Category: Single Review

Single Review by William Ruben Helms

New Audio: Italy’s Ellecielles Shares Brooding and Uneasy “Living Twice”

Ellecielles is the DIY, bedroom noise project of a mysterious and enigmatic Italian producer and multi-instrumentalist. His latest single “Living Twice” is a slick and seamless mesh of New Order-meets-The Cure-like New Wave/post punk/goth and classic shoegaze guitar textures serving as an uneasy, fever dream-like bed for goth-inspired vocals.

At its core, the song evokes a seemingly endless push and pull between one’s best and worst inclinations. The Italian artist explains the song is “about the burden of carrying two versions of yourself, or perhaps even experiencing moments is intense that they feel like a second life.”

“Lyrically, I delved into the struggle of contradictions: the urge of feeling something even if it has a high emotional price, the moments you feel like ‘Mr. Charisma’ are equally backed up by moments when failure eats you up from the inside,” he adds. “It’s about the moments where you question everything, feeling both completely lost and strangely found. . . . “I hope listeners find a place of their own duality within these lines, known that they’re not alone in navigating those complex emotional landscapes.”

Single Review by William Ruben Helms

New Audio: Trentemøller’s Atmospheric Take on “Silent Night”

Copenhagen-based producer, multi-instrumentalist, producer, electronic music artist and Trentemøller creative mastermind Anders Trentemøller has a long-held reputation for creating extraordinarily memorable melodies paired with brooding and dark soundscapes. Throughout his career, the Danish artist’s work has frequently explored contrasts, paradoxes, reminiscence and remembrance — but while eschewing overt nostalgia.

Trentemøller’s sixth album, last year’s 10-song Dreamweaver saw the acclaimed Dane meshing elements of shoegaze, darkwave, komische musik and noise rock with somber, introspective takes on dream pop — but in a decidedly immersive and psychedelic fashion that’s perfect for repeated listens on headphones. Icelandic vocalist DiSA contributes vocals on nine of the album’s 10 tracks.

His first single since the release of Dreamweaver sees the Copenhagen-based tackling the classic and beloved Christmas carol, “Silent Night.” The Trentemøller rendition of “Silent Night” features his girlfriend Lisbet Fritze, whose ethereal delivery sings the song’s beloved melody paired with a wintry arrangement of churning guitar, twinkling bells, drum machine-driven beats and atmospheric synths. The song evokes both Christmas time generally and what Christmastime would look like and feel in his native Denmark — cold winters, fireplaces, ice skating, carolers, Christmas markets and the like, but with mix of gentle, sepia-toned nostalgia and a modern sensibility.

The cover is extremely fitting. The acclaimed Danish artist has always loved Christmas. Since childhood. the season has held a special place for him, and for years he wanted to record his own version of one of the great Christmas songs. He chose Silent Night for his timeless melody, which for him captures the essence of Christmas.

Originally written as a lullaby, the song took on new meaning after Trentemøller became a father. Lisbet Fritze’s vocals and the single’s cover art, a Christmastime photo of a young Anders Trentemøller with his mother give the single a deeply personal yet universal touch. After all, with the coming of a new year, many of us look simultaneously back into the past remembering moments with loved ones no longer with us and into the future, hoping for long-lasting peace, love and understanding for all.

Single Review by William Ruben Helms

New Audio: JOVM Mainstay Sylvia Black Returns with “Long Gone Garden”

Los Angeles-based multifaceted producer, singer/songwriter, bassist, performer, restless performer and JOVM mainstay Sylvia Black has had a long-held reputation for being difficult to pin down. Since her first job singing and entertaining at a resort hotel in Northern Japan as teen, music has been her lifeline.

