Animals Have Feelings’ third and latest single is a shuffling and kaleidoscopic collaboration with Earl Sweatshirt “Mirror” that also features a surreal array of obscure 60s psych rock and 70s soul samples paired with boom-bap beats paired with Earl Sweatshirt dexterous inner and out rhymes — some dealing with issues of identity vs. how others perceive you and more.
Album title track “Bade Zile” employs the use of propulsive and complex polyrhythms paired with call and response voodoo chants, a driving groove and swirling electronics to craft a sweaty and funky free-flowing jam that subtly nods to reggae and funk while directly and overtly nodding to Afrobeat and traditional Haitian music in dizzying and seamless fashion.
The recently released music video was primarily shot in Port-au-Prince during Fete La Musique and it captures the island nation’s stark poverty, its people’s beauty, dignity and pride, some gorgeous voodoo relics and the musicians of the Afro-Haitian Experimental Orchestra in the rehearsal room and on stage jamming, as well as the audience at the festival rocking out and enjoying the proceedings. And the entire time I watched the video I couldn’t help but be awed by such a proud, beautiful people, who have suffered so greatly.
With the release of their sophomore full-length effort Headroom, the newly constituted quartet began receiving international attention as their material landed on Hype Machine’s charts, as well as several Spotify and SoundCloud playlists. Building on the increasing buzz around the Quebec City-based quartet, their first single of 2016, “Humming man” was released to critical praise across the blogosphere; however, I suspect that the act’s latest single “Lauren” may arguably be their breakout single as the band pairs a sinuous and sleek bass line, shimmering guitar chords and skittering drum programming with hauntingly ethereal vocal melodies to craft a song that sounds as though it were equally influenced by 70s funk and R&B, 80s synth pop and contemporary electro pop. Interestingly enough, the song sounds as though it should have been released through Cascine Records, a label that specializes in releasing silky smooth and breezy 70s and 80s inspired pop while being the sort of song you’d do a little two step to in the club.
The recently released music video follows an extremely fair skinned woman bicycling down a country road while hinting at the follow-the -bouncing ball/karaoke-styled video which fits the song’s breezy yet sensual air.
Comprised of Washington State-born and Brooklyn-based Aaron Hamel and Texas-born and Brooklyn-based Brent Nettles, indie rock duo Very White can trace their origins to when the duo became roommates and discovered that they each were musicians. And as the story goes, the duo decided to start a band named after a playful joke the duo had shared that some will probably find a bit offensive — but they decided to roll with it.
Produced by friends Taylor Johnson, best known for his work with Robert Schwartzman; Tyler Halford, best known for his work with Foster the People; and Mckenzie Smith, best known for work with St. Vincent, the duo’s debut EP Make Believe is slated for release later this week — June 24, 2016 to be precise. The EP’s latest single “Howl with Me” is a moody and plaintive song that reminds me a little bit of Yukon Blonde and several other contemporary indie rock bands as the duo pair propulsive drumming with atmospheric synths and twangy guitar chords while thematically, the song wistfully focuses on love — from the perspective of someone whose relationship seems to have either ended or have been on the rocks for some time. And at some point, the narrator who longs for his lover and for what once was.
Last month, I wrote about “Temporal” off their recently released full-length everything Everything Is Light and Sound, a single that had the duo pairing Caruso’s gorgeous vocals with twisting and turning synth chords, bop-era jazz syncopation and a sinuous bass line filtered through gentle layers of reverb and echo. And as I wrote last month, the single simultaneously focused on both the nature of time and our experience of it while evoking a similar vision of the future presented by the 1964 World’s Fair — a hopeful world that has used science and technology to solve humanity’s greatest problems in an efficient and timely fashion. The album’s latest single “Please Come Home” continues in the same path as its preceding single — although it’s slightly less jazz-leaning; however, more importantly, the song manages to possess a plaintive longing and heartache, as its narrator is begging her lover to come home because they’re so desperately needed.
