Hands" and doesn't have the playfulness, bounciness, and unique sound design ingenuity of "As Said." Nonetheless, the melody and harmonic progression remain exceptional, with the memorable, catchy bassline serving as a standout feature. The melodic solo in the latter portion of the track is also commendable, particularly as the final solo and captivating bassline intertwine, culminating in a surprising and innovative chord deconstruction. The second half of the song, after the solo appears, is more interesting and full of lively, engaging sound design than the first half.
“DC Power” gives off a comfortable feeling. Compared to tracks such as "As Said" and "On Wednesday," which boast intriguing sound design, this track is relatively straightforward, save for a slightly surprising degraded piano tone in the middle section. Regarding harmony and melody, the piece employs a more classic, jazz hip-hop style harmonic progression, but that doesn't preclude the presence of clever nuances in its melodic aspect (for example, the bassline). The primary highlights are found in the latter part of the track, where the electric instrument and piano solos intertwine seamlessly. The filter modulation (featured in "On Wednesday") makes a delightful reappearance in this song as well. As for the track as a whole, the underlying pad and the piano’s reverb exhibits a slightly muddy quality, at times even overshadowing the dry piano sound. However, this murkiness might be intentional. I don't believe the muddy feeling detracts from the piece; instead, it imparts a gentle and reserved ambiance to the overall composition.
“Shawnah Town” begins with a simple synth bassline and hi-hat combination. Shortly thereafter, a melodic line emerges through a filter-controlled pad, setting the stage for the musical journey ahead. A rhythmic, wobbling synth line weaves its way through the entire track, its timbre evolving with the harmonic progression and sporadically showcasing organic distortion. This element serves as a pleasant surprise, compensating for the bassline's monotony to some extent. This album's exploration of filter-based timbres truly captures my admiration. When executed adeptly, this time-honored and ubiquitous technique can produce an irresistibly captivating auditory experience. For me, this song utilizes a variety of classic tones, while the wobbling synth line and other filter modulation elements prevent the track from sounding cliché, instead imbuing it with a refreshing and revitalized feel.
Upon entering a section characterized by captivating stereo panning, the listener is immediately drawn in by an intriguing rhythmic structure of “2 Roomies”. Notably, the hi-hat rolls in the first two bars initiate at different beats, with the rhythm altering once more after the fourth bar, culminating in a seven-bar sequence. I personally enjoy this combination, as it employs a slightly complex pattern to avoid excessive repetition for the listener, adding interest while remaining simple, straightforward, and without overly complicated variations. Of course, I also quite like the timbre of this song—the organic drum kit, powerful bassline, main melody with interesting stereo panning, the subtle pad in the background, and the slow-changing high-pitched glide that appears in the latter half, all make this song captivating to listen to. In summary, this brief track, lasting just over a minute, delivers a rejuvenating listening experience in terms of deconstruction, melodic arrangement, and instrumentation, seamlessly integrating within the album's narrative: A stellar main piece is to follow.
With the preceding tracks setting the stage, "Slow Day" offers a delightful surprise, seamlessly reintroducing the relaxed, comfortable, and energetic sensations established earlier in the album. Each segment's timbre and arrangement are striking, prompting an exploration of the track’s various elements. Firstly, the bass sound stems from a classic Detroit bass pluck-style sound, reminiscent of the sound of acid bass. This is followed by gritty, punchy, and powerful drums, with the snare’s air-shaking resonance particularly standing out. Once all instruments have arrived and fully occupied the soundscape, the casual jazz melodies effortlessly traverse various tonalities in the upper register, exuding an incredibly soothing quality. Approaching the song's midpoint, the lo-fi piano chords evoke the comforting warmth of a lazy evening sun, a sensation that persists until the track’s conclusion. While the absence of an additional keyboard solo is slightly regrettable, it does not detract from the overall listening experience. "Slow Day" is an exceptionally comforting track that perfectly encapsulates the cozy, homebound essence the album aims to convey—laid-back, engaging, and never dull.
