Category: Single Review

DFNSE is a Parsian electronic music producer, whose work frequently meshes elements of French touch, funk and pop. He has participated in producer battles alongside emerging artists like BlackDoeIkaz Boi, and Varnish La Piscine before releasing his debut EP, 2015’s Pandorium, an effort inspired by the SoundCloud Future House scene. 

In 2016, the rising Parisian producer released material through Darker Than WaxSouletiquettte and Nowadays Records, who released a single on their Oceans compilation and his sophomore EP Moonrock, which featured his biggest song to date, “Show You.” 

Released earlier this year, the rising French producer’s latest EP Symphony Road features:

  • Getaway,” a breezy, 80s-inspired summertime bop featuring Aussie vocals AKA Lui’s plaintive falsetto floating over twinkling keys, a strutting bass line, some Nile Rodgers-like funk guitar, an irresistible, two-step inducing groove and an infectious hook. And while being a club friendly banger, the song is an escapist fantasy of summer, full of seemingly carefree, sultry days and nights, hanging out with friends, vacations and meet-cutes at rooftop bars, the beach and clubs. 
  • Good Enough,” is a sultry and strutting bop seemingly indebted to French touch, alt pop, and R&B centered around a slick production featuring glistening synth arpeggios, skittering beats, and an euphoric hook paired with Senpu’s achingly vulnerable delivery. The song details a swooning, flirtatious and vulnerable declaration of desire, love and human need — whether for a night or forever.

“Let It Go,” Symphony Road‘s latest single is a slickly produced and breezy bop featuring French musician Hoodie Boy that’s sonically one-part French touch, one-part disco, one part-funk centered around tweeter and woofer rattling boom bap, some Nile Rodgers-like funk guitar, glistening synth arpeggios and a strutting bass line paired with DFNSE’s uncannily unerring knack for infectious hooks. It’s the sort of upbeat bop that should shake you out of the doldrums and get you working towards a dance floor.

New Audio: Hull’s Low Hummer Shares Incisive “Panic Calls”

Hull, UK-based post-punk act Low Hummer — Daniel, Aimee, Steph, Jack, John, and Joe — can trace their origins through the individual members’ connections to their hometown’s DIY scene. After meeting and bonding over mutual interests, the sextet quickly established a regular rehearsal home at DIY venue The New Adelphi Club, where they were able to develop and hone a danceable take on post-punk that thematically focuses on their lives in East Yorkshire, their place in a consumerist world and bad news stories sold as gospel. 

September 2019 saw the release of the their debut single “Don’t You Ever Sleep” through Leeds-based label Dance To The Radio. They quickly followed up with their second single “I Choose Live News” the following month. Both singles received rapturous praise from the likes of Clash, DorkGigwise and BBC 6 Music Recommends — with airplay on BBC 6.

Building upon a rapidly growing national profile their subsequent singles “The Real Thing,” “Picture Bliss” and “Sometimes I Wish (I Was A Different Person) received praise from NME, Gigwise and Under The Radar Magazine and were championed by BBC Radio 1‘s Jack Saunders and Huw Stephens, BBC 6’s Steve Lamacq, Marc Riley, and Tom Robinson.

Last year, the Hull-based post-punk outfit released their full-length debut Modern Tricks for Living, which featured “The People, This Place,” an angular post-punk that’s simultaneously danceable yet full of the seething disgust and frustration of someone who lives in a dead-end town, with dead-end people and no real options or opportunities.

Low Hummer’s latest single “Panic Calls” continues a remarkable run of incisive, coolly effortless and jittery post-punk built around propulsive Gang of Four-like bass lines and angular guitars and call and response vocals. The song evokes the anxious and jittery despair of someone at the end of their rope with an uncanny psychological realism.

The band explains that the song references the futility of mental health support by imitating the generic, automated answer machines of crisis lines.

Poughkeepsie-born, New York-based emcee El Gant has carved out a name for himself for his witty and often rapid-fire delivery — and for being one third of the hip-hop group Jamo Gang, which also features Ras Kass and J57.

With his long-awaited solo debut, O.S.L.O., the Poughkeepsie-born, NYC-based emcee boldly steps into the limelight as a solo artist. The album features production from the legendary DJ Premier, Marco Polo and the aforementioned J57 and collaborations with Atmosphere‘s Slug and Slipknot’s Sid Wilson, Jamo Gang bandmate Ras Kass, Killah Priest, Planet Asia, King Magnetic and more.

