Tag: Berlin Germany

IRYS is an emerging, Berlin-based singer/songwriter and producer, who specializes in what she describes as dark electro pop with a note of retro and synth wave. She released her first single earlier this and currently has plans to release one single a month throughout the rest of the year. 

Earlier this year, the Berlin-based artist released “River,” a mid-tempo Version 2.0 Garbage-like track that featured her sultry vocal over a slick production featuring shimmering synths, skittering tweeter and woofer rocking beats and a propulsive bass line.

She followed that up with “Warriors,” one of the more dance floor friendly tracks of her growing catalog that manages to still be darkly seductive.

“Borderline,” IRYS’ latest single is brooding, trip hop-inspired bop centered around tweeter and woofer rattling beats, glistening synths, bursts of strummed guitar paired with the Berlin-based artist’s sultry and self-assured delivery and her knack for crafting infectious hooks.

New Video: Carla dal Forno Shares Sultry “Side By Side”

Singer/songwriter, musician and Kallista Records label head Carla dal Forno has spent the better part of a decade or so moving, writing, recording and touring out our Berlin and London, before recently relocating to Castlemaine, Victoria, Australia, where she wrote and recorded her third album Come Around

Slated for November 4, 2022 release through her own Kallista Records, Come Aroundreportedly sees dal Forno grappling with ideas of home, disorder and insomnia with self-assured, enlightened songwriting and pop hooks. 

Earlier this year, I wrote about album title track “Come Around,” a narcoleptic, meandering, dub-like take on indie pop centered around reverb and delay-drenched guitar and drums paired with dal Forno’s inviting, easy-going delivery and a well-placed, infectious hook. The end result is a song that feels like an open-ended invitation to stop by and stay awhile, to make yourself at home.

Come Around‘s latest single “Side By Side” is a dreamy and slow-burning, dub-inspired take on indie pop centered around a sinuous bass line, reverb and delay-drenched beats and bursts of twinkling, buzzing and atmospheric synths paired with dal Forno’s yearning, come hither delivery. It’s a slinky and sultry song, full of nocturnal desire.

“‘Side By Side’ is about the anticipation of hooking up with someone and the feelings of inevitability, transparency and impatience,” dal Forno explains. “It’s all in the lyric, ‘Make your move / I recognise the method you use.’ I’ve been sitting on this track for a few years. The production was really slow at first, leaning towards ‘ballad’ territory but it really seemed to find its groove when I increased the tempo and leaned into the bassline hook.”

Directed by Ludovic Sauvage, the haunting accompanying video complements the track’s nocturnal longing as it features a shadowy, blue-lit dal Forno superimposed over a shot of blooming, pink tulips in a stark, black backdrop.

New Video: JOVM Mainstay James Chatburn Shares a Woozy, Classic Soul-Inspired Jam

James Chatburn is a rising, Sydney-born, Berlin-based singer/songwriter and producer. Since relocating to the German capital back in 2015, Chatburn has carved out a reputation for being a highly in-demand singer/songwriter and producer, who has collaborated with acclaimed Aussie hip-hop outfit Hilltop Hoods‘ certified Gold single “Higher,”  rum.goldJordan RakeiNoah SleeSedric Perry, and a growing list of others. As a solo artist, the Sydney-born, Berlin-based JOVM mainstay has developed and honed a sound that meshes elements of soul, blues, electro pop, neo-soul and psych pop with the release of his full-length debut, 2020’s David Tobias co-produced Faible

During the lead-up to Fabile‘s release, I managed to write about three of the album’s singles: 

  • In My House,” a warm and vibey, two-step inducing bit of soul, centered around introspective, earnest songwriting, reverb-drenched guitars and thumping beats.
  • Jewellery and Gold,” one of the album’s more tongue-in-cheek tracks, featuring a narrator looking forward to a future, where he’s flush with cash, and as a result, any of the major issues of his life being settled with that newfound cash — because dollar dollar bill y’all. 
  • The Hurt,” a ballad that saw the Aussie-born, German-based JOVM mainstay express longing and heartache in a way that reminded me quite a bit of Nick Hakim.

Chatburn’s highly-anticipated sophomore album Late Night Howling officially dropped today. And if you’ve been following this site over the past month, you might recall that I wrote about “Do You Wanna Live Like That,” feat. Noah Slee, an expansive and mind-bending take on neo-soul and pop centered around a unique and woozily dynamic song structure that rapidly shifts in tone, time signature and instrumentation: The song’s introduction begins with twinkling pianos in a Latin jazz like tempo before quickly shifting to tweeter and woofer rattling trap beats and then shifting again to a vibey 70s neo-soul-inspired coda. 

