New Video: Berlin’s Nando the Native Shares a Tale of Heartbreak and Betrayal

Nando the Native is an emerging Nicaraguan-born, Berlin-based R&B/indie pop artist, whose career started in earnest as a member of acclaimed, award-winning R&B outfit A Song For You, led by Noah Slee. And as member of A Song For You, the Nicaraguan-born artist has shared stages with the likes of JOVM mainstay Nick Hakim, Kelvyn Colt and Annahstasia while collaborating with Carhatt, Dr. Martens, and Levi’s.

The Nicaraguan-born, Berlin-based artist stepped out into the spotlight as a solo artist. His music as a solo artist serves as a genuine reflection of his innermost thoughts and emotions, inviting listeners into his world with raw honesty and vulnerability. Although he cites Frank Ocean, Miguel and a list of other artists as influences on his overall sound and approach, having grown up straddling two contrasting cultures have informed his vocal and musical versatility while being a testament to wholly embracing one’s own identity.

Rejecting the confines of traditional labels and genre boundaries, the Nicaraguan-born, Berlin-based artist has forged his own path, creating music that draws from his heritage and the cosmopolitan energy of Berlin’s rich creative scene.

In a relatively short period of time, Nando the Native has made a name for himself in the Berlin R&B scene through collaborations with a collection of local and international artists and producers including Jonny Wood and Axel Benamar.

Released last month, his six-song solo debut EP Nothing But A Lesson thematically touches upon the complexities of heartache, toxic relationship, love, fetishization and more. The effort sees Nando the Native pairing poignant, lived-in lyricism with velvety-smooth production while showcasing an old-school inspired vocal prowess and attention to craft. “Nothing But A Lesson is a collection of songs I wrote during a time I was still learning how to set boundaries in relationships,” the Berlin-based artist explains. “This EP is a little reminder for me not to fall into something toxic again.”

Nothing But A Lesson‘s latest single “Honest” is a vibey bit of R&B anchored around a production featuring skittering beats and a looping arpeggiated acoustic gutter sample serving as a lush, satiny bed for the Berlin-based artist’s soulful, heartbroken croon. Written from the lived-in perspective of someone who has been fetishized for being of color, the song addresses the fetishization of BIPOC folks from whites and others, who fixate on the seeming exoticness of someone’s ethnicity or skin color — and not on who they actually are as a person. And throughout the song’s narrator expresses a sense of betrayal, hurt and confusion, as well as the sense of foolishly taking part in their own fetishization.

The accompanying video as Nando the Native explains portrays the situations described in the song: The love interest in the video seems to get off on having Nando speak Spanish all the time, but for the rising artist, there’s a sense that he feels a bit like an accessory. Later, we see the same girl at a party full of BIPOC folks, flirting with another guy. Towards the ends of the night, she’s calling Nando but little does she know he knows she’s up to no good.

Led by Death by Audio founder and Dedstrange Records co-founder Oliver Ackermann, New York-based JOVM mainstays A Place To Bury Strangers — currently Ackermann (vocals, guitar), John Fedowitz (guitar) and Sandra Fedowitz (drums) — have long been fueled by Ackermann’s restless creativity and propensity to be surprising: Over the past close to two decades, A Place To Bury Strangers have delighted, astonished — and occasionally destroyed the eardrums of — their audience with a sound that combines elements of post-punk, noise rock, shoegaze, psychedelia and avant-garde music in rather unexpected ways. Their live show is often wildly unpredictable and often sees the band creating a  a shamanistic experience that bathes listeners in glorious sound, crazed left turns, transcendent vibrations, real-time experiments, brilliant breakthroughs.

And as the founder of Death By Audio, the company behind signal-scrambling stomp boxes and visionary instrument effect pedals, Ackerman has exported that sense of excitement, surprise and invention to other artists, who plug their instruments into his company’s gear and attempt to blow minds with wild, new sounds and approaches. 

With A Place To Bury Strangers’ latest lineup, the band may arguably be at their most courageous and accessibly melodic in their lengthy and acclaimed run. The new lineup has two releases under their belt, 2021’s Hologram EP and their sixth full-length album, 2022’s critically applauded See Through You, which they’ve supported with a seemingly indefatigable touring schedule. 

Continuing their long-held reputation for restless creativity, the members of APTBS are releasing a four 7-inch vinyl record series, called The SevensThe Sevens are a treasure trove of previously unreleased tracks from See Through You. The special vinyl collection sees the band inviting listeners to dive deeper into their unique sonic universe to explore uncharted territories and hidden gems. “When looking back at the recordings that were done around the time of See Through You, there were a bunch of great tracks that just captured life back then and really had something incredible going on,” APTBS’ Oliver Ackermann says. “Even though they are a bit raw and a bit personal, I thought it would be a mistake if they didn’t come out. I thought it would be best to go back to my roots and put out a series of 7-inches the way A Place To Bury Strangers started. That strange weird format where the tracks each speak for themselves; no album context to muddy the water. These tracks are such a contrast to the way I am feeling now and the current songs we’ve been working on so slip back into this moment in time.”

