Tag: Single Review

Single Review by William Ruben Helms

New Audio: Denmark’s Catcase Shares Brooding “Technicolored Eyes”

Initially, founded by Danish singer/songwriter and guitarist Lasse B. Beck, who also split time in Syringe and The Love Coffin, as a bedroom project that’s the culmination of years of tormented sensitivity, frustration and self-reflection, Catcase expanded to a full band last year with the addition of Beck’s brother Niclas Berg Christiansen, a member of Shiver Less and The Road to Suicide; Deadpan‘s and Sanderson & the Charabancs‘ Max Cosiner; Chopper‘s Josephine Alicia; Jane’s and Chopper’s Jason Lee Cameron; and Leizure’s, Tugboat‘s and Sanderson & the Charabancs’ Mathias Gørtz, who were enlisted to flesh out Beck’s artistic vision.

Sonically, the band draws from an eclectic array of influences: Australasian post-punk, sophistipop, jangle pop and dream pop with nods to Spiritualized, The Go-Betweens, Rowland S. Howard, Xiu Xiu, Prefab Sprout and My Bloody Valentine. And yet, the Danish sextet claims kinship with contemporaries like Strange Ranger, Bleary Eyed and Nyxy Nyx among others.

Slated for a February 20, 2026 release through Pink Cotton Candy Records, the band’s Kristian Alexander-produced full-length debut, As It Reels was recorded earlier this year at Copenhagen‘s Royal Danish Academy of Music. As It Reels‘ first single “Technicolored Eyes” is an eerie and brooding bit of art rock that channels Priest = Aura-era The Church with subtle dream pop and grunge-inspired flourishes that showcases the band’s ability to craft a rousingly anthemic hook and chorus, while being anchored earnest, lived-in songwriting.

Lyrically, the song evokes a liminal state familiar to my fellow night owls out there: The often lonely trip home after a night out of hijinks and adventures as the sun rises. And if you’re as familiar with it as I am, that trip home is throbbing mass of impressions, informed by nostalgia, loneliness, drunkenness.

Single Review by William Ruben Helms

New Audio: The Orielles Share Expansive “Three Halves”

Acclaimed, Manchester, UK-based JOVM mainstays The Orielles — Esmé Dee Hand-Halford (bass, vocals), Sidonie Dee Hand-Halford (drums, vocals) and Henry Carlyle Wade (guitar, vocals) — will be releasing their fourth album, the Joel Anthony Patchett-produced Only You Left through Heavenly Recordings on March 13, 2026.

Recorded last summer in two locations — the Greek Island of Hydra and Hamburg — the forthcoming, 11-song Only You Left reportedly sees the band consolidating the bold experimentation of 2022’s Tableau with the more stripped-back, song-driven approach of their earlier releases, channeling a return to the familiar. “There’s nothing more trad than a three-piece,” quips Henry, in reference to the band’s decision to return to their roots as a trio.

Now, as you may remember, the JOVM mainstays, which originally started out in Halifax gained attention both nationally and internationally with the release of their full-length debut, 2018’s Silver Dollar Moment, which will celebrate its eighth birthday this upcoming February. “These things come in like seven year cycles. So we’ve come in like a full circle back to a familiar place, just as different people,” the band says.

As for the foundations of the forthcoming album, the band’s Henry Carlyle Wade says “You’ve got to die and be reborn between albums.” “It comes naturally, the band’s Esmé Hand-Halford adds, “it’s not something we consciously do.” Interestingly through this process of creative renewal, the JOVM mainstays have managed to weather a pandemic, the fickleness of a trend-driven music industry and somehow emerge with something that’s familiar yet completely different.

According to Wade, the first ideas for the new album can be traced back to May 2023: Esmé Hand-Halford had purchased a freeze pedal, which allowed her to play around with sustained notes on her guitar. These heavy drones would later form the background of album tracks “Wasp” and “Three Halves.” 