Lyrically, the song is intimate and introspective, with its narrator vacillating between self-doubt, analysis, progression and gratefulness. “‘Do You Wanna Live Like That’ is a track I created which ended up kind of being a few different tracks in one, inspired by people like Tyler, The Creator with just these sudden drops and Sault with this vibe – simple not perfect, but just perfectly imperfect,” James Chatburn explains. “Noah Slee and I have been friends basically since we both moved to Berlin, it just took 7 years but we finally got around to releasing a track together.” 

Late Night Howling‘s latest single “Some Kind of Fool” sonically is indebted to Quiet Storm-meets-classic, late 60s-mid 70s psych soul as it’s centered around an arrangement of shimmering Rhodes, supple and sinuous bass lines, some metronomic time keeping, squiggling bursts of funk guitar and a soaring string arrangement serving as an ethereal and brooding bed for Chatburn, who fittingly adopts a yearning and heartbroken falsetto for most of the song. Although the song’s narrator is heartbroken and deceived, they have taken some degree of power back by clearly calling out someone, who has manipulated and exploited them.

“This song is about noticing being taken advantage of by other people and manipulated, but taking power over that situation by noticing it and calling out the behaviour,” Chatburn explains. “When producing and performing this song I wanted to land somewhere between Cleo Sol, Shuggie Otis, and Curtis Mayfield, I was like fuck it, I love it, I am going to make one of these songs.”

Directed by Dhanesh Jayaselan and featuring set design by Shari Annabel Marks, the accompanying video for “Some Kind of Fool” is an ethereal, fever dream that features an entirely black-clad Chatburn with his entirely white-clad backing band performing the song in a mistily lit, loft space. Local dancers — Nino Benito Marks, Kandi Alum and Lara Scheiber — perform some free, floating movements to the song’s slow-burning groove, and it gives the entire affair a woozy and floating feel.

New Video: Carla dal Forno Shares Hazy and Dreamy “Come Around”

Over the better part of the past decade or so of moving, writing, recording and touring out of Berlin and London, singer/songwriter, musician and Kallista Records label head Carla dal Forno relocated to Castlemaine, Victoria, Australia, where she wrote and recorded her third album Come Around.

Slated for November 4, 2022 release through her own Kallista Records, Come Around reportedly sees dal Forno grappling with ideas of home, disorder and insomnia with self-assured, enlightened songwriting and pop hooks.

Come Around‘s first single, album title track “Come Around” is a narcoleptic, meandering, dub-like take on indie pop featuring reverb and delay-drenched guitar and drums paired with dal Forno’s inviting, easy-going delivery. Centered around a seemingly effortless melodic simplistic and an unerring knack for a well-placed, infectious hook, “Come Around” feels like an open-ended invitation to stop by and stay awhile, to make yourself at home . . .

“’Come Around’ was inspired by a guy I used to play in a band with,” dal Forno explains. “I really admired the way he played guitar. He had this laid back strum that was effortless and cool. I was mucking around at home one day trying to imitate the way he played and I wrote ‘Come Around.’” Further adding: ”I wrote the song during a carefree springtime and I loved working on it while recording this album. There’s a lightness and openness to it, which I feel quite liberated by. It reminds me of a life I once had with very few responsibilities.”

The accompanying video by Ludovic Sauvage is red-hued — and despite dal Forno’s clothing, evokes lazy, hazy summer afternoons of daydreaming and hanging out without a particular plan.

MSJY is a highly sought-after, Berlin-based DJ and curator, who is affiliated with Dekmantel and has been a former resident at Amsterdam‘s De School, Groningen‘s OOST and Berlin’s Greissmuehle. Over the past eight years or so, MSJY has developed a reputation for thoughtful and playful sets that draw from trip-hop and IDM and feature big bass drops and breakbeats.

MSJY’s newest project Xades — pronounced shades — sees the highly sought-after DJ and curator boldly stepping out from behind the decks and into the limelight as singer/songwriter. With Xades, MSJY pushes her sound and approach with the project touching upon dub, downtempo electronica and contemporary R&B, while being informed by her international and multicultural roots: Her mother is Brazilian, her father is Argentinian and she has a Swiss passport.

Her latest Xades single, the playful and coquettish “Locked In” features warm and vibey, neo-soul-leaning instrumentation, including a supple bass line, fluttering flute, and Latin percussion paired with skittering beats, a garage-inspired groove and twinkling synths, an infectious hook and MSJY’s sultry delivery. While being a summery bop that’s simultaneously club and lounge friendly, the song captures and evokes the pent up energy of being locked up inside and isolated from others for months on end — and literally bouncing off your walls.

