New Video: Parisian Artist Cyma Shares a Lo-Fi and Earnest Love Song

Cyma is an emerging, self-taught French singer/songwriter, multi-instrumentalist and producer, who started writing songs inspired by Mac Demarco, Childish Gambino, Tom Misch, Daniel Caesar, Mac Miller, Lianne La Havas and others, when he relocated from the French Riviera to Paris in 2017. The emerging, independent French artist released his self-produced, debut EP Living Room Demos back in 2019. The EP featured music videos, which featured self-made animations.

He followed up with 2020’s Where All The Sheep Go EP, which also featured music videos with self-made animations. The emerging, Paris-based artist’s third EP Waves is slated for release this month. And to build up buzz for the soon-to-be released EP, Cyma shares Waves EP‘s latest single, the slow-burning and dreamy “Gollum.” Centered around a lo-fi and unhurried production featuring glistening synth arpeggios, strummed guitar, a shimmering and bluesy guitar solo and Cyma’s plaintive baritone, “Gollum” is a sweet and earnest love song written for his girlfriend.

Directed and shot by Cyma, the recently released video for “Gollum” stars Cyma and his girlfriend hanging out on a couch in a verdant backyard, VHS footage of his girlfriend driving, hanging out around the house, surfing — and footage of the French artist playing his guitar in front of a French convenience store and skateboarding. The video shows a love that’s simple yet very sweet and confronting. From experience, that sort of love is lucky and rare.

New Audio: Blake Morgan Shares Earnest and Anthemic “My Love Is Waiting”

Blake Morgan is a New York-born and-based singer/songwriter, multi-instrumentalist, producer and the founder and President of ECR Music Group. In his role as President of ECR Music Group, Morgan’s ideas, opinions and editorials on music and the music business have been regularly published by a number of major media outlets including The New York Times, Billboard Magazine, CNN, Newsweek, Variety, The Hill, NME, The Huffington Post, and The Guardian. He also lectures frequently at The Georgetown University Law Center, California State University, Syracuse University, NYU’s Clive Davis Institute of Recorded Music, American University and his alma mater, Berklee College of Music. His music advocacy has taken him to Capitol Hill numerous times where, as the founder of the #IRespectMusic movement, he continues to fight for musicians rights in the digital age. As a producer, Morgan has collaborated with a who’s who of contemporary music from Lenny Kravitz to Lesley Gore.

Since the release of 2013’s Diamonds in the Dark, Morgan has been extremely busy: he has a remarkably six-year run of sold-out shows at Rockwood Music Hall that often feature guest spots from a number of Grammy and Tony Award-winning artists, who join him for unique, on-stage collaborations; 150,000 miles of touring and sold-out shows on both sides of the Atlantic; and production work on over 20 albums by some serious A-list artists.

Late last year, the New York-born and-based singer/songwriter, multi-instrumentalist, producer and music biz exec released “Down Below Or Up Above” to praise from the likes of The Aquarian, Post-Punk.com, Culture Catch and my dear friends at Glamglare. “Down Below Or Up Above” will appear on Morgan’s long-awaited fifth album Violent Delights, which is slated for a May 20, 2022 release through ECR Music Group.

“My Love Is Waiting” is the rousingly anthemic, second single off Morgan’s forthcoming album. Centered around twinkling keys, atmospheric synths, an enormous arena rock friendly hook and Morgan’s plaintive vocals, “My Love Is Waiting” is a defiant and brazenly hopeful love song that’s specifically meant to get people up from their seats to dance and shout along with it. But it’s also the sort of upbeat love song, which views love as the most important force of our lives and that is very rare. Sonically, the song nods at The Police‘s “Every Little Thing She Does Is Magic,” as well as Joe Jackson and JOVM mainstays Palace Winter. And that’s a result of old-fashioned craftsmanship paired with an uncanny knack for a well-placed razor sharp hook.

