Tag: New Audio

N0V3L is a Vancouver, British Columbia, Canada-based creative collective that operate out of house, where they produce their own music, videos and clothing. Naturally, all of these various elements converge and convulse for the members of the collective to create music that openly challenges the gluttony and ruin wrought by power. The collective’s forthcoming debut EP NOVEL is slated for a February 15, 2019 release through Flemish Eye Records — and from the EP’s first two singles “To Whom It May Concern” and “Natural,” the collective specializes in frenetic, angular and dance floor friendly post-punk centered around group-yelped anti-capitalist mantras.

And while sonically, the act’s sound immediately brings Entertainment!-era Gang of Four to mind, “To Whom It May Concern” is centered around the tense and uneasy recognition of time flying by and that you may have wasted the only valuable resource you have. “Natural,” is centered around a shimmering melody and a propulsive, dance floor groove but with an anxious, uncertain fury.  Interestingly, the act continue a long tradition of acts reminding the listener that the dance floor is the place for dialogue, action and resistance. 

 

 

 

 

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HERO is an up-and-coming Calgary, Alberta, Canada-born, Montreal, Quebec, Canada-based electronic music producer, multi-instrumentalist and electronic music artist. With the release of “Dirty Work” and “The Juice” off his forthcoming Dirty Work EP, the Canadian electronic music artist and producer emerged into prominence both nationally and elsewhere. “Dirty Work” received praise from the likes of MTV Latin AmericaComplexbooooooom tv and others while, “The Juice” was featured in an episode of HBO’s Insecure; in fact, the song was so well received that they actually wrote HERO into the script, with a character referring to him as “the black Daft Punk.” 

Certainly, with “Stay the Night,” the reference to the Canadian producer and artist as “the black Daft Punk” sounds and feels incredibly fitting, as the sensual and retro-futuristic club banger recalls Homework and Discovery-era Daft Punk, as its centered around a propulsive and sensual groove, arpeggiated synths, vocoder-fed vocals and an undeniable, infectious hook. 

 

 

Memory Keepers is the Austin, TX-based electro-punk side project of The Sour Notes‘ Jared Boulanger and Amarah Ulghani.  The duo’s latest single is a propulsive, synth and vocoder-led cover of Brian Eno‘s “Uncle Third” that retains the original’s motorik groove — and in many ways, the original feels like pre-Autobahn-era Kraftwerk while the Memory Keepers cover feels like The Man-Machine

 

 

 

Over the past couple of years, I’ve written a bit about the acclaimed Toronto, Ontario, Canada-based singer/songwriter, guitarist and producer Charlotte Day Wilson. And as you may recall, Wilson’s musical career started in earnest with a stint as the frontwoman of the equally acclaimed jazz, funk and soul act The Wayo; but with the release of her debut single “After All,” the Canadian singer/songwriter, producer and guitarist quickly emerged as an up-and-coming solo talent within her hometown’s scene, eventually beginning ongoing collaborations with BADBADNOTGOOD and River Tiber.

2016’s CDW featured critically acclaimed singles “Work” “Find You,” and the aforementioned “After All,” and unsurprisingly, the album found Wilson further establishing herself as an artist, who crafted deeply personal songs with an wisdom, insight and honesty that betrayed her relatives youth — paired with sleek, minimalist, electronic production. Interestingly, this past year may arguably be one of biggest years of her career: Stone Woman, Wilson’s sophomore effort is a decided and self-assured change in sonic direction in which Wilson paired her effortlessly soulful vocals with neo-soul, soul and jazz-leaning production in which organic arrangements are meshed with subtle electronic production.  Since its releasee earlier this year, Stone Woman has amassed over 30 million streams across all screaming platforms. Wilson was nominated for a Polaris Music Prize — and the video for “Work” was awarded a Prism Prize for best Canadian music video. Wilson and the video’s directed Fantavious Frtiz used the prize money to create the Work Film Grant, a fund that awarded $10,000 to emerging female and non-binary directors. 

Additionally, Wilson toured with longtime collaborators BADBADNOTGOOD, which included an incredible BRIC Celebrate Brooklyn! Festival at the Prospect Park Bandshell stop back in August. The acclaimed Canadian artist  ends a big 2018 with two Spotify singles recorded at Toronto’s HOB Studios– “Doubt,” the first single off Stone Woman is a slow-burning and soulful ballad featuring a production that recalls BilalErykah Badu and others; but more important, the song is centered around a heartbreaking emotional honesty in which, the song’s narrator expresses a deep, crippling uncertainty over her own worthiness. The Spotify singles version possesses a “you-were-there-in-the-room” immediacy that gives the song’s an emotional punch. 

