Last year, I wrote quite a bit about the Brooklyn-based shoegaze duo Parrot Dream. And as you may recall, the act which is comprised of Santiago, Chile-born, Brooklyn-based Christina Hansen Appel (vocals, keys) and Gonzalo Guererro (guitar) was formed back in 2013 — and after relocating to Brooklyn, the duo developed a reputation for crafting sprawling and shimmering and hazy soundscapes that have amassed more than 500,000 Spotify streams.
Good Eye Records released the Chilean-born, Brooklyn-based duo’s full-length debut, Light Goes last year. Written and recorded over a two year period, the material on the duo’s full-length debut touched upon themes of connection, love, memory and clarity. “Woven,” the first bit of new material from the band since the release of their full-length debut was originally written and recorded during the Light Goes sessions but was cut from the album. However, it’ll be included on the album’s follow-up effort, Light Goes: B-Sides EP. Centered around shimmering synths, towering layers of reverb-drenched guitar, propulsive drumming, Hansen Appel’s plaintive and longing vocals and an enormous hook, the towering, classic shoegaze-inspired track finds the band writing some of their most ambitious material of their growing catalog. Thematically, the song is a love song full of aching longing that simultaneously finds the band asking some of life’s larger questions.
Born Damone Gervais Walker in Kingston, Jamaica and raised in Spanish Town, St. Catherine, Jamaica,the up-and-coming emcee, songwriter and dancehall artist, best known as DeeWunn can trace the origins of his music career to roughly 2006 when he had his first child while working as Medical Records Clerk at Kingston Public Hospital. Never one to be satisfied with the mundanity of the 9-5 life, he found himself creatively bursting at the seams. Feeling as though he lacked the freedom he needed to truly required to attain his dreams, the up-and-coming Jamaican dance hall artist made a leap of faith by quitting his day job to start a music career. At one point, he was an in-house writer for GeeJam Studios, writing songs for Mystic Davis, Charly B., A-Game, Nailah Blackman, Nordia Baker, Lily Allen and others.
Dancehall act Ward 21 scooped up Walker as a songwriter and vocalist in 2010 — and while as a member of Ward 21, he spent time penning songs for labelmates like Timberlee, Natalie Storm and others. In 2013, Walker’s Kunley McCarthy-produced “Mek It Bunx Up” featuring Marcy Chin became an unexpected smash-hit that received attention internationally from the likes of Diplo, BBC 1Xtra’s Seani B, ZJ Johnny Kool, Hot 97′s Massive B and others. Adding to a growing profile, “Mek It Bunx Up” received spins in some of the world’s hottest nightclubs.
Interestingly, in 2015 “Mek It Bunx Up” sparked a viral dance craze after Parris Goebel recorded an impromptu performance to the single alongside students from her Urban Dance Camp class, which she later uploaded to YouTube. Since Goebel’s upload, there have been a countless numbers of independently made videos from dancers all over the world — all of those videos have amassed several million views. Additionally, the track landed at #30 on the Bulgarian Top 40 Radio Charts and reached #95 on Shazam’s World Charts.
Since then, DeeWunn has released his full-length debut debut Bunx Up — The Official Street LP, toured across Europe twice and collaborated with Parris Goebel on “Dynamite,” which appeared on her full-length debut Vicious. He’s also collaborated with renowned producer TJ Records for “Tun Suh.” And earlier this year, his single Back It Up, Drop It” was featured in an ad campaign for the Samsung S10.
Building upon the momentum of “Back It Up, Drop It,” DeeWunn’s latest single is the dance floor bop “Jaw Jump,” a track centered around Walker’s rapid-fire hip-hop influenced flow, tweeter and woofer rocking beats, wobbling synths and an infectious hook. Simply put, it’s an irresistible track that will set dance floors around the world on fire.
Throughout this site’s nine year history, I’ve spilled quite a bit of virtual ink covering the ridiculously prolific, New York-based producer, DJ, remixer and JOVM mainstay Rhythm Scholar. And as you may recall, the New York-based JOVM mainstay has received attention from this site and elsewhere for funky, slinky produced and crowd-pleasing remixes and mashups of classic soul, funk. hip-hop and New Wave.
Over the past few months, Rhythm Scholar has released a kaleidoscopic remix of Snoop Dogg and Pharrell Williams‘ smash hit collaboration “Drop It Like It’s Hot” and a propulsive, house music-leaning remix of one of my favorite Tears for Fears tracks “Head Over Heels.” Interestingly, the New York-based mainstay’s latest remix finds him creating a swaggering and strutting 70s soul and funk-inspired mashup of Warren G.’s and Nate Dogg’s “Regulate” that features loving homages to Edwin Starr, The Blackbyrds, Kurtis Blow, Michael Jackson, Billy Joel, some explosive scratching and an extensive nod at Stevie Wonder‘s “Superstition” — all while retaining the noir-ish feel of the original.