In breaks between tours, the bands began to meet up and record their practice room sessions, later analyzing the voice notes with a granular attention to detail. “We recorded everything on our phones, every snippet,” explains Henry. “We went so deep into what each song needed or what we wanted to hear from it.”

While the Tableau sessions were semi-improvisational and partially written in the recording studio, Only You Left was fleshed out through a series of intense writing sessions between May 2023 and last summer. Each of the album’s 11 songs were meticulously refined and became its own distinctive work. “It almost felt really novel for us to be writing as a three-piece and really, really crafting these songs,” the band’s Esmé Hand-Halford recalls. “But Tableau gave us that confidence to know we could go into a studio and pull things together in that setting under the time pressure.”

Producer and engineer Joel Anthony Patchett, whom Esmé Hand-Halford dubs the honorary fourth member of the band, has had a massive influence on the album’s sound and approach. “Joel brings an extra level of interpretation and deep listening,” Henry Carlyle Wade says, “and it’s always exciting to explore that.” Sidonie Hand-Halford adds, “He’s constantly talking us through every step of what he’s doing and getting really, really involved with that process as well. And we’re just kind of learning together and making these mistakes and discovering things together.”

Only You Left‘s first single “Three Halves” derives its title when Wade stitched together three recordings on Ableton and needed a working title. What began as a temporary placeholder soon became a theme for Esmé Hand-Halford to riff on, a metaphor for the trio and their deeply shared connection.

At points noisy and driving and dreamlike and mediative in others, “Three Halves” is an expansive study in contrasts that’s experimental yet accessible while anchored by the razor sharp hooks that the Manchester-based outfit had been known for.

“Citing ideas that we took interest in during the early stages of writing the new record, ‘Three Halves’ flips between its absurd contrasts as the name suggests,” the band says. “Built upon a soundscape of droning organs, guitar, and cello it floats between noise and emptiness, precision, and catharsis, welcoming each half leads into the next.”

Video by William Ruben Helms

Lyric Video: JOVM Mainstay GUM Shares Meditative “Expanding Blue”

Aussie singer/songwriter and multi-instrumentalist Jay Watson has a firmly established reputation for being both incredibly prolific and a highly-sought after collaborator:

  • Watson is the creative mastermind behind the JOVM mainstay recording project GUM, with which he has written, recorded and released six albums, including 2020’s Out In The World and 2023’s Saturnia.

  • Watson is also the co-founder and co-frontman of fellow JOVM mainstay act Pond, which has released 10 studio albums, including 2022’s 9 and last year’s Stung!

  • Lastly, the wildly busy Aussie singer/songwriter and multi-instrumentalist is a touring member of acclaimed, JOVM mainstay Tame Impala‘s live, touring band.

With that massive, continually growing recorded output over the past decade-plus or so, Watson has treated listeners and fans to arguably some of the most sonically diverse and eclectic explorations of anyone in the contemporary music scene.

Watson recently signed to King Gizzard and the Lizard Wizard‘s (p)doom records, who released the self-produced, standalone single “Expanding Blue,” the first bit of new material from the JOVM mainstay since Saturnia. The meditative, new single is one-part Nick Drake-inspired psych folk, one-part samba/jazz-fusion tune, anchored by a looping strummed acoustic figure and a sweetly romantic yearning — for a dear one, and for something much deeper, more spiritual.

“’Expanding Blue’ starts out as a jazz inspired meditation, and turns into something spiritual for me, like a lost gospel soul record or something,” the GUM creative mastermind says.

King Gizzard and the Lizard Wizard’s Ambrose Kenny-Smith adds, “Welcome back to the p(doom) fam my man Gumby! He’s done it again. Another stellar release from Freo’s finest.”

New Audio by William Ruben Helms

New Audio: Vendredi Sur Mer Shares Atmospheric, Hook-Driven “Si t’étais là”

With the release of her first two albums, 2019’s Premiers émois and 2022’s Metámorphose, rising Swiss singer/songwriter and photographer and Vendredi Sur Mer creative mastermind Charline Mignot quickly established a cinematic sound that features elements of synth pop, French chanson and 80s pop with retro-styled beats paired with her ethereal yet sultry delivery. Thematically her work frequently touches upon romance, sensuality and introspection.

