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With the release of “Swedish Guns,” off their soon-to-be released fourth, full-length album Running Out of Love, Stockholm, Sweden-based electro pop production and artist duo The Radio Dept. received quite a bit of attention across the blogosphere, and as a result the track shot up the Hype Machine charts, landing at number 1. Running Out of Love‘s second and latest single “We Got Game” will further cement the duo’s burgeoning international reputation for crafting slickly produced electro pop that channels mid 80s New Order and classic house but paired with socio-politically charged lyrics. Interestingly, the Swedish electro pop duo’s fourth album focuses on how life in their homeland seems to be quickly moving backwards politically, intellectually, socially — and about how a sense of impatience and privilege has lead to anger, hate and apathy. Sounds familiar doesn’t it?

Check out the song’s lyrics below:

There’s a choice to be made
We never used to blindly disobey
But now, make some noise
Never fade
Retrace the steps of millions before us
What is fair to get ahead?
It’s not an even game if you can’t bid
They don’t care
Never did
If we want it we will have to take it from the overfed

We got game
And we were put to shame
Acting kind
So we came to speak our minds
And what else?
What else?
What else could we do?

You keep talking middle ground
So sick of hearing about that middle ground
This is it, you can’t go ’round
There’s just no other middle to be found
Like with this bunch of racist loons
The kind of guys you wouldn’t like to spoon
If in power
One whisky sour
And everyone I love would be jailed within the hour

We got game
And we were put to shame
Acting kind
So we have changed our minds
And now what?
Now what?
Now what will they do?
Is it true?
Laser beam
Swat team
Not a dream

I believe Paris Grey
Singing “the sun will chase the clouds away”
I believe what she say
Because I want and have to believe that way

Is it true?
Yes it’s true
It is true
Mind you
It’s true


The band will be embarking on a North American tour next winter and it includes two NYC are dates — March 8, 2016 at Bowery Ballroom and March 9, 2016 at Music Hall of Williamsburg. Check out the rest of the tour dates below.

North American Tour Dates

Feb 14 – Philadelphia, PA @ Union Transfer
Feb 15 – Washington, DC @ Black Cat
Feb 16 – Carrboro, NC @ Cat’s Cradle
Feb 17 – Atlanta, GA @ The Earl
Feb 18 – New Orleans, LA @ Gasa Gasa
Feb 19 – Houston, TX @ White Oak Music Hall
Feb 20 – Austin, TX @ Barracuda
Feb 22 – Phoenix, AZ @ Crescent Ballroom
Feb 24 – Los Angeles, CA @ El Rey Theatre
Feb 27 – Portland, OR @ Doug Fir Lounge
Feb 28 – Vancouver, BC @ Biltmore Cabaret
Mar 1 – Seattle, WA @ Neumos
Mar 3 – Minneapolis, MN @ Triple Rock Social Club
Mar 4 – Chicago, IL @ Thalia Hall
Mar 5 – Toronto, ON @ The Mod Club
Mar 6 – Montreal, QC @ Théâtre Fairmount
Mar 7 – Boston, MA @ Brighton Music Hall
Mar 8 – New York, NY @ Bowery Ballroom
Mar 9 – Brooklyn, NY @ Music Hall of Williamsburg



Up-and-coming, Los Angeles, CA-based producers Mike B. and Mike Nana have quickly developed a reputation as one of their hometown’s go-to production units as they’ve collaborated with the likes of Terrace Martin, Jay 305, Kembe X and Anderson .Paak; however, the duo known as MIKNNA will be releasing their debut EP 50/50 (All Seasons) and from the EP’s second single “Trinity Ave,” will also establish the duo as one of the their hometown’s hottest artists as the single consists of tribal-like percussion, swirling electronics, stuttering 808s, trembling synths, bursts of Nile Rodgers and Prince-inspired guitar playing in a strutting and swaggering song that manages to be soulful, sensual and incredibly contemporary.





New Video: Júniús Meyvant Returns with More Carefully Crafted 60s-Inspired Sounds and Striking Visuals for His Latest Single

With the release of Floating Harmonies’ third and latest single “Beat Silent Need,” the Icelandic singer/songwriter will arguably cement himself as one of the finest, contemporary, blue-eyed soul singer/songwriters on either side of the Atlantic as his sound nods at 60s and 70s soul, paired with thoughtful and heartfelt lyrics. In this case, this particular song focuses on loneliness and the desperate need for love and to be desired, the self-doubt, confusion, misunderstandings and fear that frequently sabotage our relationships, the difficulties of honestly connecting with others and the blind hope that in every subsequent relationship that we’ll somehow get it right — although most of us fail miserably some way or another.