With the release of a series of critically applauded singles, an incendiary live show, and three packed Glastonbury Festival sets, the up-and-coming disco post-punk, disco funk act Squid — Ollie Judge (vocals, drums), Lous Borlase (guitar, vocals), Arthur Leadbetter (keys, strings), Laurie Nankivell (bass, drums) and Anton Pearson (guitar, vocals) — have quickly developed a growing national profile.
Building upon that momentum, the act which splits its time between Brighton, where it initially formed and London will be releasing the Dan Carey-produced EP Town Centre through Carey’s Speedy Wunderground Records digitally on September 6, 2019 — with a physical release on November 15, 2019. Clocking in at seven and a half minutes, the EP’s new single “The Cleaner” will likely remind listeners of Q: Are We Not Men? A: We Are Devo-era Devo, Talking Heads, Entertainment!-era Gang of Four and LCD Soundystem as the track is centered around a slinky, disco funk bass line, explosive blasts of squiggly synths, cowbell led drumming, angular guitar lines, explosive feedback and shouted lyrics within an expansive song structure that’s one part post-punk, one part art punk, one part No Wave freak out. And as a result, the song manages to evoke the uncontrolled, neurotic frustration of someone who’s at the end of their rope.
“‘The Cleaner’ is a lost acquaintance, one that we’ve spent the past year trying to get to know . . . tirelessly working and turning up whenever needed,” the band says about their latest single. “We work for the money to spend out time doing other things. ‘The Cleaner’ imagines the divided work and play structure and thinks about breaking from it.”
Over the past 12-15 months or so, I’ve managed to write quite a bit about the Los Angeles, CA-based singer/songwriter, multi-instrumentalist and producer Justin Phillips, best known for his solo recording project Crywolf. When Phillips started writing and releasing his own music. he was practically homeless, living in a room roughly the size of a closet and subsiding on food stamps. Since then, Philips has developed a growing profile that has included amassing several million streams across all of the various streaming platforms, a headlining slot on the second largest stage at Electric Forest and praise across both the blogosphere and the major media outlets, including Consequence of Sound, Alternative Press, Billboard, Nylon, Complex, as well as this site.
Now, if you’ve been following this site over that same 12-14 month period, you’d recall that Phillips sophomore album widow [OBLIVIØN Pt. 1]. Interestingly, Phillips recently started a new series, THE OBLIVION [Reimagined], which will feature reworked versions of tracks off widow [OBLIVIØN Pt. 1]. The first single in the series found the Chicago-based producer Mielo tackling “DRIP” — and Mielo’s take is a arpeggiated synth-driven, New Wave-inspired remix that’s cinematic and buoyant, recalling A-Ha’s “Take on Me” and Depeche Mode while retaining the urgency and frenetic feel of the original. The series’ latest single finds Seattle-based producer Levit∆te, known for a sound that meshes dubstep, left-field bass and hip-hop taking on Crywolf’s “ULTRAVIOLENT Pt. II [she sang to me in a language strange].” The original is a slow-burning and atmospheric take on industrial electronica centered around stuttering beats, industrial clang and clatter and Phillips’ plaintive vocals. Levit∆te’s reworking features a glitchy production that features harder hitting beats that gives the song a murky futuristic air — while retaining Philips plaintive vocals. “When I heard ‘ULTRAVIOLENT Pt. II’ it immediately resonated with me,: Levit∆te says in press notes. “Carrying notes of wave music, slight witch house influences and intimate vocals, teh song really resembled a lot of my own music. I really did my best to retain the original message and feeling the song gave me, but refine it through my own filter.”
1.drink plentiful amounts of alcohol and enjoy oneself with others in a noisy, lively way.
2.go from house to house at Christmas singing carols.“here we go a-wassailing”
drink plentiful amounts of alcohol and enjoy oneself with others in a noisy, lively way.
to go from house to house at Christmas singing carols.
Featuring a former member We Were Evergreen, an act that toured across the UK and opened for the likes of Michael Kiwanuka, Slow Club, Metronomy, Nick Mulvey, Villagers and others, the up-and-coming London-based indie electro pop project Wassailer derives its name from the word “wassailing” — and was discovered by the artist while looking for an anagram on a Scrabble website. With the help of a Tyneside-born girlfriend, Wassailer’s mastermind fell in love with a variety of different things that wound up influencing him — including Irish folk songs, grime, Auden’s poetry, Indian cuisine, UK garage and the peacefulness of the lake district.