Balancing nostalgia with a modern sensibility, the Swiss artist has won over fans globally through the release of songs like “Écoute Chérie,” “La femme à peau bleue” and “Les filles désirs.” Adding to a rapidly growing profile, she often accompanies her music with mesmerizing visuals.

Mignot’s third Vendredi Sur Mer album, Malabar Princess was released earlier this year to critical acclaim. The album, which features “Arrêter le temps,” feat. Sofiane Pamart; album title track “Malabar Princess;” “Hard,” feat. Hanni El Khatib and “Tout rèsonne” can trace its origins to a writing residency in Montréal and marks a return to the softness and nostalgia of her earlier work. Thematically, the album is nostalgic return to the mountain landscapes of her youth — and a deeper search for self.

Sam Tiba and new collaborators Adrien Gallo and Owlle helped to guide and inform the material’s more organic, intimate sound. The end result is an achingly sincere effort that sees the rising Swiss artist revealing herself fully to the world.

Mignot will be embarking on an 11-date North American tour this upcoming March. The tour includes a March 6, 2026 stop at Elsewhere. You can check out all of her tour dates for the rest of the 2025 and early 2026 below.

But in the meantime, y’all, the rising Swiss artist shares her latest single, the standalone track “Si t’étais là.” Anchored around shimmering, atmospheric synths, propulsive four-on-the-floor, a supple bass line and subtle bursts of twangy guitar, the cinematic and hook-driven production is simultaneously nostalgic yet contemporary, while being a dreamy bed for Mignot’s breathy, mesmerizing cooing.

Single Review by William Ruben Helms

New Audio: BMA Shares Broodingly Cinematic “The Unwritten Winter”

Through the release of 2020’s self-produced debut EP 2020’s Asynchronous and 2023’s full-length debut, Ephemeral, the French-born, Canadian composer, multi-instrumentalist and BMA creative mastermind Bruno Margiotta quickly established a broodingly cinematic sound that draws from post-punk, classical music and electronic music.

The French-born, Canadian-based artist’s recently released sophomore album, Born From The Last Rain features album single “The Unwritten Winter,” a broodingly cinematic composition anchored around a woozily looping guitar figure, twinkling keys and glistening retro-futuristic synths that further cements Margiotta’s sound — a sound that seemingly channels Mogwai, Collapse Under The Empire and others.

Single Review by William Ruben Helms

New Audio: JOVM Mainstay SHOLTO Returns with Dreamy “Tied to the Mast”

Initially known as being one-half of indie outfit Sunglasses for Jaws, the rising London-based producer, composer and multi-instrumentalist Oscar “Sholto” Robertson grew up with with a deep and abiding love of jazz, soul, krautrock and soundtracks from the 60s and 70s. As a producer, Robertson honed his production skills under the guidance and tutelage of Allah-Las‘ Nick Waterhouse and Inflo.

A handful of years ago, Roberston stepped out into the spotlight as a solo artist with his recording project, SHOLTO. And with SHOLTO, the rising London-based multi-instrumentalist has firmly cemented a cinematic take on instrumental, psychedelic soul.

Robertson’s highly-anticipated sophomore SHOLTO album, The Sirens is slated for a November 21, 2025 release through DeepMatter Records. Recorded at the London-based composer, producer and multi-instrumentalist’s Hackney-based SJF Studio, the 12-song album sees Robertson continuing an ongoing collaboration with a familiar cast of musicians, who have helped flesh out the gorgeous, string section accentuated, groove-driven soundscapes he’s developed, including Syd Kemp (bass), Clementine Brown (strings) and Rachel Horton Kitchlew (harp).