New Video: James Chatburn and Noah Slee Team Up with Local Musicians in Intimate Visual for Woozy “Do You Wanna Live Like That”

James Chatburn is a rising, Sydney-born, Berlin-based singer/songwriter and producer. Since relocating to the German capital back in 2015, Chatburn has carved out a reputation for being a highly in-demand singer/songwriter and producer, who has collaborated with acclaimed Aussie hip-hop outfit Hilltop Hoods‘ certified Gold single “Higher,”  rum.goldJordan RakeiNoah SleeSedric Perry, and a growing list of others. As a solo artist, the Sydney-born, Berlin-based JOVM mainstay has developed and honed a sound that meshes elements of soul, blues, electro pop, neo-soul and psych pop with the release of his full-length debut, 2020’s David Tobias co-produced Faible

During the lead-up to Fabile‘s release, I managed to write about three of the album’s singles: 

  • In My House,” a warm and vibey, two-step inducing bit of soul, centered around introspective, earnest songwriting, reverb-drenched guitars and thumping beats.
  • Jewellery and Gold,” one of the album’s more tongue-in-cheek tracks, featuring a narrator looking forward to a future, where he’s flush with cash, and as a result, any of the major issues of his life being settled with that newfound cash — because dollar dollar bill y’all. 
  • The Hurt,” a ballad that saw the Aussie-born, German-based JOVM mainstay express longing and heartache in a way that reminded me quite a bit of Nick Hakim.

Chatburn’s highly-anticipated sophomore album Late Night Howling is forthcoming. The album’s latest single “Do You Wanna Live Like That,” feat. Noah Slee is an expansive and mind-bending take on neo-soul and pop centered around a unique and woozily dynamic song structure that rapidly shifts in tone, time signature and instrumentation: The song’s introduction begins with twinkling pianos in a Latin jazz like tempo before quickly shifting to tweeter and woofer rattling trap beats and then shifting again to a vibey 70s neo-soul-inspired coda. 

Lyrically, the song is intimate and introspective, with its narrator vacillating between self-doubt, analysis, progression and gratefulness. “‘Do You Wanna Live Like That’ is a track I created which ended up kind of being a few different tracks in one, inspired by people like Tyler, The Creator with just these sudden drops and Sault with this vibe – simple not perfect, but just perfectly imperfect,” James Chatburn explains. “Noah Slee and I have been friends basically since we both moved to Berlin, it just took 7 years but we finally got around to releasing a track together.” 

Directed by Dhanesh Jayaselan, the accompanying video is a live performance-styled video shot at Callie’s in Berlin and features Chatburn and Slee with a backing band featuring Berlin-based musicians Tim Granbacka (keys, vocals), Johnny Kulo (guitar, vocals), Adam Sait (bass) and Richard Young (drums). The live footage is intimate and stylish but ends with Chatburn walking over to contemplatively strum an acoustic guitar.

James Chatburn is a rising, Sydney-born, Berlin-based singer/songwriter and producer. Since relocating to the German capital back in 2015, Chatburn has carved out a reputation for being a highly in-demand singer/songwriter and producer, who has collaborated with acclaimed Aussie hip-hop outfit Hilltop Hoods‘ certified Gold single “Higher,” rum.gold, Jordan Rakei, Noah Slee, Sedric Perry, and a growing list of others. As a solo artist, the Sydney-born, Berlin-based JOVM mainstay has developed and honed a sound that meshes elements of soul, blues, electro pop, neo-soul and psych pop with the release of his full-length debut, 2020’s David Tobias co-produced Faible.

During the lead-up to Fabile‘s release, I managed to write about three of the album’s singles:

  • In My House,” a warm and vibey, two-step inducing bit of soul, centered around introspective, earnest songwriting, reverb-drenched guitars and thumping beats.
  • Jewellery and Gold,” one of the album’s more tongue-in-cheek tracks, featuring a narrator looking forward to a future, where he’s flush with cash, and as a result, any of the major issues of his life being settled with that newfound cash — because dollar dollar bill y’all. 
  • The Hurt,” a ballad that saw the Aussie-born, German-based JOVM mainstay express longing and heartache in a way that reminded me quite a bit of Nick Hakim.