Once more, the minute-and-a-half track "Farchild" delves into captivating sonic and musical concepts. Despite the melody's simple composition, consisting solely of G, A, B♭, C, and D, these notes artfully interweave to form complex layers of rhythm and timbre. The song begins with a relatively brisk, clean-sounding synth arpeggio featuring these notes, succeeded by a more leisurely, richer saw wave-like free-running arpeggio incorporating the same notes. The steady, up-tempo drums that emerge later boast intriguing timbres, accompanied by a deep, enigmatic sound on the right—its origin as percussion, synthesizer, or something else remains uncertain, yet it remains highly appealing. I am not concerned about whether the overlapping rhythms are based on random chance or if they share any mathematical relationship; all I know is that their combination is very fitting and pleasant to the ear. Showcasing exceptional creativity and timbre, "Farchild" stands out within the album, with its duration striking the perfect balance.
Upon first listen, "Just Woke Up" captivates with its intriguing stereo field. The main melody is positioned on the right, sounding very wet, resulting in a pronounced volume disparity between the right and left channels. However, the track's percussive elements offer a compelling counterpoint. The fascinating blend of grainy, dry sounds intermingled with decidedly wet ones creates a somewhat chaotic sonic texture. While the timbre, melody, and arrangement choices have their distinct strengths, the excessive wetness and uneven volume distribution between the left and right channels may strike some listeners as peculiar. Delving deeper into the track's title, "Just Woke Up," reveals an underlying message. In my view, selecting this track as the album's conclusion is a good decision. Rather than conveying a sense of closure, it elicits feelings of rejuvenation, liberation, experimentation, and new beginnings.
It's hard for me to describe the feeling that Days at Home brings me. Of course, it is quite different from the old school classic jazz hip-hop or boom bap vibe of J Dilla, but I can hear the upbeat jazz melodies, head-nodding rhythms, and the relaxing feeling of grainy background sounds layered throughout an entire song. For me, Days at Home feels like something in between Nujabes and Flying Lotus: it has the carefully crafted, breath-taking jazz piano riffs and effective, wavering, sweet yet melancholic atmosphere of Nujabes, as well as the dreamy, heavy, rumbling, and eclectic complexity of Flying Lotus—a peculiar chemical reaction between electronic music and chillhop, a more "journey-like" music. However, in terms of musicality, functionality, and the essence of the work, Days at Home is probably closer to the soulful, mellow, groovy, and melancholic vibe of Nujabes. This is fully embodied in tracks like "Reverse Hands" and "DC Power."
In my personal opinion, Nujabes' work has a clear, transparent, and analog feel. Although Kai's album also possesses this sensation, at times, a hazy atmosphere envelops the entire soundscape. This isn't necessarily a bad thing, as Kai's mastery of different instrumentations lends the album a harmonious complexity. However, Nujabes’ “less is more” approach to instrumentation seems somewhat absent in this album. Furthermore, although the album’s sound quality and mixing are quite good, I can’t help but detect a “Logic Pro” vibe—it’s difficult to describe, but it’s not about Kai’s playing style or arrangements, which are genuinely natural and organic, one of his significant strengths. I’m referring to the sound texture that seems to lack coloration. In today’s world, discussing digital sound as a drawback seems out of touch. However, I believe that digital timbres can indeed convincingly emulate an analog feel, though this requires the creator to invest a considerable amount of time. Kai is fully capable of using synthesizers to create the sounds he desires, and I admire the many hidden sound designs in his music. However, some timbres still evoke the “sensation of Logic Pro”. I’m not saying this because I think there’s something inherently wrong with using these sounds in music, but I personally prefer to hear certain analog sound textures, especially in chillhop. With that being said, the mixing and mastering of this album are generally well-executed. Although I can occasionally hear exaggerated panning and dynamic imbalances, everything mostly appears where it should be, and there's hardly anything overdone.
Overall, I believe Days at Home is a resounding success. It transports me back to the world of classic jazz hip-hop while simultaneously showcasing the extraordinary sound design and experimental arrangements found in electronic music. The album possesses the soul of jazz, the mind of hip-hop, and the body of electronic music. At the same time, it bears Kai's personal touch: an organic, human feeling permeates the entire album, yet the influence of electronic music is ever-present. If you wish to experience Kai's exceptional melodic and harmonic arrangements, or are curious about how Kai skillfully combines different timbres as a producer, this album is the perfect gateway into Kai's musical world.