Throughout her career, Black has steadily gained momentum as a writer and producer, consistently creating music on her own terms, simultaneously cementing her place in the post-punk and goth-romantic renaissance, while being restlessly creative. Her lengthy credits reflect her eclectic tastes and wide-ranging abilities. She was the frontperson of the New York-based trio KUDU with Deantoni Parks (drums, production) and Nicci Kasper (keys, production) in the early 00s. Black also has writing and recording credits with Grammy Award-winning pop act Black Eyed Peas, Daphne Guinness and more. Her lengthy and impressive resume includes collaborations with legends like Tony Visconti, Lydia Lunch and Moby, as well as The Knocks, Armand Van Helden and French electro pop duo Telepopmusik. And last, but definitely not lease, her sultry rendition of ‘I Put A Spell On You” appeared on the hit Netflix series Chilling Adventures of Sabrina. 

As a bassist, Black has played with The Brand New Heavies‘ N’Dea Davenport, Living Colour‘s Muzz Skillings and with Maya Rudolph’s Prince cover band Princess.

The JOVM mainstay’s long-awaited new album, the 11-song Shadowtime is slated for a January 16, 2026 release. The album rsees Black continuing her long-held approach of songwriting from the bottom up. “I find a beat that I’m in love with and go forward,” Black says. “The bass provides the floor, but as a singer, I’m also coming in with the roof. If you can write a beautiful song with just those two elements, bass notes and the voice, that’s a job well done.”

Written, produced and performed primarily by the JOVM mainstay, the album was crafted with support from longtime mix engineer and creative foil Ruddy Lee Cullers. The album’s material will reportedly be a haunting exploration of nostalgia and futurism, that sees Black pushing her sound in new directions by weaving hypnotic rhythms, cinematic layers and raw, visceral emotion, while moving effortlessly from dance floor anthems to atmospheric meditations on love, loss and transcendence. “This album is about finding beauty in ruins,” Black says. “About letting the shadows speak through me. Returning to California brought out the memory and soul of my goth days gone by.” 

Shadowtime will feature the previously released “Talking in Tongues,” a brooding blend of goth, New Wave and shoegaze that seemed to nod at Suicide, The Cure, Siouxsie and the Banshees and others, while being the perfect, atmospheric bed for Black’s sultry delivery. The album will also feature, its second and latest single, “Long Gone Gardens.”

Anchored around a forceful and commanding bass line and bursts of shimmering, reverb-soaked guitars and twinkling keys, “Lone Gone Gardens” seemingly nods at Siouxsie and the Banshees — for example, think of “Hong Kong Garden,” and “Happy House” — while channeling Black’s childhood bond with the natural world, amidst the fruits and flora grown by her grandmother. But the song also subtly evokes the Biblical garden of Eden: You can almost picture Adam and Eve at the tree of knowledge, and what happens right as they eat the fruit . . .

“The track is a reflection about a choice that seemingly lets you lose everything but puts you on a new path to find salvation again in another form,” the JOVM mainstay explains.

Single Review by William Ruben Helms

New Audio: The Afghan Whigs Share Covers of Poliça and Still Corners

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JOVM mainstays The Afghan Whigs —  currently Greg Dulli (vocals, guitar), John Curley (bass), Patrick Keeler (drums), multi-instrumentalist Rick Nelson and the band’s newest member, Blind Melon’s Christopher Thorn (guitar) — released their ninth album, 2022’s How Do You Burn? to widespread critical acclaim from Rolling Stone, Pitchfork, Los Angeles Times, Spin, Stereogum, Billboard and others.

The acclaimed JOVM mainstays first bit of new material since How Do You Burn sees the band tackling two songs — Poliça‘s “Fake Like” and Still Corners “Downtown” — that seem tailor-made for the Whigs treatment. “Poliça’s “Fake Lake” strikes me as being a breezy synthesis of synth pop, Laurel Canyon and blue-eyed soul, featuring twinkling keys and a broodingly cinematic string arrangement serving as a lush bed for Channy Leaneagh’s yearning delivery. The Afghan Whigs pull out the blue-eyed soul-inspired element of the original and give it a swaggering and anthemic rock ballad vibe, while retaining the cinematic string section. The result is a song that emphasizes the smoldering lust and aching need at the heart of the song.