“If I had only three minutes to play anyone anything from this new record, I’d pick these three minutes,” Morgan says in press notes. “It’s a brazen love song that dares you not to get out of your chair.” He goes on to add that the song was inspired by more than just the power pop and post-punk influences that he’s best known for. “This track has specific Easter-eggs in it connected to The Police’s ‘Every Little Thing She Does Is Magic,’ a track I’ve been mesmerized by since I was a kid. I hadn’t intended an indirect homage when we recorded it, but there’s some juicy stuff in there if you hunt for it.”

Last week Ghostface Killah celebrated the 25th Anniversary of the release of his seminal debut album Ironman with a special broadcast on his Blue & Cream Sonos station that saw the beloved emcee taking listeners through the entire album, track by track, reflecting on the stories behind what may arguably be one of the more important influential albums within the Wu-Tang universe.

Today, Ghostface released another special episode “Ghost Season of Love.” The episode features Ghost playing some of his favorite tracks that should be part of your Valentine’s Day, however you’re spending it. Fittingly, the mix features tracks from Luther Vandross, Marvin Gaye, Lauryn Hill, Prince, Stevie Wonder and more. And it’s that Quiet Storm fire that all you lovers you there need today.

The Ghost Season of Love playlist

1. Ghostface Killa & Ne-Yo – “Back Like That” (0:00:06)

2. Marvin Gaye – “I Want You” (0:00:55)

3. Lauryn Hill – “Nothing Even Matters” feat. D’Angelo (0:05:25)

4. Sade – “Your Love Is King” (0:11:12)

5. Mali Music – “Loved By You” feat. Jazmine Sullivan – (0:14:50)

6. Tony Terry – “With You” (0:19:05)

7. Case – “Happily Ever After” (0:24:09)

8. Prince – “Adore” 2020 Remaster (0:28:47)

9. Daley – “Alone Together” feat. Marsha Ambrosius (0:35:17)

10. Stevie Wonder – “You and I” (0:39:16)

11. Ghostface Killah, Vaughn Anthony & Estelle – “Paragraphs of Love” (0:43:54)

12. The Whispers – “Lady” (0:47:47)

13. Snoh Aalegra – “Find Someone Like You” (0:52:50)

14. PJ Morton – “First Began” (0:56:15)

15. Luther Vandross “If This World Were Mine” with Cheryl Lynn – (1:00:08)

16. Jaheim – “Diamond In da Ruff” (1:05:22)

17. Brian McKnight – “Back At One” (1:08:38)

18. Ghostface Killah, Ne-Yo – “Back Like That” (1:13:00)

New Audio: France’s Silk Skin Lovers Share a Smiths-like Bop

French indie rock outfit Silk Skin Lovers — Félix Foucambert (vocals, guitar), Jean-Baptiste Halin (bass, bass synths), Lucas Lerbret (guitar, backing vocals) and London-born Callum Taylor (keys, backing vocals) — emerged into the French music scene with a handful of singles inspired and informed by nightlife revelry.

Their debut EP Bloom expands upon that world with material that bounces between playful delight, to late-night melancholy; the blurring of memories to the brink of sobering up as you head home — or when you arrive home, whichever comes first. While primarily based in magical surrealism, the material does reveal a band that’s also concerned about many of the real issues of our day, including racism and police brutality.

“The first seeds of Bloom were planted in the summer of 2020,” the members of Silk Skin Lovers explain. “As a young and developing band, we found ourselves growing in a context that was harsh and complicated, as opportunities for artists were scarce to non-existent for a period. The EP was a natural response to not only the artistic restraints we were faced with, but the frustration of being away from what we love to do, and further from our aspirations as musicians.”

Bloom‘s latest single, the remarkably Smiths-like “Moon 1AM” is an uptempo bop centered around shimmering guitars, a rapid fire rhythm paired with ethereal harmonies, glistening synth arpeggios, an angular and propulsive bass line and a rousingly anthemic hook. Interestingly, the song is emotionally ambivalent: despite its upbeat and uptempo nature, the song is bittersweet and dreamy rumination that’ll make you dance away your sorrows for a bit.