The recently released video begins with a couple in the middle of a bitter argument as the man drops his woman off for a pregnant woman yoga class taught by a neglectful asshole. When the women bolt from their class, they are subsequently chased by both the yoga instructor and our protagonist’s boyfriend. And it ends with the pregnant woman, worriedly driving herself and her companions to a hospital as they all experience labor pains — without the asshole men in their lives.

New Video: Lower Dens’ Moody and Gorgeous Visuals and Sounds for “Real Thing”

The recently released video was produced by SSION and employs the use of hazy early 80s synth pop videos as the song has Hunter performing in an empty studio as the video cuts to hazier and hot florescent lit footage of couples and other folks dancing at a club, and of Hunter playing guitar and singing, sometimes in different colored suits. Interestingly, Hunter sings the song’s most devastating lines to herself in a mirror, which emphasizes the song’s loneliness while also emphasizing the fact that the song’s narrator is faced with a difficult decision.

With the release her sultry and bluesy debut single “Keep Lying,” New Jersey-born pop artist Donna Missal first captured the attention of listeners and the blogosphere, and she followed that up with a soulful and jazzy single “The Keeper,” and a bluesy take on Drake‘s mega-hit “Hotline Bling,” that turned up the vulnerable and urgent need of the original. Now, it’s been a little bit since I’ve personally written about Missal; however, her latest single “Slide” was written as a reminder for Missal “to relax and not take everything so seriously and personally. ” And as Missal explains “I would say that I’m very passionate and can get all in my feelings. When anyone listens to this little jam, I hope it makes them feel good. Sometimes the best thing you can do for yourself is throw up your hands, breathe, brush your shoulders off and remember that it’s ok to have fun — no mater how imperfect the circumstances around you.” Sonically, the song consists Missal’s sultry and self-assured vocals with a production that nods at 90s hip-hop infused R&B as a looped horn sample paired with twinkling keys and atmospheric electronics and stuttering drum programming in a silky smooth, sensual and slow-burning song.





New Video: “Lost Under Heaven” Captures Lost Under Heaven’s Urgent, Swooning and Youthful Passion

Spiritual Songs For Lovers To Sing’s latest single “Lost Under Heaven” consists of a rather simple arrangement of buzzing guitar chords, gently swirling feedback, propulsive, staccato drumming paired with howled lyrics and a rousingly anthemic hook to craft a song that swoons with a furious urgency while being somewhat reminiscent of PJ Harvey’s “Good Fortune” but filtered through shoegaze and New Wave.

The recently released video for “Lost Under Heaven” employs a relatively simple concept of featuring the duo moodily walking around darkened streets and footage of the duo passionately performing the song in what appears to be an empty garage. Interestingly, the release of the video comes in advance of the duo’s sets at Reading and Leeds Festivals this weekend — and in some way serves as a teaser to what fans should expect from their upcoming live sets.

New Audio: The Raveonettes Return with a Gorgeous and Bittersweet Addition to their Rave Sound of the Month Series

The previous Rave Sound of the Month single “Won’t You Leave Me Alone” was a bitter tell off from a jilted and exasperated lover, who’s sick of a partner, who just won’t get the hint that she’s had enough of their lover and their shit — and that it’s time for them to move on. Sonically, the song consisted of a towering and jagged soundscape of swirling and buzzing guitar chords, and thundering drumming that reminds me a little bit of The Jesus and Mary Chain; however, the series latest single “Where Are You Wild Horses” is a dreamy and atmospheric song that pairs with shimmering and subtly twangy guitar chords, breathily cooed vocals, a sinuous bass line, shuffling drumming and a dreamily forlorn melody. Lyrically, the song’s narrator has accepted the fact that their relationship is over, and that it’s time to move on and let it be part of the past and a result, it emphasizes a bittersweet reality of the majority of our relationships — that all too often, they end; but that they wind up being part of a intricate and messy life story.