O.S.L.O.‘s latest single, the DJ Premier-produced “Leave It Alone” pairs the Poughkeepsie-born, NYC-based emcee’s rapid-fire witty word play and dexterous wordplay with a the producer’s world renowned tweeter and woofer rattling boom bap, a menacing bass line, twinkling keys and a soulfully delivered vocal hook. Simply put, it’s an anachronistic banger; it sounds as though it could have been released in 1995, 2005 — or today.

Founded back in 2010, Parisian psych pop act and longtime JOVM mainstays  La Femme — currently, founding members Sacha Got and Marlon Magnée, along with Sam Lefévre, Noé Delmas, Cleémence Quélennec, Clara Luiciani, Jane Peynot, Marilou Chollet and Lucas Nunez Ritter — managed to hoodwink the French music industry by lining up a DIY Stateside tour as a then unknown band, with $3,000 Euros and their debut EP, that year’s Le Podium #1

After playing 20 gigs across the States, the members of La Femme returned to their native France with immense interest from the Parisian music scene. “The industry was like, ‘What the fuck? They have an EP out and they are touring in the US and we don’t know them?” Marlon Magnée told The Guardian. “So the buzz began to start. When we came back to France, it was red carpet. Fucking DIY.” 

2013’s critically applauded and commercially successful full-length debut Psycho Tropical Berlin found the Parisian JOVM mainstays making a wild, creative and sonic left turn incorporating krautrock and synths to their unique take on surf rock and psych pop. The album eventually earned a Victoires de la Musique Award.

Building upon a rapidly growing national and international profile, La Femme’s sophomore album, 2016’s Mystére to praise by Sound Opinions, The Line of Best FitThe GuardianAllMusic, BrooklynVegan and a lengthy list of others. 

The French JOVM mainstays long-awaited, third album Paradigmes was released last year through the band’s own Disque Pointu and distributed through IDOL. And if you’ve been frequenting this site over the course of this year, you’d recall that it’s been a very busy on for the Paris-based outfit: In April, La Femme released Paradigmes: Le Film, a full-length film co-directed by the band’s Sacha Got and Marlon Magnée and Aymeric Bergada du Cadet that highlights the band’s humor and creativity while being primarily centered around Paradigmes‘ material. (You can watch it on YouTube here: https://www.youtube.com/watch?v=N8Wnil2ipf0)

The also released an exclusive, vinyl Record Store Day edition of ParadigmesParadigmes: suppléments, a deluxe edition of their critically applauded third album. To celebrate the one-year anniversary of Paradigmes, La Femme announced the release of a limited collection of NFTs made from the original frames used for the animated video for “Foutre le Bordel.” The NFTs were released by  by Ballad(r), an NFT launchpad for artists and institutions in the music industry. These unique digital works of art included a unique audio track made from stems of the original song and unlocked exclusive content and numerous real-life perks for each lucky NFT holder. 

During the JOVM mainstays’ time touring across Latin America and Spain, the band wrote their first song entirely in Spanish, “Le Jardin,” which appeared on the aforementioned Paradigmes. “Le Jardin” led the band down the path to write Teatro Lucido. Deriving its name from a mythic theater, where the band has played many times while touring in Mexico, the album, which is slated for a November 4, 2022 release will be their first album with lyrics written and sung entirely in Spanish. Teatro Lucido will also be the first of a planned thematic series of albums that the band calls Collection Odyssèe.

Teatro Lucido is informed by their adventures in SevilleGranadaMadridMexico CityCuautepecPadul — all of which hold important places in their hearts, because they had a ton of laughs, joys, tears and disappointments in each. The album also reportedly draws from a number of different inspirations including Spain’s Semana Santa — or holy week; pasodoble, reggaeton, Brazilian and Andalusian rhythms, classical guitars and 80s Movida among others. Much like their previous releases, the members of French JOVM mainstays wrote, composed and produced the album entirely by themselves, while inviting numerous female vocalists to participate in the process. 

Just before the JOVM mainstays last North American tour, La Femme shared “Sacatela,” a breezy, Tropicalia-like take on psych pop centered around an infectious, call-and-response vocal-led hook, snuggling Latin rhythms and lyrics sung entirely in Spanish.

