Originally starting her career in Miami, where she attempted to forge an identity which captured “the essence of melancholy and yearning, while finding beauty in the sadness and pain that all of us carry inside,” up-and-coming singer/songwriter and pop artist B. Miles eventually relocated to Los Angeles, where she spent several years playing gigs up and down L.A.’s famed Sunset Strip to further refine her sound. Lyrically inspired by the likes of Nick Cave and Tom Waits, Miles’ debut single “Nine Matches” immediately captured the blogosphere both nationally and internationally, as the singer/songwriter’s sound was compared to London Grammar and Banks (huh?), received praise from Q Magazine and quickly climbed up Hype Machine’s charts. 

Miles describes her latest single “Shaking Hands” as a “twisted version of ‘The Boy Who Cried Wolf”” and sonically, the track matches the artist’s aesthetic as the song consists of distorted and bubbling bass, guitar played through gentle washes of reverb and a subtle country twang, ominously swirling electronics and a simple yet propulsive drum paired with Miles’ languid and sensual vocals to craft a song that’s darkly seductive and serpentine. You can almost picture Miles as a siren, cooing you towards your inevitable destruction – and somehow you don’t mind. Certainly, in an age of cookie cutter pop artists, B. Miles is one of the more unique artists in contemporary pop music, and I think as a result of that, we’re all will be hearing quite a bit of her over the next few months. 

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