With the release of their debut effort In The Red, Los Angeles, CA-based thrash punk trio Zig Zags –-comprised of Jed Maheu (guitar/vocals), Caleb Miller (bass/vocals), and Dane Arnold (drums) — quickly received attention for a blistering, face-melting, no-bullshit thrash metal/thrash punk aesthetic that sounds as though it owes a massive debt to early 80s Metallica, Slayer,Iron Maiden and others. Last month, I wrote about album single “The Sadist,”a single off the trio’s recently released Running Out of Red that helped to further cement the trio’s reputation for pairing scuzzy, face-melting, mosh-pit friendly power chords guitar pyrotechnics, propulsive drumming and shouted vocals. Unsurprisingly, the album’s latest single “Giving Up The Ghost” continues on the exact same vein as “The Sadist” — although the latest single manages to directly channel Kill ‘Em All and Ride the Lightning-era Metallica in such an uncanny way that the songs manages to sound as though it could have been released in 1983.
The recently released music video is deeply indebted to cheap 80s horror flicks as a denim vest wearing zombie stalks an adorable, little skateboarding badass, who narrowly escapes him — in true horror movie fashion.
With the release of Side Decide” and other singles, London-based producer and electronic music artist Promise Keeper started to receive attention across the blogosphere for a sound that possesses elements of classic Chicago house, blue-eyed soul and 80s electro pop. And his latest single “Porous Silk” will further cement the British producer’s already burgeoning reputation for crafting slick, dance-floor friendly pop as androgynous yet sultry cooed vocals are paired with a production consisting of a sinuous bass line, Nile Rodgers-like guitar chords, propulsive and stuttering drum programming, twinkling keys and shimmering synths. Sonically, the new single evokes the sensation of silk running across naked skin, cool yet pliant –while being reminiscent of a slightly downtempo and house music-leaning version of Nu Shooz’s “I Can’t Wait.”
The recently released music video employs the use of a grainy, VHS-styled psychedelia as the video follows its brooding protagonist observing ancient Greek-inspired art, drinking wine. Visually, it looks as though it could have appeared on a version of Ralph McDaniel’s Video Music Box back in 1987 or so.
In order to build up buzz for their upcoming cross country tour, which includes an early August stop at Baby’s All Right, The Donkeys released a live video performing their moody and stunningly gorgeous, shoegaze-leaning new single “No Need for Oxygen” which has the band pairing shimmering keyboard and guitar chords, propulsive drumming, a with plaintive and aching vocals in an expansive song structure that owes a debt to classic psych rock as it does to prog rock and held together with an impressive and gorgeous guitar solo.
Check out tour dates below.
“Halo” The Elle’s latest single pairs beatsinmybackpack’s soulful production consisting of shimmering and twinkling keys, boom bap drum programming with The Elle’s cooly self-assured and sultry vocals portraying a narrator, who’s urgently, stupidly, foolishly and proudly in love — of the sort, in which you see your object of desire and love as being the most perfect creature on earth. Sonically speaking, the song manages to channel golden era hip-hop, classic hip-hop soul and neo soul and J. Dilla simultaneously but with a gentle cosmic sheen — and while being incredibly sensual.
Queen Alone may be Nicole Wray’s first full-length effort in some time; however, Wray is reunited with the original backing band from Lady Wray’s early days, along with Big Crown Records’ Leon Michels and Daptone Records Tom Brenneck handling production and as Wray explains in press notes the album is a “reflection of my soul. It’s who I am today. ” And as a result, the material on the album is inspired by the singer/songwriter’s life. The album’s latest single “Do It Again” is reportedly is a story about a failed relationship, as well as the story of a cherished and revered intimacy that the song’s narrator is desperate to re-enter regardless of the consequences on her heart and soul. Sonically speaking the song manages to channel What’s the 411 and My Life-era Mary J. Blige and bolstered by the Daptone Records famed horn section paired with silky smooth vocals.