The album’s second and latest single “Y Tu Te Vas” is centered around cinematic, flamenco-inspired guitars and a tweeter and woofer rocking reggaeton beat that might bring Rosalía, Bad Bunny, and others to mind. The song features a sultry, Shakira-like turn from Los Angeles-based singer/songwriter Tatiana Hazel.

“Tatiana is an artist living in Los Angeles where I recorded the track in 2019,” La Femme’s Marlon Magnée says of their collaboration. ‘Y Tu Te Vas’ is one of the more powerful tracks voice-wise on the album. Tatiana brings the track to another dimension, she really is one of the new artists to follow on the American scene.”

New Audio: Luminous Wavez Share Brooding Yet Hopeful “Have No Fear”

Transatlantic indie duo Luminous Wavez — British-born artist Leaone (pronounced Lee-own) and Patience Gloria‘s Mike Dobbins — can trace their origins back to the long days and nights of COVID pandemic lockdowns.

Their sophomore EP together, Ashes of the Artists features Dobbins penned lyrics informed by binge listening sessions of Johnny Cash, Chris Cornell, Leonard Cohen, and Nick Cave and demonstrate the hard-won maturity from lived-in experience. This is paired with Leaone’s haunting baritone delivery and remarkable knack for catchy melodies.

Ashes of the Artist EP‘s latest single, “Have No Fear” is a Nick Cave meets The National-like track built around a hauntingly sparse and cinematic arrangement of sharply arpeggiated strings, strummed acoustic guitar and dramatic, padded drumming paired with Leanoe’s brooding baritone. Interestingly, “Have No Fear” may arguably be the most hopeful song on the EP as it features a narrator, who manages to persevere in the face of a variety of obstacles.

Asheville-based post-punk outfit and JOVM mainstays Secret Shame can trace their origins back to summer 2016 when Matthew (bass) and Lena (vocals) met through mutual friends. As a duo, the band released their self-titled debut EP, but they mostly stuck to hometown DIY shows.

Nathan, who had released the band’s debut EP, later joined on drums and not long after, Aster joined on guitar. The Asheville-based outfit’s full-length debut, 2019’s Dark Synthetics was released to widespread critical acclaim with album single “Calm” being featured on The New York Times‘ playlist, and the album landing on a number of that year’s Best-of-lists, including landing at #77 on Bandcamp Daily and #1 on Post-Punk.com.

Building upon that momentum, the band embarked on an East Coast tour, which kicked off at Hopscotch Festival. They also recorded a split 7″ single “Dissolve/Pure” with Aster as the band’s sole guitarist.

Throughout the band’s growing catalog, they’ve maintained a steadfast refusal to a single genre, but pull from a wide range of influences including post-punk, death rock, shoegaze and dream pop among others. But at the core of their sound is a palpable and uneasy tension between rage and melancholy, the beautiful and the bleak that finds some resolution in the way the music reflects the lyrics’ mood.

2022 has been a busy year for the Asheville-based JOVM mainstays: They headlined this year’s Dark Spring Boston and they’ve quickly become a regular presence at Hopscotch Music Festival. They’ve also spent much of the year touring extensively, opening for the likes of Xiu Xiu, Wednesday, Soft Kill, Choir Boy, and Vision Video.

Secret Shame’s highly-anticipated sophomore album Autonomy is slated for an October 28, 2022 release. Recorded at Asheville’s Drop of Sun with engineer/producer Alex Farrar, the album reportedly sees the JOVM mainstays reaching a new level of maturity both musically and lyrically: While the 11-song album may be diverse and yet cohesive, the album’s material is centered with lyrics that directly confront the realities of addiction, body dysmorphia, abuse and mental illness with an unvarnished honesty.

Autonomy‘s latest single “Color Drain” sees the JOVM mainstays taking up a dreamy, shoegazer-like take on post punk, in a way that recalls Cocteau Twins and others paired with Lena’s achingly plaintive vocals and enormous, catharsis-inducing choruses. Lyrically, the song features some of the most painfully honest lyrics in the band’s growing catalog: The song details Lena’s long battle with anorexia and how it feels to walk through the world in an apathetic and dissociative state after realizing that they both wanted help and didn’t want to accept that help.

Secret Shame will be embarking on a month-long East Coast tour throughout October and November that includes a November 13, 2022 stop at The Meadows. Check out the tour dates below.