Now, as you may recall, the London-based duo Still Corners are among one of this site’s oldest mainstay acts. “Downtown,” which appears on 2016’s Dead Blue is an brooding and icy track, featuring shimmering, motiorik pulse and a gorgeous Greg Hughes Country/Western-meets-Johnny Marr styled guitar solo serving as a lush soundscape for Tessa Murray’s yearning vocal. The Afghan Whigs take turns the song into a brooding, piano-driven tune that’s a steady in tension and delayed release that would have fit perfectly on 2017’s In Spades.

“Both of these songs were born out of soundcheck jams. Each song holds a particular resonance for me and I really felt the lyrics, so they both flowed freely and felt good to sing,” the band’s Greg Dulli explains.

Both songs are available on all major DSP. And a limited 45 RPM single has been created and will be sold by Cincinnati’s Shake It Records.

Single Review by William Ruben Helms

New Audio: Ruthven Shares Dance floor Friendly “Kiss Goodnight”

Throughout his nearly decade-long career, South London-based producer, singer/songwriter and musician Sean Nelson, best known as Ruthven, emerged in 2017 as a co-founding member of The Paul Institute with A.K.Paul and Jai Paul, while Nelson was simultaneously as a firefighter with the London Fire Brigade.

Between emergency calls and equipment checks, the South London-based artist meticulously shaped the songs that would eventually comprise last year’s Rough & Ready, which was released to widespread praise across the UK and elsewhere. The response to the album lead to collaborations and opening slots with Sampha, Berwyn and Overmono, helping to further cement Nelson’s growing reputation as one of the UK’s most compelling, emerging voices.

Ruthven closes out 2025 with the recently released Precognition EP, an exploratory three-track EP that marks the beginning of a bold new chapter for the South London-based artist. Where Rough & Ready introduced an artist with a meticulous production style and a fiercely individual voice, Precognition EP captures Nelson writing much more instinctively, leaning deeply into the warmth and dynamism of live instrumentation, inspired by his recent live shows. “This small body of work feels like a good segue into the next era for me” Ruthven says. “I’m using a lot more live instrumentation and programming a little bit less.  Playing more guitar, more acoustic drums – all of which have formed a new sound for me. The fundamental DNA of my music is there, but there’s a new evolution. This is the first of it.” 

The EP sees Nelson moving freely between funk, disco and classic songwriting. And as you’ll hear on the hook-driven, disco funk-tinged “Kiss Goodnight,” Nelson has an unerring knack for crafting a catchy, dance floor friendly groove anchored around glistening synth arpeggios and a supple bass line paired with Nelson’s effortless yet heartfelt croon. If you’re a fellow old, this one will likely bring memories of Prince, Morris Day and The Time, Cherrelle and several others.

Single Review by William Ruben Helms

New Audio: SanikVibe shares Cinematic and Dance Floor Friendly “Speak Without Sound”

Created by an anonymous and enigmatic creative mastermind, SanikVibe is a narrative-driven recording project that sees its mysterious mastermind treating sound as storytelling.

Her work blends cinematic textures, electronic minimalism and introspective emotional pacing. And rather than sticking to one particular genre, each release is much like a book chapter — with a psychological or emotional moment translated into atmosphere, vibe, pulse and tone.

Released last month, Unseen Currents EP is a four-part story about what moves us — quietly and subconsciously. SanikVibe’s mysterious creative mastermind considers the EP not quite as Jung would consider ‘a journey through the unconscious” but more as a way to learn to “stop fighting your own tide.”

Unseen Currents EP‘s latest single “Speak Without Sound” is simultaneously a cinematic and dance floor friendly track that seemingly channels Tinlicker‘s most recent material, with the new single being a sleek and lush blend of electro pop, trip-hop and house anchored by stirringly emotional, pop star delivery.