Now, if you’ve been frequenting this site over the past couple of years, you might be somewhat familiar with Madrid, Spain-based indie rock/garage rock/psych rock trio The Parrots, who have received international acclaim for  a sound that draws from garage rock and psych rock with a wild, loose, almost boozy rowdiness that has been compared to the likes of Thee Oh Sees Black LipsRaccoon FighterHigh WaistedWhite Mystery and others; but since some of you will be new readers, or at least unfamiliar with the Spanish indie rock sensations, we’ll go through some backstory: Comprised of Diego Garcia (vocals, guitar), Alejandro de Lucas (bass) and Daniel “Larry” Balboa (drums), the members of The Parrots quickly became a DIY scene and underground scene sensation with a demo, which was released without much promotion and even less fanfare. However, the video for “I Did Something Wrong” initially received over 15,000 hits on YouTube and caught the attention of music bloggers both across the European Union and elsewhere.

For those of you who have been following for some time,  NME named the Spanish trio as one of SXSW‘s “buzziest bands” last year and since then the Spanish indie rock sensations have been extremely busy while building upon a rapidly growing international profile as the released a critically applauded EP, Weed for The Parrots, have conducted a relentless tour schedule, played 14 sets at this year’s SXSW and then signed to renowned indie label Heavenly Recordings. Adding to all of that, the members of the band released a single earlier this year, “Let’s Do It Again,” which was reportedly inspired by the members of the band drinking beers and Horchata, eating Moroccan delicacies and the feelings of deep friendship and loyalty. And as a result, that song possessed a shuffling, intoxicated sensation of being awed by adventure and being elated at being alive with your dearest, closest friends. Sonically, that particular single arguably cemented the Madrid-based trio’s reputation for raw and shaggy garage rock as Garcia’s passionate howls are paired with a shuffling and jangling garage rock chords, propulsive drumming and a throbbing bass line in a  song that evoke the sounds of 1962.

Interestingly, The Parrots’ highly-anticipated full-length debut, Los Ninos Sin Miedos is slated for an August 26, 2016 through Heavenly Recordings and the album’s latest single “Jame Gumb” has the Spanish trio leaning towards an punk rock sound as a propulsive bass line is paired wth shimmering and angular guitar chords played through reverb and effects pedals, industrial squeak and squawk and Garcia’s howled and cooed vocals; however, the song possesses an obvious studio polish,  which modernizes their sound without buffing away the grit, dirt and mayhem at the core of their sound; in fact, the song reminds me of a frenetic version of Iggy Pop’s “Wild One.”

Los Angeles, CA-based sibling duo Andrew Aged (lead vocals, guitar) and Daniel Aged (bass, production and vocals) write, record and perform as inc. no world — and with the critically applauded release of their 2013 debut effort, the duo quickly received a profile for an introspective songwriting approach, and for crafting songs that are not only thoughtful but draw from several different sources, including gospel, soul, experimental pop and others; but with a post-modern minimalism.

“Waters Of You,” the first single off the duo’s highly anticipated, forthcoming effort As Light As Light will likely further cement the Southern California-based duo’s burgeoning reputation for ethereal, soulful pop while subtly expanding upon it; in fact, in some way the song sounds as though it were inspired by Prince, Quiet Storm-era R&B and Oracular Spectacular-era MGMT as it manages to possess a sleek and sensual yet off-kilter funkiness and an aching tenderness as the song has the duo pairing gently strummed guitar  with shimmering synths, ethereal yet sensually cooed vocals and stuttering drum programming. In some way, the song evokes an urgent, carnal need and a vulnerability at its core.








With the release of two critically applauded EPs, We Are Sound and Everything You Imagine Is Real, the New York-based electro pop duo Corbu received praise from the likes of NYLONStereogumThe GuardianNME and others for a sound that’s heavily influenced by the Warp Records roster, sci-fi imagery,  psychedelia and their own dreams. Now, if you’ve been frequenting this site over the past couple of weeks you may recall that I wrote about the cinematic “Battles,” one of the first singles off the duo’s highly-anticipated, soon-to-be released, full-length debut effort Crayon Soul; a track that has the band pairing a soaring and anthemic hook with a shimmering and breezy melody and plaintive vocals in a way that’s reminiscent to Moonbabies and M83.

Crayon Soul‘s latest single “Better Better Off” is a lush and shimmering psych pop, psych rock track that has the duo pairing angular guitar chords fed through gentle reverb and delay pedals, layers upon layers of gorgeous harmonies, shimmering synth cascades,  a soaring and anthemic hook, and a propulsive rhythm section in a song that sounds indebted to trippy 60s psych rock as much as it does to the likes of In Ghost Colours-era Cut Copy and the dream pop of the aforementioned Moonbabies, Summer Heart – but with a palpable bittersweet wistfulness under the song’s breezy surface.