Tour Dates:

10/15 – Asheville, NC – Burnpile (festival headliner)

10/24 – Atlanta, GA – Terminal West

11/08 – Chicago, IL – Beat Kitchen

11/09 – Detroit, MI – Smalls

11/13 – Brooklyn, NY – The Meadows

11/14 – Baltimore, MD – Metro Gallery

11/15 – Philadelphia, PA – PhilaMOCA

11/16 – Richmond, VA – Richmond Music Hall

11/17 – Charlotte, NC – Snug Harbor

11/18 – Greenville, SC – Swanson Warehouse

Portuguese DJ and production duo Bubba Brothers — Eliseo Correia and Justino Santos — formed back in 2015. And since their formation, the electronic music duo and JOVM mainstays have released a prolific array of dance floor rocking hits, including a batch of singles I’ve written about over the course of this past year.

The JOVM mainstays latest single “Tribe” is a hypnotic and euphoric banger centered around tribal percussion, glistening synth arpeggios, chopped up vocal samples, skittering twitter and roofer rattling thump paired with the duo’s unerring knack for enormous, crowd-pleasing hooks. And while continuing a run of infectious club bangers, “Tribe” may arguably be among their most soulful to date.

New Audio: Lee Paradise Teams Up with New Chance’s Victoria Cheong on a Woozy Banger

Although best known for being one-half of Toronto-based indie electro pop duo Phédre, Dan Lee is also a solo artist in his own right, under the moniker Lee Paradise. And with the release of his Lee Paradise debut, 2020’s The Fink, Lee quickly established a sound that’s typically widescreen and is indebted to polyrhythmic psychedelia.

Lee’s sophomore Lee Paradise album Lee Paradise & Co. is slated for an October 28, 2022 release through Telephone Explosion Records. The album’s material started off as a set of mood-focused instrumental sketches. But the sketches became fleshed out songs after he sent the tracks to a an eclectic array of collaborators including Jane Inc.‘s Carlyn Bezic, Scott Hardware’s, No Frills‘ and Ducks Ltd.‘s Jonathan Pappo, Scott Hardware, Isla Craig, New Chance‘s Victoria Cheong, Jay Anderson, Mother Tongues‘ Charise Aragoza and Lukas Cheung and Moon King‘s Daniel Woodhead. The end result is an album in which every aspect of its creation eventually became open to collaboration, from musical performances, lyric writing and vocals all the way through to mixing and mastering, all while featuring material that defies genre and style conventions with a soulful panache.

“Not Practical,” Lee Paradise & Co.‘s latest single is a woozy yet accessible synth pop-leaning banger centered around copious amounts of DFA Records/LCD Soundsystem-like cowbell, layers of glistening and whirring synths and skittering beats paired with Victoria Cheong’s beguiling vocal. While being remarkably dance floor friendly, “Not Practical” evokes the swooning and wildly illogical of love.

Sloan Struble is the 20-something  Aledo, TX-born, Austin, TX-based singer/songwriter, multi-instrumentalist, producer and creative mastermind behind the critically applauded and rapidly rising indie rock/indie pop project Dayglow. Dayglow can trace its origins to when Struble was a teen, growing up in a Fort Worth suburb that he has referred to as a “small football-crazed town,” where he felt irrevocably out of place.

Much like countless other other hopelessly out of place young people across both this country and the globe, Struble turned to music as an escape from his surroundings. “I didn’t really feel connected to what everyone else in my school was into, so making music became an obsession for me, and sort of like therapy in a way,” Struble recalled in press notes. “I’d dream about it all day in class, and then come home and for on songs instead of doing homework. After a while I realized I’d made an album.”

Working completely on his own with a minuscule collection of gear that included his guitar, his computer and some secondhand keyboards he picked up at Goodwill, Struble worked on transforming his privately kept outpouring into a batch of songs — often grandiose in scale. “Usually artists will have demos they’ll bounce off other people to get some feedback, but nobody except for my parents down the hall really heard much of the album until I put it out,” Struble recalled. With the self-release of 2018’s Fuzzybrain, the Aledo-born, Austin-based singer/songwriter, multi-instrumentalist and producer received widespread attention and an ardent online following — with countess listeners praising the material’s overwhelming positivity. 

In 2019, Struble re-released a fully realized version of Fuzzybrain that featured Can I Call You Tonight,” a track that wound up being a smash-hit back in 2020, as well as two previously unreleased singles “Nicknames” and “Listerine.”