“The song explores the moment when instinct speaks before language — the quiet shift in the body that happens a split second before thought,” SanikVibe explains. “Through pauses, breath and tension, it reflects how the pulse can reveal truth long before words do.”

It serves as the final chapter of the BodyTalk Trilogy, a conceptual arc shaped around somatic markers and the psychological space where instinct overtakes reason,” she continues.

Single Review by William Ruben Helms

New Audio: St. Franck Shares a Buzzing, Christmas Season Original

Franck Lada is a Bordeaux-based producer, singer/songwriter, multi-instrumentalist and creative mastermind behind the emerging psych pop, solo recording project St Franck. Now, if you’ve been frequenting this site for some time, you might recall that the French producer, singer/songwriter and multi-instrumentalist’s career started in earnest through his participation in a number of UK-baed projects, including sitting in on bass with Saint Leonard’s Horses for a few shows. 

Lada stepped out into the spotlight with his debut EP, 2018’s Gamma Wave and a handful of singles that saw him establish a DIY/bedroom pop-meets- electro pop-meets psych pop sound, which he developed with some barebones equipment during flat shares in London: a computer, an 808, an MS20 and Ableton. 

Since his humble beginnings, the French artist has upgraded to a professional studio in Bordeaux’s bohemian La Bastide neighborhood, where he worked on his full-length debut, last year’s Hard Drive Oddities. The album showcased a producer and artist, who’s part of a new generation of producers and artists, who are searching for meaning in a mad, mad, mad world. Sonically, the album’s material is anchored around lush, sculpted arrangements paired lyrics that encourage the listener to explore the inner world of their dreams and the subconscious.

Hard Drive Oddities featured the MGMT and Tame Impala-like “Dream Trap,” a song that evoked the blissful nostalgia of a gorgeous summer afternoon — and the warm buzz of a half-remembered dream.

Lada’s latest single, the Christmastime/Holiday Season-themed song “It’s Christmas Time” is a slickly produced yet retro-feeling tune, anchored around buzzing bass synths, chiming bells, twinkling keys that simultaneously showcases the French artist’s uncanny knack for catchy hooks paired with earnest songwriting about the holiday season. At it core, the song warmly reminds the listener that the season is for loved ones who are here, and remembering the ones who aren’t — without resorting to the familiar, worn-out cliches.

Single Review by William Ruben Helms

New Audio: Mariachi El Bronx Returns with “RIP Romeo”

Started back in 2008 as both a side project and creative experiment for the members of Los Angeles-based punk rock The Bronx, Mariachi El Bronx — Matt Caughthran (vocals), Joby J. Ford (guitar, vihuela, accordion), Jared Shavelson (drums), Keith Douglas (trumpet), Ray Suen (violin), Brad Magers (trumpet), Ken Horne (jarana), and Vincent Hidalgo (guitarrón)– has long been deeply rooted in their deep connection to the Hispanic music and culture of their hometown. Although seemingly different, the band doesn’t see punk and mariachi as mutually exclusive. Instead, they view both genres as spiritually entwined forces anchored in resilient storytelling. “Punk rock and mariachi music are very similar in soul,” The Bronx’s and Mariachi El Bronx’s Matt Caughthran says. “It’s working class music. It’s real music.” 

Despite almost two decades of success, that has included sharing stages with Foo Fighters and The Killers; sets across the global festival circuit, including Coachella and Glastonbury; performances on Late Show with David Letterman to NPR’s Tiny Desk; and theme songs for shows like Weeds and Aqua Teen Hunger Force, the members of Mariachi El Bronx still consider themselves lifelong students of the art form. That reverence carries over to their charro suits, which often attract as much attention as the music itself. The band has long turned to Boyle Heights-based Casa del Mariachi, a historic Los Angeles area landmark, where Jorge “Mr. George” Tello has been handcrafting the traditional suits for over 50 years. “This band has always been about learning and exchanging culture through music and art,” says Caughthran. “That’s what it’s all about! Everything we do comes from the heart and soul.”