The second track is Wilson’s cover Dolly Parton‘s “Here You Come Again” centered around a sparse arrangement featuring the Canadian singer/songwriter, producer and guitarist’s soulful vocals, shimmering guitars, twinkling keys — and although Wilson’s version is a slow-burning and atmospheric take, the track maintains the song’s ache, reminding contemporary listeners of what an under appreciated songwriter Parton is. 

 

 

rum•gold is a Brooklyn-based singer/songwriter, who quickly emerged into the local scene with the release of two singles “Where There’s Smoke” and “Cashmere Cage” along with introductory interview on Pigeons and Planes back in June. The up-and-coming local singer/songwriter’s debut EP yaRn is slated for release next year, and to build up further buzz, rum•gold recently released the third and latest single from the EP, “Get Through.” 

Featuring a James Chatburn minimalist yet textured production consisting of a sinuous bass line, a mournful and gorgeous trumpet arrangement (played by the Brooklyn-based singer/songwriter)and thumping boom bap-like beats, “Get Through” is centered by rum•gold’s achingly tender and soulful falsetto.  Sonically speaking, the song (to my ears, at least) recalls Maxwell and Moses Sumney, complete with a deeply intimate, emotional honesty and vulnerability.  

As rum•gold says about the song in press notes, “‘Get Through’ is a self revelation. Its about finding that vice to get through a hard place, while also understanding that you wouldn’t be who you are today without going through said hardship. Its about learning to understand that contradiction is natural and if allowed can be incredibly freeing.”

 

Ocean Potion is the Toronto, Ontario, Canada side project of Yukon Blonde‘s Jason Haberman and Zeus‘ Mike O’Brien.  Haberman and O’Brien met while their respective primary bands were touring Canada, and as the story goes they quickly bonded, beginning a bedroom recording project over the course of this year.  Initially, there were no actual songs, just extended free form jams based around looping riffs. As these loops took more of a song shape, a creative process began to emerge — Haberman would record a basic instrumental track, then send it over to O’Brien, who would add words and melodies. 

Throughout the summer, Haberman and O’Brien bounced tracks back-and-forth throughout the summer and after they felt they had a collection of 10 songs that represented the best of what they’d created, Haberman dove into the mixing process, shifting through the many layers of synths, woozy guitars and dreamy vocals to find the purest and best version of each song. 

“Lights Out,” the Toronto-based duo’s latest single will further cement the duo’s growing reputation for crafting dreamy and ethereal pop centered around shimmering and arpeggiated synths, a simple backbeat, shimmering guitars fed through effects pedals and O’Brien’s equally ethereal vocals. Sonically, the song evokes a few things to me — lazy days, sitting around and playing music and driving around aimlessly on gloriously sunny days with music on your stereo. It’s all good vibes and enjoying the eternal now. 

With the addition of Forces’ Dave Azzolini and Brave Shores‘ Jay McCarol, Ocean Potion will be touring as a quartet throughout 2019. So be on the lookout for more. 

 

 

 


Currently comprised of Andrew Kissel (vocals, guitar, piano), Travis Pinkston (bass, vocals) and Brian Yurachek (drums, percussion), the New York-based indie rock act Valentin Marx originally formed in 2012. Shortly after their formation, they wrote, recorded and released their debut EP, which lead to shows at a number of renowned indie venues across town — including Piano’s, Arlene’s Grocery, Berlin Under A and Pete’s Candy Store and others. Since their formation, the band has gone through a lineup change while retaining the sound that first won them attention locally. 

Interestingly, the lineup change has resulted in a much more collaborative approach to their songwriting and recording, utilizing the skills and life experiences of each of the band’s members.  Their new single, the jangling and anthemic “Made Up” recalls 120 Minutes-era MTV but as the band notes the song is rooted in the frustration and disappointment surrounding modern relationships. Despite the fact that we’re all constantly connected to each other with Instagram, Snapchat, Facebook, Twitter and online dating sites, no one is actually having an authentic and meaningful interaction. 

 

 

 

Comprised of Joe Mantell, Rob Leishman and Dimitar and Karbov, the Vancouver, British Columbia, Canada-based rock trio Boy Breaking Glass derive their name from the Gwendolyn Brooks poem. Interestingly, the Canadian trio have received attention for a sound that’s dark, cinematic and intense. 