Personal enjoyment score: 8.5 out of 10
Standout tracks: "As Said", “Satellite”, "Cut In Line", “Reverse Hands”, “Slow Day”
The bassline of “V Works” exudes a cozy aura with its slightly gritty, granular texture, while the repetitive, punchy drumbeat lays a solid foundation, exhibiting a refined sense of restraint. The main melody on the keyboard shines through with a lustrous synth pad, followed by an exceptionally pleasant piano melody. The distinct timbres of various bright voices emerging in succession against the backdrop of the repeated warm atmosphere, create a delightful effect. The track's entire frequency spectrum and stereo field are thoughtfully utilized, resulting in a well-structured soundscape. Following a stirring solo, the piano continues to repeat, until the synth pad rejoins, halting the piano at just the right moment, avoiding monotony. The latter half of the piano is characterized by a somber tone, culminating in a relaxed cadence of a few casual chords, conveying a sense of comfort. Overall, the composition exudes a sense of refinement and tranquility, fittingly positioned within the album's trajectory.
“Everything Else” showcases Kai's unwavering attention to detail in the artful orchestration of diverse instruments. Each melodic line, when listened to with intent, reveals delightful surprises, culminating in an organically harmonious soundscape. The main melody features an artful keyboard progression, punctuated by judiciously processed intermittent effects. Eschewing a formulaic, traditional approach, the stereo field's instrument placement more closely evokes the essence of a live performance. Post-mastering, the dynamic range of the left and right channels exhibits subtle variations: this calculated separation imbues the entire piece with an immersive quality, reflecting Kai's ambitious pursuit of a "man-made organic sound field." Consequently, it is difficult not to regard this composition as a refined example of the artful manipulation of digital panoramas in the computer music era. Perhaps as an emulation of the live band's instrumentation positions, the bass content and main keyboard placement in the stereo field of this piece have a unique experimental quality, which may be the cause of the peculiar dynamic range found in the mastering.
Evoking the distinctive style of legendary artists such as Nujabes, "Reverse Hands" instantly transports listeners back to the classic jazz hip-hop era, exuding an air of refinement, poignancy, and nostalgia that is reminiscent of these influential acts. The masterful arrangement, sense of depth, and overall sonic quality leave nothing to be desired. The melancholic piano timbre, replete with warm and intimate hammer strikes, takes center stage, while the meticulously calibrated reverb in the backdrop imparts a delicate luminescence. This piece stands as one of the most distinguished homages to the genre. The lo-fi drum kit, characterized by a faintly raspy texture, lends the composition a natural and organic ambiance. The pristine kick, subtly executed, and the comforting reverberations of the snare demonstrate an acute attention to detail. While the cymbal sound is gratifying, it could benefit from being marginally subdued. Kai's work showcases his heightened sensitivity to frequency response, achieving an impressive level of mastery. However, it is important to note that not all compositions can be pigeonholed into a frequency response template, and this is especially important in the master process. In summary, should this piece be classified as a type beat, it would undoubtedly rank as an extraordinarily well-produced and exceptional work.
In comparison to its counterparts, “New Voice” exhibits a more relaxed dynamic range, with its perceived loudness slightly diminished relative to the preceding song on the album. This distinction may arise from a unique interplay among the arrangement style, instrument placement, and mastering algorithm employed in this piece. From a production standpoint, the track seems to lack a certain depth when contrasted with the previous offering, particularly in light of the lasting impression left by the superb production of "Reverse Hands." This composition misses the warmth and full-bodied resonance of "Reverse Hands" and doesn't have the playfulness, bounciness, and unique sound design ingenuity of "As Said." Nonetheless, the melody and harmonic progression remain exceptional, with the memorable, catchy bassline serving as a standout feature. The melodic solo in the latter portion of the track is also commendable, particularly as the final solo and captivating bassline intertwine, culminating in a surprising and innovative chord deconstruction. The second half of the song, after the solo appears, is more interesting and full of lively, engaging sound design than the first half.