Wassailer’s somewhat mysterious mastermind has since relocated to Lewisham, where he’s joined a contemporary crop of singer/songwriters, who are influenced by folk, jazz and soul as much as they are by electronic and urban productions. His latest single, “Ghosts” is a soulful trip hop production featuring looping, twinkling piano, brooding and mournful flugelhorn and trumpet from Johnny Woodham, thumping beats, soulful vocals from Wassailer and Demi Ma and a sinuous hook. And while seemingly drawing from Portishead and The Brand New Heavies, the track as Wassailer said via email was written while reading an article about the British Royals, who were refurbished their private properties with taxpayers’ funds — ” . . .and humbly aims at blending folk with modern urban beats and neo jazz in a pop song.”
Sis is a Berkeley, CA-based indie pop project that features singer/songwriter, multi-instrumentalist and Native Cat Recordings founder Jenny Gillespie Mason and Meernaa‘s husband and wife duo Carly Bond and Rob Shelton. The trio’s sophomore album Gas Station Roses will be officially dropping and its latest single “Night From Scratch” is an atmospheric and dreamy track centered around shimmering synths, thumping kick drum, a fluttering flute melody and ethereal vocals. And while evoking rippling and bubbling waters, the track — to my ears, at least — manages to be deceptively anachronistic: the song manages to nod at breezy 70s AM rock and Sade.
“When they asked me to sing on ‘Run,’ I originally said ‘You don’t need me, just get Robert,’ admits Howard. “I didn’t want to step on anyone’s toes and I liked Robert’s voice. But they kept pushing and I figured, it’s just one song.” Of course, it’s rarely just one song. Once Robert heard Ivan’s take, he insisted he sing them all. “It was like somebody said ‘Here’s a CD of Greatest Hits of this genre of music without vocals that no one’s ever heard,” Howard explains. “Surprise! You get to sing them!’” The end result is the trio’s latest collaborative project De La Noche.
The trio’s latest project can trace its origins to Rogan and Weeks’ adopted hometown of Wilmington, NC. During mid-2015, Rogan found himself rudderless. He had gone through a divorce and found that he had a lot of time on his hands — with few distractions. He began playing around and writing material. Feeling isolated, Rogan contacted his pal Weeks to collaborate on material that they wanted to feel closer to the 80s synth pop they’d grown up adoring than the guitar-driven indie rock bands they’ve long played in. Howard found it easy to slip his imitable vocals into the De La Noche material. “I tried to let the music dictate the sentiment of each song and just created a character that could fill all these melodic parts.”
When asked about how De La Noche differs from his other projects, Howard says that ‘with most of my other projects, I’m the one that usually starts the song, travels with it the long road, and grinds it out ’till it’s finished. By the end, even though i love the songs, I still get tired of them — or they take on a different meaning from the struggles I was going through at the time. With the De La Noche, I just came in 2/3 of the way there. The songs were already written, and Matt Douglas of The Mountain Goats fame had already played his guest sax licks all over it. All I did was just sing them with my slant.” Coincidentally, that slight bit of emotional distance from the material reportedly allowed Howard to take a far more adventurous approach to his vocal delivery.
De La Noche’s full-length debut Blue Days, Black Nights is slated for an August 23, 2019 release through Get Loud Recordings, and the album’s first single is the slinky album opener “Avenues.” Centered around shimmering and arpeggiated synths, brooding and mournful sax and Howard’s breathily plaintive vocals, the track strikes me as one part Quiet Storm R&B and one part Manifesto and Avalon-era Roxy Music. And in fact, much like Roxy Music’s legendary work, the sultry track is imbued with an aching loneliness. “I wrote (“Avenues”) about the morning my divorce was finalized,” the band’s Rogan explains in press notes. “Walking from the courthouse to meet Brian for coffee in downtown Wilmington. That was the one that really set the tone for the record.”
2017 found El-Sergany collaborating with Josh Medina for the ambient album Serious Dreams, an effort that was released to critical applause from the likes of The Quietus, Bandcamp, The Stranger, Seattle Weekly and Tiny Mixtapes. The following year, the project expanded to a full band with the addition of MX-80 Sound’s Nico Sophiea aend Red Ribbon‘s Emma Danner (bass) for that year’s Alt, an effort that Aquarium Drunkard compared to “an imaginary collaboration between Grouper and Spiritualized.” Interestingly, the band started off this year with a collaborative split tape with fellow Seattle-based act Supercandy, some candy that featured contributions from Brenan Chambers, Lori Goldston, Monika Khott and Ambrosia Bardos, who added layers of guitar effects, cello, vocals and trumpet.