Chatburn’s highly-anticipated sophomore album Late Night Howling is forthcoming. The album’s latest single “Do You Wanna Live Like That,” feat. Noah Slee is an expansive and mind-bending take on neo-soul and pop centered around a unique and woozily dynamic song structure that rapidly shifts in tone, time signature and instrumentation: The song’s introduction begins with twinkling pianos in a Latin jazz like tempo before quickly shifting to tweeter and woofer rattling trap beats and then shifting again to a vibey 70s neo-soul-inspired coda.

Lyrically, the song is intimate and introspective, with its narrator vacillating between self-doubt, analysis, progression and gratefulness. “‘Do You Wanna Live Like That’ is a track I created which ended up kind of being a few different tracks in one, inspired by people like Tyler, The Creator with just these sudden drops and Sault with this vibe – simple not perfect, but just perfectly imperfect,” James Chatburn explains. “Noah Slee and I have been friends basically since we both moved to Berlin, it just took 7 years but we finally got around to releasing a track together.” 

Florian Rodel is a Nuremberg, Germany-born, Indianapolis-based singer/songwriter, musician, who inspired by Nirvana, Guns ‘N’ Roses, CAN, Jeff Beck, Miles Davis, classical music and a lengthy list of others, started to write his own original music — based around a creative process that frequently sees him writing melodic, rhythmic and/or harmonic sketches throughout his daily routine. He’d then record this ideas on his pone and then flesh it out later.

Rodel is also the creative mastermind behind the emerging indie rock/indie pop recording project fluidarmes. Recently Rodel contacted me about “Pony Drive,” a hook-driven and melodic bit of indie rock featuring twangy, reverb-drenched guitar lines recorded by Stuttgart-based guitarist Micha Herm in his home; thumping and propulsive rhythmic drumming recorded by drummer Martin Krümmling recorded at Ghost City Recordings; propulsive and supple bass lines recorded by bassist Joe Joaquin in his Berlin-based studio; and Rodel’s plaintive vocals and atmospheric synths recorded in Indianapolis. While being deliberately crafted, “Pony Drive” is rooted in a heart-worn-on-sleeve earnestness.

Rodel explains that the song lyrically is about having the best relationship you can have with yourself and rolling with the punches, because people don’t have much control of anything beyond their limited control.


Quentin Salomon is a French saxophonist, electronic music producer and creative mastermind behind the emerging solo recording project Human Pattern. Solomon can trace the origins of Human Pattern back to 2016: While on a trip to Berlin, Salomon fell in love with German minimalist techno. He challenged himself to replicate the songs and textures of samplers and synthesizers solely with the saxophone.

While living in Annecy, France, he quickly earned the support of local concert hall and rehearsal studio Le Brise Glace and Feeling and Sound Production, and eventually was signed by indie label Alpine Records. He released his debut EP Rebirth to critical praise from Tsugi Magazine and the local press — and he supported the effort with opening slots for Black Strobe‘s Arnaud Rebotini, Acid Arab, and Cyril Atef.

In 2019, he moved to Villeurbanne, France to share his vision of electronic music with saxophone with the Lyon electronic music scene, to further Human Pattern — and to explore other musical horizons.

His latest single “Stress” off his recently released Animal Instinct EP is a club banger featuring skittering hi-hat and thumping beats, looped and chopped up saxophone bleats and squeaks for the song’s infectious hook paired with a modal saxophone melody. Mixing organic instrumentation and arrangements with electronic production isn’t exactly a new thing — but it adds a human element to the proceedings: It’s a reminder that a living, breathing, feeling human created the song.

Salomon explains that the EP is inspired by and informed by human evolution, and the fact that we have gradually lost connection with our animal instincts. He goes on to say that “Stress” is informed by the emotions and emotional responses we’ve inherited as part of our survival instinct.

Cloud Cukkoo is an emerging Dutch-born, Berlin-based singer/songwriter and producer. According to the Dutch-born, Berlin-based artist, she “writes, produces and performs songs for blue-tinted nights. Nights of rained upon ashtrays and repressed melancholia; nights that are blinding, deafening and paralyzing; nights that are as comforting as they are disconcerting. It’s the cutting winter cold that feels like an embrace after spending hours in an overloaded club. . .”

The emerging Dutch-born, Berlin-based artist’s latest single, the slow-burning and moody “The Game” pairs Cloud Cukkoo’s soulful vocals, oscillating and atmospheric synths, fluttering electronics, strummed guitar and twinkling keys. While revealing a songwriter who can evoke a brooding, late night melancholy, “The Game” is an earnest, pop confection rooted in what feels like lived-in personal experience: The song’s narrator struggles with being tempted by lust and loneliness, knowing that she will probably get burned — badly.