New Video: Reims, France’s Not A Number (N.A.N.) Shares Hopeful “Run Again”

Bernard Collot is a Reims, France-based singer/songwriter, multi-instrumentalist and creative mastermind behind the French post-punk recording project Not A Number (N.A.N.) Late last year, Collot signed with North Shadows Records, who released his Not A Number debut EP Wave earlier this month both digitally and as a limited run cassette.

Wave EP features the 4AD Records-like “Black Water,” which I wrote about some time ago on this site. The EP’s latest single “Run Away,” much like its immediate predecessor seems indebted to 4AD Records post-punk: shimmering and reverb drenched guitars, gated drums, angular bass lines and a soaring hook paired with Collot’s achingly plaintive vocals singing about a universal experience the lifting of deep grief and heartache and falling back in love again. And as a result, while being brooding, the song evokes a sense of hope.

The accompanying video for “Run Away” was shot on Malta and follows Collot wandering around the island nation’s shoreline and winding streets and alleyways by himself. With the video occasionally becoming glitchy, there’s a sense that we might all be watching in the matrix.

New Audio: JOVM Mainstay LutchamaK Remixes His Own “Bitrate Scale”

Over the past couple of years, I’ve spilled quite a bit of virtual ink covering French JOVM mainstay LutchamaK.  Now, if you’ve been frequenting this site over the past year or so, you’d recall that LutchamaK started off the year with a remix effort that featured remixes of Threshold album single “Bitrate Scale” by three artists, who liked his work and wanted to create their own takes.

  • DNMK‘s deep house-leaning take on “Bitrate Scale” that features a brooding, murkier air than the original
  • Haalleyck‘s trippy and cosmic take on “Bitrate Scale” centered around thumping kick and glistening and oscillating synths that feels more like a complete rework of the original
  • Darbinyan‘s uptempo, deep house take on “Bitrate Scale” centered around oscillating synths, skittering, tweeter and woofer rattling beats, glistening synth arpeggios, robotic vocodered vocals and euphoria-inducing hooks

The JOVM mainstay contributes his own remix of “Bitrate Scale.” The LutchamaK remix is a subtle one that clocks in a little over a minute shorter than the original while retaining thumping kick but while pairing it with oscillating synths paired with vocodered vocals. Much like the original, it still nods at Kraftwerk but it feels murkier and brooding.

New Audio: Allegories Share a Euphoric New Single

Allegories — childhood friends Adam Bentley and Jordan Mitchell — can trace their origins to their penchant for indulging in unconventional musical pursuits. Even after founding anthemic, indie-rock outfit The Rest, they embraced any opportunity to indulge their more outré inclinations and desires. In 2014. Bentley and Mitchell began writing and recording material with no clear destination in mind, dabbling in everything from neoclassical compositions to hip hop. Gathering further, inspiration from DJ’ing house and hip-hop nights, the act began to create electronic music that often shifts between the mainstream and underground spectrum. 

Throughout the past decade or so, Bentley and Mitchell have had busy schedules. Bentley had worked in the music industry. Mitchell operates a restaurant. But Allegories almost always found a way to creep back into their lives — if only as a private amusement between the duo. Eventually, they would wind up spending the better part of a decade winnowing down 35 song ideas into their 9-song album Endless, their first album in over 14 years.

Late last year, I wrote about “Pray” a bizarre yet winning mix of menace, irony and sincerity paired with an Evil Heat era Primal Scream meets Sound of Silver era LCD Soundsystem-like production. Endless‘ latest single “Constant” is centered around oscillating synth pulse, an achingly plaintive vocal delivery and a euphoria-inducing hook. The end result is a sugary sweet, endorphin and dopamine rush that feels both pleasant and yet somehow kind of off.

The song is what the duo call a “timid diss track to oneself and all that you love.”

Endless is slated for an April 29, 2022 release.