Last year was a big year for the Aledo-born, Austin-based JOVM mainstay: he kicked off the year with the infectious and sugary pop confection “Close to You,” a track indebted to 80s synth-led soul — in particular Patti Labelle and Michael McDonald‘s “On My Own” Cherelle’s and Alexander and O’Neal‘s “Saturday Love” and other duets, but imbued with an aching melancholy and uncertainty. He then made his national late night TV debut on Late Show with Stephen Colbert, where he, along with his backing band, played “Can I Call You Tonight.” 

Continuing upon that momentum, Struble released his Dayglow sophomore album Harmony House, an album that was inspired by the 70s and 80s piano-driven soft rock that he had captured his ears. Interestingly, around the same time, he had been watching a lot of Cheers. “At the very beginning, I was writing a soundtrack to a sitcom that doesn’t exist,” Struble recalls. And while actively attempting to generate nostalgia for something that hadn’t ever been real, as well as something most of his listeners had never really experienced. Thematically, the album concerns itself with a deeply universal theme — growing up and coping with change as being an inevitable aspect of life.

Struble’s third Dayglow album, People In Motion is slated for an October 7, 2022 release through AWAL. Entirely written, played and produced by Struble, the 10-song album continues upon the JOVM mainstay’s reputation for crafting upbeat, optimistic, hook-driven pop rooted in his desire to steer clear of conflict and offering someone something to love.

People In Motion‘s third and latest single “Second Nature” may arguably be the funkiest and most dance floor friendly single Struble has released to date. Sonically seeming like a synthesis of 80s pop, Daft Punk, The 1975, and LCD Soundsystem, “Second Nature” is centered around glistening synth arpeggios, Struble’s plaintive vocals, an infectious vocoder’ed vocal-driven hook and an irresistible feel good vibe meant to get your ass on the dance floor.

“‘Second Nature’ is one of the most ambitious songs I’ve made so far. I didn’t think it would be a ‘Dayglow’ song until the rest of People in Motion started to take shape,” Struble says in press notes. “I made so many versions of it— I just kept writing more and more melodies and ideas. The Logic file ended up being like this 15 minute jam that I eventually condensed to be the near 6 min song it is.

I was really inspired by songs like Lionel Richie’s ‘All Night Long,’ Michael Jackson’s ‘Wanna Be Starting Somethin’, and of course Daft Punk. I just love songs that have repeatable chord progressions that never seem to even reach their potential— they just keep going on and on. Lyrically and musically I wanted to create a song that felt like that. A song that just celebrates itself and the joy of dancing and making music. It doesn’t even feel like ‘Second Nature’— it feels completely innate and natural to make music to me. I love it more than anything and it feels like what I was made to do, and ‘Second Nature’ just grasps that idea and runs with it confidently.”

After a sold-out Australian tour and a packed house set at this year’s Outside Lands, Struble will be embarking on a North American tour that includes a November 7, 2022 stop at Terminal 5. Check out rest of the tour dates below.

Dayglow / People In Motion North American Tour:

10/9/22 – Phoenix, AZ – The Van Buren

10/10/22 – Tucson, AZ – Rialto Square Theatre

10/13/22 – Anaheim, CA – House of Blues

10/14/22 – San Diego, CA – SOMA

10/15/22 – Los Angeles, CA – The Novo

10/19/22 – Salt, Lake City, UT – The Union

10/21/22 – Portland, OR – Roseland Theater

10/22/22 – Seattle, WA – Showbox SoDo

10/23/22 – Vancouver, BC – Commodore Ballroom

10/25/22 – Denver, CO – Ogden Theatre

10/28/22 – Dallas, TX – South Side Ballroom

10/29/22 – Houston, TX – House of Blues

10/30/22 – Tulsa, OK – Cain’s Ballroom

11/1/22 – St. Louis, MO – The Pageant

11/2/22 – Minneapolis, MN – Palace Theatre

11/4/22 – Chicago, IL – Riviera Theatre

11/5/22 – Indianapolis, IN – Egyption Room

11/6/22 – Columbus, OH – Kemba Live

11/8/22 – Nashville, TN – Ryman Auditorium

11/10/22 – Atlanta, GA – The Eastern

11/11/22 – Charlotte, NC – The Fillmore

11/12/22 – Raleigh, NC – The Ritz

11/14/22 – Washington, DC – 9:30 Club (SOLD OUT)