Earlier this year, APTBS released the first installment of the series “It Is Time”/”Change Your God,” which featured “Change Your God,” a bit classic APTBS — a bombastic, over-the-top punk and shoegaze sonic explosion rooted in fuzz and feedback saturated power chords, pummeling drumming and propulsive bass lines paired with Ackerman’s reverb-drenched, seemingly detached yet yearning delivery within a grunge-like quieter, extremely loud-quieter song structures.

“The latest installment of the series “I Can Never Be As Great As You”/”Chasing Colors” pairs a relentless motorik-like groove with Ackerman’s punchy delivery and wailing bursts of explosive feedback. Much like APTBS’ growing catalog, “I Can Never Be As Great As You” pairs a relentless motorik-like groove with Ackerman’s punchy delivery and wailing bursts of explosive feedback. Much like APTBS’ growing catalog, “I Can Never Be As Great As You” is meant to be played eardrum shatteringly loud and enjoyed in a sweaty mosh pit.

The longtime JOVM mainstays are currently in touring Europe to support their singles series. They’ll be on a short Stateside tour that includes a May 31, 2024 stop at Music Hall of Williamsburg. Check out the tour dates below.


 
The Sevens European Union Tour Dates:

Tue. Apr. 9 – Milan, IT @ ARCI Bellezza &
Wed. Apr. 10 – Bologna, IT @ Coco Club &
Thu. Apr. 11 – Rome, IT @ Monk &
Fri. Apr. 12 – Palermo, IT @ Candelai *
Sat. Apr. 13 – Messina, IT @ Retronouveau †
Mon. Apr. 15 – Zurich CH @ Bogen F &
Tue. Apr. 16 – Bern, DH @ ISC Club *
Wed. Apr. 17 – Marseille, FR @ La Make &
Thu. Apr. 18 – Toulouse, FR @ Le Rex &
Fri. Apr. 19 – Barcelona, ES @ Barcelona Psych Fest [The Sevens Release Show]
Sat. Apr. 20 – Madrid, ES @ El Sol *&
Sun. Apr. 21 – San Sebastián, ES @ Dabadaba &
Tue. Apr. 23 – Paris, FR @ Petit Bain ^
Wed. Apr. 24 – Lille, FR @ Le Grand Mix ^
Thu. Apr. 25 – Maastricht, NL @ Muziekgieterij ^


The Sevens US Release Shows:

May 29 – Providence, RI – Alchemy w/ Pons & Ski Club

May 30 – Boston, MA – Crystal Ballroom ^

May 31 – Brooklyn, NY – Music Hall of Williamsburg ^

June 1 – Philadelphia, PA – Underground Arts ^

^ With JJUUJJUU & SUUNS


 
* With Ceremony East Coast
& With Maquina (PT)
^ With Plattenbau (DE)
† With Patriarchy (US)
$ With ERRORR (DE)

New Audio: Minneapolis’ Lumari Shares Soaring “In Waves”

Emerging Minneapolis-based dream pop/shoegaze outfit Lumari — twin brothers Dave West (drums) and Dan West (guitar/bass), Margo Pearson (vocals, keys) and Robert Caple (guitar, bass) — can loosely trace their origins back some time ago: The West Brothers have performed together internationally for several decades in a number of different projects.

They had the serendipitous — and rare — fortune of finding Pearson and Caple, who helped complete their latest band’s lineup. And along with acclaimed, award-winning producer/engineer Eric Olsen, the quartet have developed a sound that pairs shimmering guitar textures with expressive and soaring vocals while blurring the lines between genres and styles.

Last year saw the release of the Minneapolis-based outfit’s full-length debut En Phases. The album’s latest single “In Waves” is a gorgeous, hook-driven bit of shoegaze that subtly nods at Laurel Canyon-era rock in a way that reminds me a bit of FRANKIIE‘s gorgeous Between Dreams and Wax Idols: Shimmering and swirling guitar textures, glistening synths and driving rhythms are paired with Pearson’s expressive and yearning delivery.

New Audio: Kenon Chen Shares Slickly Produced Bop “Safer In Your Arms (Lunar New Year Edit)”

Kenon Chen is a prolific extra pop singer/songwriter, who over the course of last year released four albums — Electric Winter, The Tide: Wave I, Electric Spring, Electric Summer and Electric Fall.