“DC Power” gives off a comfortable feeling. Compared to tracks such as "As Said" and "On Wednesday," which boast intriguing sound design, this track is relatively straightforward, save for a slightly surprising degraded piano tone in the middle section. Regarding harmony and melody, the piece employs a more classic, jazz hip-hop style harmonic progression, but that doesn't preclude the presence of clever nuances in its melodic aspect (for example, the bassline). The primary highlights are found in the latter part of the track, where the electric instrument and piano solos intertwine seamlessly. The filter modulation (featured in "On Wednesday") makes a delightful reappearance in this song as well. As for the track as a whole, the underlying pad and the piano’s reverb exhibits a slightly muddy quality, at times even overshadowing the dry piano sound. However, this murkiness might be intentional. I don't believe the muddy feeling detracts from the piece; instead, it imparts a gentle and reserved ambiance to the overall composition.
“Shawnah Town” begins with a simple synth bassline and hi-hat combination. Shortly thereafter, a melodic line emerges through a filter-controlled pad, setting the stage for the musical journey ahead. A rhythmic, wobbling synth line weaves its way through the entire track, its timbre evolving with the harmonic progression and sporadically showcasing organic distortion. This element serves as a pleasant surprise, compensating for the bassline's monotony to some extent. This album's exploration of filter-based timbres truly captures my admiration. When executed adeptly, this time-honored and ubiquitous technique can produce an irresistibly captivating auditory experience. For me, this song utilizes a variety of classic tones, while the wobbling synth line and other filter modulation elements prevent the track from sounding cliché, instead imbuing it with a refreshing and revitalized feel.
Upon entering a section characterized by captivating stereo panning, the listener is immediately drawn in by an intriguing rhythmic structure of “2 Roomies”. Notably, the hi-hat rolls in the first two bars initiate at different beats, with the rhythm altering once more after the fourth bar, culminating in a seven-bar sequence. I personally enjoy this combination, as it employs a slightly complex pattern to avoid excessive repetition for the listener, adding interest while remaining simple, straightforward, and without overly complicated variations. Of course, I also quite like the timbre of this song—the organic drum kit, powerful bassline, main melody with interesting stereo panning, the subtle pad in the background, and the slow-changing high-pitched glide that appears in the latter half, all make this song captivating to listen to. In summary, this brief track, lasting just over a minute, delivers a rejuvenating listening experience in terms of deconstruction, melodic arrangement, and instrumentation, seamlessly integrating within the album's narrative: A stellar main piece is to follow.
With the preceding tracks setting the stage, "Slow Day" offers a delightful surprise, seamlessly reintroducing the relaxed, comfortable, and energetic sensations established earlier in the album. Each segment's timbre and arrangement are striking, prompting an exploration of the track’s various elements. Firstly, the bass sound stems from a classic Detroit bass pluck-style sound, reminiscent of the sound of acid bass. This is followed by gritty, punchy, and powerful drums, with the snare’s air-shaking resonance particularly standing out. Once all instruments have arrived and fully occupied the soundscape, the casual jazz melodies effortlessly traverse various tonalities in the upper register, exuding an incredibly soothing quality. Approaching the song's midpoint, the lo-fi piano chords evoke the comforting warmth of a lazy evening sun, a sensation that persists until the track’s conclusion. While the absence of an additional keyboard solo is slightly regrettable, it does not detract from the overall listening experience. "Slow Day" is an exceptionally comforting track that perfectly encapsulates the cozy, homebound essence the album aims to convey—laid-back, engaging, and never dull.
Once more, the minute-and-a-half track "Farchild" delves into captivating sonic and musical concepts. Despite the melody's simple composition, consisting solely of G, A, B♭, C, and D, these notes artfully interweave to form complex layers of rhythm and timbre. The song begins with a relatively brisk, clean-sounding synth arpeggio featuring these notes, succeeded by a more leisurely, richer saw wave-like free-running arpeggio incorporating the same notes. The steady, up-tempo drums that emerge later boast intriguing timbres, accompanied by a deep, enigmatic sound on the right—its origin as percussion, synthesizer, or something else remains uncertain, yet it remains highly appealing. I am not concerned about whether the overlapping rhythms are based on random chance or if they share any mathematical relationship; all I know is that their combination is very fitting and pleasant to the ear. Showcasing exceptional creativity and timbre, "Farchild" stands out within the album, with its duration striking the perfect balance.