11/15/22 – Washington, DC – 9:30 Club

11/17/22 – New York, NY – Terminal 5

11/18/22 – Boston, MA – House of Blues

11/19/22 – Philadelphia, PA – The Fillmore

11/21/22 – Montreal, QC – Corona Theatre

11/22/22 – Toronto, ON – Danforth Music Hall

11/26/22 – Orlando, FL – The Beacham

11/27/22 – St. Petersburg, FL – Jannus Live

11/28/22 – Fort Lauderdale, FL – Revolution Live

12/2/22 – Austin, TX – Stubb’s (SOLD OUT)

12/3/22 – Austin, TX – Stubb’s

Jonty Lovell is a Tottenham-based singer/songwriter, multi-instrumentalist, producer and creative mastermind behind the rising indie rock project common goldfish. As a musician, Lovell initially made a name for himself busking along the Hackney Wick and playing the London gig circuit. And as a producer and songwriter, under the moniker J Love, the Tottenham-based artist has been credited on songs that have received critical applause from media outlets like Mixtape MadnessNew Wave Magazine, and GRM Daily.

With common goldfish, Lovell’s sound and approach is informed by the music of his childhood. “Growing up I was exposed to a lot of music, with my family all having quite different tastes. Deciding who had control of the CD player could often lead to arguments, but as the youngest child, I seem to remember rarely getting to choose. The soundtrack of my early childhood featured the likes of The Beatles, The Police, Moby, Blur, Gorillaz, and Eminem and Dr. Dre – it was quite an eclectic mix that lured me in.”

As a teenager, The xx‘s debut album further inspired Lovell. “I was by no means a great technical guitarist, and so I think this inspired confidence to continue writing music,” he explains. As a a university graduate, he began to take music seriously, honing his craft with an old laptop his friend gave him, which had Abelton on it. At this point of his life, Floating Points, Four Tet, Nightmares on Wax, and Caribou were influences on him and his sound and approach. Lovell then took his self-taught production style, eclectic music latests and finessed live instrumentation and his vocals.

Earlier this year, I wrote about Lovell’s common goldfish debut single, “Feel The Fuzz,” an upbeat, optimistic and decidedly late 80s-early 90s Manchester-like bop featuring fuzzy guitar lines, blown out breakbeats, a funky and propulsive bass line and common goldfish’s easygoing delivery paired with a euphoric boy-girl led hook and subtly modern production sheen. If you’re a child of the 80s and 90s as I am, “Feel The Fuzz” will bring back nostalgic memories of The Stone RosesPrimal ScreamStereo MCs and the like, complete with an uplifting much-needed message to the listener. 

“The track embodies the sense of dreamer’s optimism (‘the fuzz’) and the feeling that led me to change career paths and pursue my passion in music,” the creative mastermind behind common goldfish explains in press notes. “We only lead one life, ‘Feel the Fuzz’ is about helping people see that they should value their experiences over materials and not always seek the easy options in life.”

Over the summer, Lovell released his sophomore common goldfish single “Shout Louder,” which landed praise from the likes of Backseat Mafia, CULTR, CLOUT, and Lost in The Manor among others.

Building upon the growing buzz surrounding him, the Tottenham-based artist has played a series of public shows in iconic locations across London, including Tottenham’s DIY skate park and on top of a boat, floating down Regent’s Canal.

Lovell’s third and latest single, the expansive “I Don’t Feel Today” continues a remarkable and ongoing run of Brit Pop-inspired material with the song prominently featuring twinkling keys, blown out, skittering backbeats, relentless and propulsive bass line, squiggling guitar lines paired with the Tottenham-based artist’s knack for crafting infectious, feel good hooks. Unlike its immediate predecessors, “I Don’t Feel Today” sees Lovell making a very subtle nod to 60s psych pop with bursts of spacey organ.

Interestingly, the song is rooted astutely incisive social observation, with its narrator feeling lost, confused and dispirited by modern life“We are living more and more on top of each other but for some reason we’re becoming increasingly isolated from one another. The rise of independence and individualism has been at the expense of community and a sense of belonging,” Lovell explains in press notes. “With the pace of life getting faster and faster, we’re spending more and more time in front of screens on a never-ending quest for instant gratification. I do worry that we’re losing our sense of reality and what matters most – human interaction and connection.”