New Video: NYC’s Anna Sun Holds On To Hope In “What A Shame”

Emerging New York-based indie rock outfit Anna Sun — Samantha Aneson (vocals, guitar), Nikola Balać (drums) and Andrew “Swhogs” Shewaga (bass) — can trace their origins to the breakup of their first band together Satin Nickel back in 2020. When Satin Nickel broke up, Aneson began incorporating her own original material into her repertoire and recruited her former bandmates to bring the material to life.

With the release of their debut EP Extended Play earlier this year, the band firmly established a songwriting approach centered around Aneson’s diary-like lyrics: Sometimes thought-provoking, sometimes heartbreaking, the songs find Aneson digging deep into the tricky dynamics of relationships while finding an underlying sense of optimism.

Overall, the EP thematically captures the small victories and overwhelming anxieties of living in our very strange time. The EP’s latest single, “What A Shame” features Aneson’s Chrissie Hynde-like vocals paired with shimmering and reverb-drenched guitars, a propulsive rhythm section and a rousingly anthemic hook. And while being remarkably accessible, the song is influenced by heartbreaking — and very real — circumstances: The song as the band’s Aneson explains was written as much-needed catharsis, as she was forced to accept the bitter reality that she was losing her mother to dementia. In some way the song and its narrator seems to be desperately trying to hold on — despite everything going absolutely wrong. Sometimes all you’ve got to keep you from cracking up, is the hope that something better will come

“I’ve grown to love the dichotomy of pain and lightness in art. How one can make the other so much more pronounced,” Aneson says. “I was in a place (am forever in a place) of begrudgingly agreeing to this reality that’s been forced upon me. Having to move forward without railing against existence for doing something that once seemed so unimaginable. Having to find light in my nightmare.”

Directed by Kay Day and the band’s Aneson, the recently released video for “What A Shame” features a heartbroken Aneson painting her face like a clown. She winds up going through a hellish day: First she walks through what appears to be McCarren Park with an urn. When she gets to the river to dump ashes, the ashes get blown back into her face. She later gets mugged at knifepoint. She encounters a street musician and forgets that she was just mugged — and has no money. She later meets up with a boyfriend in the park, when all of the video’s villains see her — and then attack her. And then when she tries to escape, she gets hit by a car. Throughout, Aneson tries her very best to keep going, to keep feeling positive about something. If it feels familiar, it should. Life would be unbearable if we didn’t do so.

New Video: JOVM Mainstays Ibeyi Share Gorgeous and Symbolic Visual for Mesmerizing “Sister 2 Sister”

Deriving their name from the Yoruba word for twins ibeji, the acclaimed French-Cuban, London-based twin sibling duo Ibeyi (pronounced ee-bey-ee) — Lisa-Kainde Diaz and Naomi Diaz — can trace the origins of their music career to growing up in a deeply musical home: their father, Anga Diaz, was best known for his work as a member of the intentionally acclaimed Buena Vista Social Club and for collaborating with Ibrahim Ferrer, Ruben Gonzalez and Compay Segundo. Sadly, Anga died when the Diaz Sisters were 11.

Upon their father’s death, Lisa-Kainde and Naomi began studying Yoruba folk songs and the cajon, an Afro-Caribbean drum that their father played throughout most of his career. Interestingly enough, although Yoruba is primarily spoken throughout Nigeria and Benin, the African language has been spoken in some fashion in Cuba since the 1700s, when the slave trade brought Africans to the Caribbean. So when the twins started studying their late father’s music and cultural heritage, they had a deeper understanding of their father as a person, while getting in touch with their ancestral history.

The twins 2015 self-titled debut was critically applauded. Thematically, the album dealt with the past — their father’s life and death, their relationship with each other, their own origins and connecting with their roots. Sonically the album saw them quickly establishing a unique sound that features elements of electro pop, hip-hop, jazz, the blues and Yoruba folk music.

The JOVM mainstays’ sophomore album 2017’s Ash saw the sibling duo writing songs firmly rooted in Afro-Cuban culture and history — but while arguably being among the most visceral, politically charged material of their catalog to date, with the album’s material thematically touching upon race, gender and sexual identity.