Mariachi El Bronx’s long-awaited fourth album, the John Avila-produced Mariachi El Bronx IV is slated for a February 13, 2026 release through ATO Records. The album, which is the first album from the project in a decade, sees the trailblazing alter-egos of The Bronx continuing to embody the same ethos that sparked their creation — honoring the rich Hispanic music and culture that has always surrounded them in their hometown, while pushing creative boundaries. 

Clashing emotions of profound loss and overwhelming love shaped the album’s themes. The songwriting “started as a battle between love and death but became a way to process all the chaos of the world,” Caughthtran explains. Throughout the run of the album’s 12-tracks, the band documents the stories of gamblers, former playboys, warriors and lovers — characters that became vessels for the specific pressures of modern life. 

Returning after a decade away felt “joyous and familiar from the jump,” the band’s Joby J. Ford says. But the album’s recording process proved to be much more complex than expected. Within the year that he began writing the album’s lyrics, Caughthran contended with the deaths of several loved ones. And as they tracked the album’s material at producer John Avila’s San Gabriel Valley studio, the Eaton Canyon wildfires blazed across East L.A. “We came out of the studio one night, the entire side of the hill was just on fire,” Ford recalls. 

While dealing with grief in his personal life and within Los Angeles, Caughthran also got married in the same year. All of these very profoundly human experiences and feelings have informed what may arguably be Mariachi El Bronx’s most emotionally resonate work to date. 

Mariachi El Bronx IV will feature the previously released album opener, “Forgive or Forget,” a galloping and swooning track with acclaimed violinist Ray Suen that captures the nostalgia, bitter heartache, the longing to forget that heartache, and the desire to move forward with a seemingly booze-tinged haze, and the album’s second and latest single “RIP Romeo.”

“RIP Romeo” continues an ongoing collaboration with acclaimed violinist Ray Suen, who also has a cowriting credit on the track. While focusing on the age-old tale of Romeo, “RIP Romeo,” the new single, much like its predecessor is a seamless blend of mourning, longing and love, anchored around a gorgeous and timeless arrangement that simultaneously places the character in a subtly modern context.

“’RIP Romeo’ started with a melody that wouldn’t leave my head. I brought it to Ray and we knocked out a demo in an hour. We hadn’t written together in years, but we fell right back into rhythm. It came alive when the rest of the band got their hands on it.

It’s a pretty direct song on the surface, but there’s a lot going on underneath. I’ve wanted to write about Romeo for years, but only if it came from a genuine place – not something forced or cliché. This one finally felt true, so I leaned in.”

The deeper layer revealed itself when I couldn’t finish the lyrics. I had most of it written, but key lines were missing. I couldn’t focus – my aunt had recently passed away from cancer, and my family was grieving. That experience ended up shaping the song in ways I hadn’t anticipated. The lines ‘How could this happen to you, it’s cruel and it’s tragic’ and ‘Amor es muerte (love is death)’ are about her – they completed the song for me.”

Single Review by William Ruben Helms

New Audio: Silk Daisys Shares A Shimmering Christmastime Original

Atlanta-based dream pop/post-punk duo Silk Daisys — James Abercrombie and romantic partner Karla Jean Davis — have been making music together for some time, but their Silk Daisys and Damon Moon co-produced debut will be their first, official release. Interestingly, the Silk Daisys name has been around even further, with Abercrombie using the name on Soundcloud for about a decade to upload random covers and the occasional original song. 