The album will see Roberson and his collaborators crafting an album of material that’s emotionally unflinching and explores themes of duality, temptation and emotional dislocation, in Robertson’s words “blurring grief wit groove, seduction and surrender.” Sonically, the album’s material sees Robertson building upon the groove-driven, strings-soaked soundscapes and ethereal textures that has won him attention in the UK and elsewhere but inverting that beauty into a haunting fever dream.

Using the world of myth and the carnivalesque as a vehicle for exploring the intricacies of the human condition, The Sirens emerged from a period of uncertainty and spiritual fatigue. Drawing from ancient allegory to navigate through the inner turbulence he experienced, the album’s material is rooted in quiet defiance and tension that sometimes never quite resolves. While being deeply cinematic, the album’s material is anchored by Robertson’s rhythmic sensibility and dramatic vocal cues that drift in and out, evoking the ancient tale of the Sirens calling out to sailors while evoking dream sequences seemingly caught mid-thought. “The Sirens trades the ethereal shimmer of my earlier records with something a little more nuanced and emotionally unflinching, slightly darker. It doesn’t really resolve, just resonates – a love letter to the parts of ourselves we usually avoid.”

The Sirens‘ third and last pre-release single “Tied to the Mast” opens with a bursts of glitchy vocals being swallowed by breathtakingly gorgeous, twinkling strings before morphing into a swaggering, Motown/Daptone/Big Crown-like soul groove with an ethereal cacophony of vocals calling out from the swelling storm of sound. The song evokes a small boat out at sea that gets caught and pulled into — and then under — a swelling storm, before breaking apart and tossing its sailors into the sea.

“’Tied to the Mast’ is a stormy, myth-soaked odyssey. It opens with distant, glitchy siren-esque vocals – spectral and seductive, like ancient voices cutting through static,” Robertson says. “Then comes the drop – Odysseus lashed to the mast, as the storm climaxes the track unravels into a slow more haunting coda, melodies scattered like the wreckage. You’re left drifting and floating in the aftermath, unsure if you have survived or where always meant to crash.”

Single Review by William Ruben Helms

New Audio: Play Paul Reimagines the Work of Beloved French film Music Composer Francis Lai

Over the course of an incredibly lengthy seven-plus decade long career, acclaimed and pioneering French film score composer Francis Lai (1932-2018)’s work spanned across and meshed several different styles and genres, including orchestral music, jazz, electronic music and avant-garde experimentation.

Throughout his career, Lai displayed an uncanny ability to anticipate technological advancements and developments in music — and to quickly adopt or adapt to them. He was among the first to embrace and incorporate electronic instruments in his compositions and arrangements as soon as they emerged, boldly pushing the boundaries of what film scores sound like. Unsurprisingly, that readiness to boldly push sonic boundaries in his work attracted filmmakers, musicians, the cognoscenti and others interested in forward-thinking work.

Among his dozens of film scores and soundtracks, his compositions for Claude Lelouch‘s films, Un homme et une femme (1966), L’Aventure c’est l’Aventure (1972) and Les Uns et les Autres (1981), as well as David Hamilton’s 1977 film Bilitis and his Golden Globe-winning and Oscar Award-winning score for Arthur Hiller‘s 1970 film Love Story are known globally — with the Love Story score being one of the more popular scores written and recorded. Unsurprisingly, Lai is one of the world’s best-selling film music composers, selling over 130 million records globally.

And although he died back in 2018, the acclaimed French film score composer’s work still remains incredibly popular. After a Paris tribute concert, the Francis Lai Orchestra embarked on a fall 2023 tour across Japan, playing shows in Tokyo, Osaka and Nagoya — with filmmaker Claude Lelouch attending the Nagoya show.

He has over 3 million followers on Spotify, proving that his work has managed to transcend generations while inspiring a global audience. Recently, his score for Michel Boisrond‘s 1968 film La Leçon Particulière went viral, becoming one of TikTok’s top tracks while amassing over 200 million streams on Spotify and Deezer. And adding to his reach across multiple generations, contemporary artists have remixed and reinterpreted his work.