Slated for a May 6, 2022 release through XL Recordings, Spell 31, Ibeyi’s third album derives its title from “Spell 31” in The Ancient Egyptian Book of the Dead, which interestingly enough became the premise of the album’s first single “Made of Gold,” a lushly textured song featuring atmospheric synths, buzzing bass synths, skittering tweeter and woofer rattling beats, the twins’ gorgeous and dreamy harmonizing and a guest spot from Gambian-British emcee Pa Salieu.

When the twins returned to the studio to write and record new material, they had felt a sense of chaos, informed by the chaotic state of the world surrounding them. As they got to work, they set out to invoke the age-old teachings of their ancestors to remobilize the power of their birth-given destiny as Ibeyi.

The album reportedly sees the twins on a path to restoration in pursuit of true harmony, healing and magic — all of which, we desperately need right now. The JOVM mainstays commissioned activist and storyteller Janaya Future Khan to write an essay for them, after meeting the activist and storyteller. Khan explains “Ibeyi’s Spell 31 is their boldest offering yet, an antidote to apathy in a divided world.” They explain further, “Spell 31 casts with conviction, transmuting nihilism into sangoma, binaries into endless dualites, moral austerity into abundance. A subversive and halcyonic manifesto from queens of a sovereign land, Ibeyi occupies the liminal, the space between life and death, past and present, right and wrong, and calls for the interior revelations that create the systemic revolutions we long for.”

Continuing their successful collaboration with their long-time producer Richard Russell, Spell 31‘s 10 songs were written, produced and recorded by the duo and features appearances from Jorja Smith, BERYWN, the twins’ father and mother, and the aforementioned Pa Salieu. The album also features a reimagining of Black Flag‘s “Rise Above.”

Along with the album announcement, the JOVM mainstays released Spell 31‘s lead single “Sister 2 Sister.” Centered around a hyper modern production featuring wobbling bass synths, skittering beats, glistening synths and the twins’ gorgeous harmonies “Sister 2 Sister” is inspired and informed by their Afro-Latin roots and their sisterhood: They recall a fond memory singing along to Shakira in the mirror and they talk about how they know they can depend on and rely on each other — even when they’re occasionally when they’re at odds. The song also features a sample of “River” off their self-titled debut.

Directed by Colin Solar Cardo, the accompanying visual for “Sister 2 Sister” stars Lisa-Kaindé and Naomi Diaz, along with a collection of beautiful dancers. While incredibly symbolic, the visual touches upon the themes of its accompanying song — with the sisters’ and dancers’, movements conveying the twins’ deep bond.

New Audio: JOVM Mainstay LutchamaK Shares Darbinyan’s Remix of “Bitrate Scale”

Last year, may have been among the most prolific and productive of LutchamaK‘s career to date. The French JOVM mainstay released an insane array of full-length albums and EPs that saw him experimenting with different sub-genres and styles within electronic music.

In that series of releases, you might remember Threshold, which  featured “Irie Vibrations,” a track that seemed to mesh elements of Lee “Scratch” Perry-like dub with club friendly trance and house and “Bitrate Scale,” a brooding yet hypnotic club banger that brought Tour de France era Kraftwerk to mind. 

LutchamaK starts off 2022 with a remix effort that features remixes of Threshold album single “Bitrate Scale” by three artists, who liked his work and wanted to create their own takes. So far I’ve written about two of these remakes on Bitrate Scale_rmx:  

  • DNMK‘s deep house-leaning take on “Bitrate Scale” that features a brooding, murkier air than the original
  • Haalleycks trippy and cosmic take on “Bitrate Scale” centered around thumping kick and glistening and oscillating synths that feels more like a complete rework of the original

Darbinyan contributes an uptempo, deep house take on “Bitrate Scale” centered around oscillating synths, skittering, tweeter and woofer rattling beats, glistening synth arpeggios, robotic vocodered vocals and euphoria-inducing hooks. Much like Haallecks’ remix, the Darbinyan remix feels like a complete rework for the original.