Tag: Abby Diamond

With the release of lead single “Atlantis,” off her forthcoming and highly-anticipated EP NemesisLos Angeles, CA-based singer/songwriter and actress Bridgit Mendler first caught the attention of the blogosphere for a sound that possesses elements of hip hop, glitchy and contemporary electro pop, R&B and dancehall — and as a result, the track hit #2 on Spotify‘s Viral Chart, #1 on Hype Machine , garnered over 3 million streams across all digital streaming services and received praise from the likes of MTVNylonStereogum and Pigeons and Planes. And when you hear the song you’ll see why it burned up the internet charts as the slow-burning song pairs Mendler’s breathy coos with a slick, hyper modern production featuring stuttering drum programming, vocoder fed vocals, glitchy electronics, various bleeps, bloops and blips and twinkling synths and a flirtatious verse from Kaiydo. Sonically, the song is reminiscent of Abby Diamond‘s “Love to Watch You Leave” while nodding at Timbaland‘s revolutionary production — in other words, stuttering and bizarre angles while being airy and coquettish but underneath there’s an aching vulnerability.

Recently, young and renowned, Philadelphia, PA-based producer Tunji Ige remixed Mendler’s blogosphere burning single, pairing Mendler’s breathy coos with swaggering, tweeter and woofer rattling beats, glitchy electronics turning the song into a stomping, trap music-leaning club banger while retaining the original’s vulnerability. Check out how it differs from the original below.

New Video: The Darkly Comic Visuals for Bridgit Mendler’s Blogosphere Dominating Single “Atlantis”

The slow-burning song pairs Mendler’s breathy coos with a slick, hyper modern production featuring stuttering drum programming, vocoder fed vocals, glitchy electronics, various bleeps, bloops and blips and twinkling synths and a flirtatious verse from Kaiydo. Sonically, the song is reminiscent of Abby Diamond’s “Love to Watch You Leave” while nodding at Timbaland’s revolutionary production — in other words, stuttering and bizarre angles while being airy and coquettish but underneath there’s an aching vulnerability.

The video was produced by Allie Avital, who has produced videos for Chairlift, The Knocks and Autre Ne Veut, and as Bridgit Mendler explains in press notes “We found a concept that has both dark satirical and heart-aching moments. I break into my ex’s house and try to recreate our lost love while he is passed out. Even in the midst of fun and light moments in life, my heart is limp as his hand hits my knee while we dance in the kitchen. I’m a huge fan of Allie’s work but in addition to that, she is a smart and warm-hearted person that went above and beyond to make this project what it is.”

San Francisco-born, New Orleans-based singer/songwriter, producer and composer Abby Diamond initially caught the attention of several blogs with her collaboration with Yugen on “Single Cell,” an icily, minimalist, slow-burning track that featured Diamond’s sultry crooning over gently strummed guitar, and off-kilter syncopated beats, which gave the song a glitchy, stuttering feel.

Diamond saw increasingly attention with a subtle yet brilliant reworking of Froyo Ma‘s “I Live All Alone” that rearranges a sample of Bill Murray’s character from Lost in Translation by having it appear within the song twice, and although Diamond’s reworking retains the original’s hypnotic and forcefully propulsive nature, her soulful vocals drifting over the mix gave the song a sinuous and sensual feel. The New Orleans-based pop artist quickly followed that up with the first single off Down, Down, Deep, “I Love To Watch You Leave,” a song that Diamond wrote when she was 19. Initially produced by her then-boyfriend Luke Todd, the track featured her coquettish vocals over a minimalist production. Producers Liam Shy and Alex Cowan assisted Diamond on a rework that managed to give the breezy original a bit of heft, as the song was given a funky, 80s-inspired R&B groove — the sort of groove that bears an uncanny resemblance to the sample on Biggie’s “Juicy” and the radio version of “One More Chance.

Diamond’s full-length debut, FEMINISTA, which will be co-proudced by Dimaond and Blue Hawaii features collaborations with artists and producers Kyross, weirdinside and others. As Diamond told me via email, the 10 song album will be released in several parts over the course of the next 8 months or so with films, feminist zines to bring about a larger discussion about what feminism means to variety of artists across different media. According to Diamond, “Each music video that I release along with FEMINISTA will be available for download (along with other b-roll film) as well so film makers can make their own films using our footage. The album itself will be free for download online and CDs will be sold inside feminist art zines, which are being created by myself, other female musicians and artists as well as artistic fans who submit work to us. These zines will be reminiscent of Riot Grrrl and other female punk rock zines that helped spread feminist concepts like wildfire in the late 80s and early 90s. The idea is to resurrect this movement within a new context and culture—bringing feminist zines into the pop/electronic scene as a vehicle for all different women who share a similar taste in music to express what it’s like to be a third wave feminist today.” Clearly, the project aims to be bold, brash and enormous. And as Diamond told me, “I see this project as a unique opportunity to look at art through the lens of all different types of feminists.”

The album’s first single “There’s a Light in My Room” is a subtly layered production comprised of wobbling low end, skittering and stuttering beats, ominously swirling electronics, brief bursts of twinkling keys, handclaps and finger snaps that’s spacious enough to allow Diamond’s sultrily soulful vocals to gently drift over the mix. Lyrically, the song reveals a fully-fleshed out and vulnerable narrator, who longs for someone with an urgent, desperate need, and through the length of the song, the narrator walks a tightrope between asserting herself and self-doubt; the sort of self-doubt that comes up whenever anyone puts their heart on the line for another, with the hopes that their affection and desires are reciprocated — while knowing that most of the time, love doesn’t make much sense, and will often be unreciprocated.

With Diamond’s vocals bearing an uncanny resemblance to a young Mariah Carey, the song subtly seems to mesh 90s R&B, soul and pop with incredibly contemporary production in a song that sonically speaking is a marvel, as the song reveals subtle nuance on repeated listens.