Continuing a wildly prolific run, Chen released the Electric Seasons Remixed album earlier this year. The album’s latest single “Safer In Your Arms (Lunar New Year Edit)” is a slickly produced, hook-driven bop featuring skittering beats, strummed guitar, glistening synth arpeggios serving as a lush and cinematic-bed for Chen’s achingly plaintive falsetto.

Rooted in deeply heartfelt and earnest lyrics, “Safer In Your Arms (Lunar New Year Edit)” seemingly channels — to my ears, at least — Get Ready-era New Order and St. Lucia.

New Audio: Lowa OD Returns with Vibey “Ocasional”

Lowadel Olivares Dominguez is a rising, 20-something, Santo Domingo, Dominican Republic-born and-based singer/songwriter, best known as Lowa OD. And in a relatively short period of time, the young and rising Dominican artist has quickly established a sound that blends Afro-Caribbean rhythms and pop melodies pareidw with unique vocals inflections.

Last year, Olivares Dominguez took the Latin music industry by storm with the release of “Ayayai,” a song that quickly became a summer anthem for fans across Central America, South America and Europe while amassing over 200,000 streams across social media platforms. Adding to a growing international profile, DJs around the world have played his music in clubs and venues, introducing him and his work to new audiences.

Now, late last year, I wrote about “Luna Y Sol,” a slick, hook-driven and radio friendly blend of contemporary R&B, hip-hop, reggaeton an Afrobeats built around a looped Spanish guitar melody, twinkling tropical-inspired production and skittering trap beats serving as a lush bed for Olivares Dominguez’s plaintive vocal. “Luna Y Sol” is a breezy and escapist bit of pop that tells the story of young love and adventure with a lived-in specificity that gives the remarkably accessible song its beating heart. 

Continuing to build upon a growing profile, the rising Dominican artist will be releasing the INEFABLE EP, an effort that thematically focuses on his different emotional experiences within the various relationships of his life. The effort’s first single “Ocasional” is a vibey bop that’s simultaneously lounge, club and radio friendly. Anchored around a reggaeton-meets-pop-meets Afrobeats production featuring skittering trap beats, glistening synths and a supple bass line serving as a lush and satiny bed for the rising Dominican artist’s easy-going yet soulful vocal.

“‘Ocasional’ or ‘Ocassional’ (in English) portrays a relationship with a woman who is after man, but the man isn’t interested in a relationship of love. This depiction of an intimate modern relationship with a smooth afrobeat style beat bumping to carry to story will get young people around the world out of their seats and moving.”

New Video: West Wickhams Share Shimmering and Dreamy “At The Cinema”

Back in 2022, the Richmond, UK-based self-described “psychedelic, garage noir” duo  West Wickhams — Jon Othello and Elle Flores — released their debut, Consider Her Way, which featured the brooding, The Cure-meets-Cocteau Twins-like “Consider Her Way” and their sophomore EP Magenta, which featured the slick The Cure-meets-New Order-like “This Is a Hang Up,” one of the more dance-floor friendly tracks of their growing catalog. 

The British JOVM mainstays started this year with Vivre Sa Vie. Translated into English as “Your life to live,” the album features the previously released “The Conformist,” which continued a run of 80s goth and post-punk inspired material, but with chiming percussion, which added a subtle bit of bright and sunny beauty to the generally dark, brooding air they’ve established.

Vivre Sa Vie‘s latest single “At The Cinema” is a decidedly 80s post punk song that seemingly channels Garlands-era Cocteau Twins, The Cure, Siouxsie and The Banshees and several others with the track being anchored around shimmering and reverb soaked guitars, a laconic, almost narcoleptic backbeat paired seemingly distracted dreamy vocals. Tune in and tune out, perhaps?

The accompanying video follows a collection of extremely British mods brooding and goofing off for the camera, much like characters in the movies do.

New Audio: Toronto’s Cameron Sage From Shares Catchy Bop “Superficial”

Cameron Sage From is a 17 year-old, emerging Toronto-based pop artist. Her second single “Superficial” is a remarkably catchy bop that will likely remind some listeners of the likes of Avril Lavigne, Taylor Swift and going back a bit, 80s pop — yeah, seriously, y’all. Anchored around a sleek arrangement of glistening synth oscillations, angular bursts of guitars, atmospheric synths, the hook-driven anthem proves to be an impressive vehicle for a young artist, who displays a self-assuredness beyond her relative youth.

At its core, the song features a narrator, that has caught on to the fact that a flame is a scrub, and that their interest in that flame has been extremely superficial. But rather than be self-flagellating, the narrator seems to laugh at her own foolishness and seemingly promises to do be better.