“We recorded our album over two weeks with Damon Moon (Bathe Alone, Sleepers Club) at this studio Standard Electric Recorders in Atlanta. Damon was awesome to work with,” the duo says. “We spent a ton of time just talking about music the three of us love and sharing songs back and forth. We’d name some obscure part of a song as a reference and he’d get it immediately, and dial in the tones perfectly. Damon also played drums and percussion on the album. The three of us produced it together, and it was all really collaborative and fun.”` 

The Atlanta-based duo’s full-length debut is slated for a Friday release, and will feature the previously released Halloween-themed “Haunted House,” a track that seemingly channels Pygmalion and Souvlaki-era Slowdive, and “honeymilk,” a contented sigh of a tune that’s one-part 90s shoegaze fuzz and one-part 60s bubble gum pop.

Just before the release of their self-titled debut, the Atlanta-based duo release a Christmas season original and standalone track, “it’s just like xmas,” an effortless blend of old-timey holiday tunes and Cocteau Twins, anchored around shimmering guitar and the timeless hope for a better, more peaceful world for all of us.

“I wrote this one on Christmas Day last year. There’s always a moment of calm in our house after the initial excitement of Christmas morning, and I find myself playing guitar or piano during those moments and thinking about the year we left behind and the year ahead,” the band’s James Abercrombie says. “I thought a lot about our kids, and I thought a lot about the kids who were currently living in countries that were being torn apart by war. The song ended up being a simple wish for peace, a calm all over the world like the ones I so often take for granted on Christmas afternoon.”

Single Review by William Ruben Helms

New Audio: Jennifer Marley Shares Swaggering Banger “It’s Callin’ Me”

Jennifer Marley is an emerging DJ and electronic music producer, who has been remarkably prolific over the past 18 months or so. Her latest single “It’s Callin’ Me” is a swaggering tech house track anchored around the sort of driving bass line and club rocking thump reminiscent of Bubba Brothers and LutchamaK — while being simultaneously euphoria-inducing.

Single Review by William Ruben Helms

New Audio: TRAITRS Returns with Propulsive and Anthemic “i was ill, you were wrong”

With the release of their first three albums, 2017’s Rites and Rituals, 2018’s Butcher’s Coin and 2021’s Horses in the Abattoir, Toronto-based coldwave duo TRAITRS — longtime friends Sean Patrick Nolan and Shawn Tucker — firmly established a sound that blended horror-based imagery with anthemic choruses and cinematic, atmospheric soundscapes. And during that time, the duo evolved from bedroom artists selling cassette tapes to amassing millions of streams globally and playing hundreds of shows internationally. 

The Canadian duo’s highly anticipated Josh Korody-produced, Matt Colton-mastered fourth album Possessor is slated for a March 13, 2026 release. According to the band’s Shawn Tucker, Possessor is “the most personal record I have ever written.” The album was written during Toronto’s coldest winter months, informed by storm battered days and a heavy emotional landscape. The pair focused on capturing precise moods, with lyrics serving as the material’s driving force with the surrounding soundscapes grew to mirror the bleak beauty of the writing process.

Possessor will feature the previously released “Burn In Heaven,” a track that channels The Cure, Bauhaus, Depeche Mode and Cocteau Twins, while showcasing their unerring knack for crafting rousingly anthemic hooks and choruses. The album’s second and latest single “i was ill, you were wrong,” continues a remarkable run of brooding and cinematic material. And while channeling a synthesis of New Wave and goth in a way that brings The Cure and New Order to mind, “i was ill, you were wrong,” is a chilly yet achingly heartfelt and intimate tune that showcases the duo’s rousingly anthemic hooks and choruses.

Thematically, the song examines humanity’s denial of its mortality and the complicated structures we build to distract ourselves from the fear of the inevitable, including the fragile bubbles we often create to shield ourselves from the one deeply universal thing that impacts us all — death.

“I felt that song connected me to everything and everyone, it is the one thing we all share and have in common,” the band’s Shawn Tucker says. “It is also a wake up call to live the life you want to live. We only have one chance at this so go dance in the rain.”