Upon first listen, "Just Woke Up" captivates with its intriguing stereo field. The main melody is positioned on the right, sounding very wet, resulting in a pronounced volume disparity between the right and left channels. However, the track's percussive elements offer a compelling counterpoint. The fascinating blend of grainy, dry sounds intermingled with decidedly wet ones creates a somewhat chaotic sonic texture. While the timbre, melody, and arrangement choices have their distinct strengths, the excessive wetness and uneven volume distribution between the left and right channels may strike some listeners as peculiar. Delving deeper into the track's title, "Just Woke Up," reveals an underlying message. In my view, selecting this track as the album's conclusion is a good decision. Rather than conveying a sense of closure, it elicits feelings of rejuvenation, liberation, experimentation, and new beginnings.
It's hard for me to describe the feeling that Days at Home brings me. Of course, it is quite different from the old school classic jazz hip-hop or boom bap vibe of J Dilla, but I can hear the upbeat jazz melodies, head-nodding rhythms, and the relaxing feeling of grainy background sounds layered throughout an entire song. For me, Days at Home feels like something in between Nujabes and Flying Lotus: it has the carefully crafted, breath-taking jazz piano riffs and effective, wavering, sweet yet melancholic atmosphere of Nujabes, as well as the dreamy, heavy, rumbling, and eclectic complexity of Flying Lotus—a peculiar chemical reaction between electronic music and chillhop, a more "journey-like" music. However, in terms of musicality, functionality, and the essence of the work, Days at Home is probably closer to the soulful, mellow, groovy, and melancholic vibe of Nujabes. This is fully embodied in tracks like "Reverse Hands" and "DC Power."
In my personal opinion, Nujabes' work has a clear, transparent, and analog feel. Although Kai's album also possesses this sensation, at times, a hazy atmosphere envelops the entire soundscape. This isn't necessarily a bad thing, as Kai's mastery of different instrumentations lends the album a harmonious complexity. However, Nujabes’ “less is more” approach to instrumentation seems somewhat absent in this album. Furthermore, although the album’s sound quality and mixing are quite good, I can’t help but detect a “Logic Pro” vibe—it’s difficult to describe, but it’s not about Kai’s playing style or arrangements, which are genuinely natural and organic, one of his significant strengths. I’m referring to the sound texture that seems to lack coloration. In today’s world, discussing digital sound as a drawback seems out of touch. However, I believe that digital timbres can indeed convincingly emulate an analog feel, though this requires the creator to invest a considerable amount of time. Kai is fully capable of using synthesizers to create the sounds he desires, and I admire the many hidden sound designs in his music. However, some timbres still evoke the “sensation of Logic Pro”. I’m not saying this because I think there’s something inherently wrong with using these sounds in music, but I personally prefer to hear certain analog sound textures, especially in chillhop. With that being said, the mixing and mastering of this album are generally well-executed. Although I can occasionally hear exaggerated panning and dynamic imbalances, everything mostly appears where it should be, and there's hardly anything overdone.
Overall, I believe Days at Home is a resounding success. It transports me back to the world of classic jazz hip-hop while simultaneously showcasing the extraordinary sound design and experimental arrangements found in electronic music. The album possesses the soul of jazz, the mind of hip-hop, and the body of electronic music. At the same time, it bears Kai's personal touch: an organic, human feeling permeates the entire album, yet the influence of electronic music is ever-present. If you wish to experience Kai's exceptional melodic and harmonic arrangements, or are curious about how Kai skillfully combines different timbres as a producer, this album is the perfect gateway into Kai's musical world.
Personal enjoyment score: 8.5 out of 10
Standout tracks: "As Said", “Satellite”, "Cut In Line", “Reverse Hands”, “Slow Day”
No comments:
Post a Comment