The band’s forthcoming sophomore album Exceed is slated for release sometime next year and the album’s first single, “Masquerade,”is centered by Joe Mantell’s sonorous baritone, atmospheric synths, dramatic drumming. a soaring hook and a propulsive, arena friendly coda — and much like Roxy Music (which the song sonically and thematically recalls), the core of the song is a palpable heartache. In fact, unsurprisingly, the song was written by by the band’s Mantell towards the end of a long-term relationship. And as a result, the song follows two very different people, who recognize that they can no longer they can change themselves or their situation to make things right — and that their relationship ending is inevitable. 

 

New Audio: Acclaimed British Act White Lines Release an Earnest Power Ballad

Five, the acclaimed London-based indie trio White Lies’s forthcoming, fifth full-length album is slated for a February 1, 2019 release through [PIAS] Recordings, and the album marks their tenth anniversary together — and instead of resting on their laurels, the members of the trio decided that it was the perfect time to push their sound and aesthetic in new and adventurous directions. Along with that, the trio’s bassist and primary lyricist Charles Cave wrote what may arguably be the most deeply personal and intimate lyrics of the band’s entire catalog. 

Unlike its predecessors, the writing and recording process was Transatlantic, and included a trip to Los Angeles, where they worked on new material with Ed Bueller, who produced the band’s chart-topping debut To Lose My Life and their third album Big TV. Throughout the process, the band enlisted past associates and collaborators to assist on the proceedings including engineer James Brown, who has worked with Arctic Monkeys and Foo Fighters; the renowned producer Flood, who contributes synths and keys on a couple of tracks; and Grammy Award-winning Alan Moulder, who has worked with Smashing PumpkinsNine Inch Nails and The Killers to mix the album.

Now, as you may recall, the Snow Patrol-like album single “Time to Give,” was an ambitious song that clocked in at a little over 7 and a half minutes, and was centered around a lush yet moody arrangement of shimmering synths, a propulsive motorik groove, Harry McVeigh’s sonorous baritone and an arena rock-friendly hook — but underneath the enormous hooks was a song that focuses on a dysfunctional and abusive relationship from a real and lived-in place; so real, that the song bristles with the bitterness, confusion and hurt that comes from being in a relationship that leaves you fucked up and broken. Believe It” continued in a similar vein as its immediate predecessor  — full of the enormous, arena rock friendly hooks that have won them acclaim; but sonically speaking, it manages to bear a resemblance to Pet Shop Boys, Tears for FearsJef Barbara and Joy Division/New Order, as the song is centered around big power chords, shimmering and twinkling synths, a forcefully propulsive rhythm section and McVeigh’s baritone.

“Finish Line,” Five‘s latest single is a slow-burning, power ballad featuring an ambitious and expansive song structure with the song moving from Roxy Music-like atmospherics to big power ballad and arena rock-friendly hooks bolstered by powerfully earnest sentiment. But at its core, the song is about a young couple’s breakup negotiations, complete with bitter accusations and recriminations, regret, heartache and uncertainty. Interestingly, the song is a band favorite and as the band’s Charles Cave mentions in press notes. We are all hugely attached to this song, and really excited to share it prior to the album being released. Much like album-opener ‘Time To Give’, the track has an ambitious structure – one emanating from our love of Prog. At its heart, it’s a simple song about a young couple’s break-up negotiations, I like to hope the music itself takes the listener through the emotional ups and downs. It’s up there as one our best songs and we hope our fans think so too

Earlier this year, I wrote about Czarface, a collaborative project featuring renowned, underground hip-hop duo 7L & Esoteric and the Wu-Tang Clan‘s Inspectah Deck. The act derives its name from a character they created that’s patterned after both comic book villains and aspects of each of the individual members. Now, as you may recall, the act can trace its origins to when the trio together, which lead to “Speaking Real Words” off 7L & Esoteric’s 2001 album, The Soul Purpose and “12th Chamber” off their 2010 album, 1212, and a number of other singles. And since the group’s formation back in 2013, they’ve released four critically applauded albums — their 2013 self-titled debut, 2015’s Every Hero Needs a Villain, 2016’s A Fistful of Peril and their collaboration with MF DoomCzarface Meets Metalface, which was released earlier this year.

Czarface follows their critically applauded collaboration with MF Doom by teaming with Ghostface Killah, a.k.a. Iron Man, a.k.a. Tony Starks on their forthcoming collaborative effort Czarface Meets Ghostface. The album’s first single “Iron Claw” features dope emcees trading swaggering bars about running crime syndicates, taking over the world, being the dopest around and more over a thumping and menacing production featuring enormous 808-like beats, a chopped up vocal sample and arpeggiated organs. Simply put this one is straight fire, as it features some of the world’s best emcees challenging each other to push their talents and skills in a new, exciting directions.