Single Review by William Ruben Helms

New Audio: I WANT POETRY Shares Ethereal “Mirrors Of The Sky”

German indie electro pop duo I WANT POETRY — Tine von Bergen (vocals) and Till Moritz Moll (keys) — have received attention for crafting music that simultaneously feels cinematic and deeply human, blending emotional depth with luminous pop soundscapes.

Developing a reputation for an immersive live show and striking visuals, the German duo have earned critical acclaim and a nomination at the European Songwriting Awards. The duo have played over 100 shows across their native Germany, Poland, Sweden and elsewhere, while making the run of the European showcase festival circuit. And adding to a growing national and international profile, the duo’s single “Light” landed on iTunes charts in several countries, amassing over 500,000 streams globally — and was selected for the soundtrack for the Canadian film, La mécanique des frontières.

2026 looks to be a breakthrough year for the German indie electro pop duo: Their highly anticipated third album, Future Selves is slated for an early 2026 release. The album is reportedly hopeful and transformative, inspired by a brief period of time when the future still felt like a promise, channeling the spirit of past utopias and dreams of progress. And as a result, it offers a forward-looking visions shaped by memory, imagination and the will to create what comes next. Sonically, the album’s material marks an evolution from the reflective tones of Solace + Light, featuring layers of shimming synths and soaring melodies.

The German duo will be touring to support the tour will include an appearance at The New Colossus Festival‘s seventh edition next March. But in the meantime, Future Selves‘ first single “Mirrors Of The Sky” is a slow-burning and broodingly autumnal track, featuring skittering beats and swirling, atmospheric synths. The song’s ethereal production serves as a lush, dream-like bed for von Bergen’s expressive, Kate Bush-like vocal. The result is a song that feels cinematic in scope, yet as intimate as a lover whispering in your ear.

Single Review by William Ruben Helms

New Audio: Chenzo V Shares Anthemic “Midnight”

Chenzo V is an emerging New York-based creative director, producer and artist, whose music sees him drawing from and blending elements of alternative rock, post-punk, New Wave, synth pop and industrial electronica.

Deeply rooted in classical performance and visual art, the emerging New York-based producer and artist writes, produces and directs every release himself, building immersive multimedia worlds. His work thematically touches upon identity, illusion and transformation.

His latest single “Midnight” is an arena friendly ripper that sounds like a synthesis of contemporary alt pop, nu metal and industrial electronica that showcases an artist with an uncanny ability to pair rousingly anthemic hooks and choruses with broodingly cinematic soundscapes and lived-in lyrics.

Single Review by William Ruben Helms

New Audio: RXRXBBIT Shares Sultry “Sunk Cost”

RXRXBBIT is a mysterious and emerging singer/songwriter, producer and pop artist, who has been rather prolific over the past 18 month or so, releasing a handful of attention grabbing singles.

The emerging artist’s latest single “Sunk Cost” is a swaggering and sultry, dance floor bop anchored around a thumping, hyper pop-meets-alt pop production while featuring an unabashedly unhinged, unafraid and brutally honest narrator, who overshares yet makes it flirty and feminist.

Single Review by William Ruben Helms

New Audio: TONNUP Shares Flirty “Friction”

JOVM mainstay Craig Ferguson is an electronic music producer and artist best known in dance music circles as TONNUP. Over the course of the past calendar year, Ferguson has released a handful of club bangers including “I’m So Into You,” “Spymaster” and “Dream of You.“

Ferguson’s latest single “Friction” is a flirty club banger anchored around a throbbing bass line, skittering beats, glistening synths and a sultry vocal sample singing lyrics full of mischievous and naughty double entendres. Expressing the unadulterated lust, curiosity and anticipation of that moment when you make a one-on-one connection with someone on the dance floor that seems to deepen, “Friction” sonically is one-part Chicago house, one-part Giorgio Moroder disco, one-part Kylie Minogue — or in other words, all sweaty, grinding, primal desire.