Play Paul is French touch pioneer, making his debut in the disco house scene in the electronic production duo The Buffalo Bunch, alongside Raw Man back in the 90s. The duo quickly made a name for themselves and the attention of the acclaimed and internationally renowned duo Daft Punk with each member signing them to their respective labels — Thomas Bangalter’s Scratché and Guy-Manuel de Homem-Christo’s Crydamoure. Play Paul began to stand out on his own with an attention grabbing remix of Phoenix‘s “If I Ever Feel Better.”

By 2003, Play Paul stepped into the spotlight as a solo artist. And as a solo artist, the French tour pioneer moved towards a more underground and electronic dance music-leaning sound. He released material through prestigious labels like Gigolo Records and Kitsuné while working on remixes and reworkings, furthering establishing himself as a key figure in the global electronic music scene.

Play Paul recently contributed to a remix compilation, paying tribute to Francis Lai and his work Play It Like Francis, which was released earlier this month. His contribution to the compilation saw him tackling a Lai deep cut, Lai’s theme for Claude Lelouch’s 1978 film, Robert et Robert, “Concerto pour la fin d’un amour.”

Anchored around a looping, brooding yet breathtakingly gorgeous piano figure and a swelling string section, Lai’s “Concerto pour la fin d’un amour,” slowly builds up in intensity, evoking classic film scores — and a swooning romanticism. The Play Paul remix, manages to retain the original melody while completely reimagining it, giving it a decidedly 70s disco/glam feel, seemingly inspired by Station to Station-era Bowie. The result is a reworking that sounds as though it could have been released around the time of the original that inspired it, and subtly contemporary.

Single Review by William Ruben Helms

New Audio: Henry Aberson Shares Sultry “Lay It On Me”

Henry Aberson is a Tulsa-based composer, producer and drummer, who has developed a reputationfor bringing in top-tier talent for seamless collaborations and for lush, live instrumentation.

The Tulsa-based composer, producer and drummer’s latest single “Lay It On Me” is a sultry, Quiet Storm-meets-neo-soul-inspired tune that seemingly channels Erykah Badu, Maxwell, D’Angelo and others, while thematically reflecting on vulnerability, desire, longing and emotional connection.

Single Review by William Ruben Helms

New Audio: Miss Grit Shares Dreamily Cinematic and Propulsive “Tourist Mind”

New York-based, Korean-American singer/songwriter and multi-instrumentalist Margaret Sohn (they/she) is the creative mastermind behind the solo recording project Miss Grit. And with Miss Grit, Sohn has developed reputation for being a bold experimentalist and architect of sculptural texture. Defly moving between analog and digital instrumentation, the New York-based artist creates an immersive comms of sound with futuristic frameworks for their deeply probing and introspective lyricism and sound.

Sohn’s full-length debut, 2023’s Follow The Cyborg saw the New York-based artist building a fluid future beyond gender and genre binaries, where a non-human machine goes in pursuit of liberation. The album received praise from i-D Magazine and saw the Miss Grit creative mastermind profiled by Rolling Stone as an “Artist You Need To Know,” featured in DJ Magazine‘s “Get To Know” named as an “Artist to Watch” by BrooklynVegan, and named “Breaking” artist by FLOOD Magazine. And adding to a rapidly growing profile, they performed for The Late Show with Stephen Colbert‘s “#LateShowMeMusic” series.

“Tourist Mind” is the first bit of original material from Sohn’s Miss Grit project since the release of their critically applauded debut. Sonically, “Tourist Mind” sonically channels the likes of Goldfrapp and Portishead as a dreamily cinematic string arrangement is paired with oscillating synth bleeps, stomping and propulsive industrial techno-like beats. The production serves as a lush, dream pop-meets-trip hop-meets-techno bed for Sohn’s defiant delivery.

Throughout their career, Sohn often themself intrigued by other people’s inner worlds. Thematically, “Tourist Mind” sees Sohn meditating on the idea of self-erasure while embracing the power and intimacy of self-reliance and solitude. “It’s about how curiosity for other people’s thoughts can slowly disorient you and make it harder to return to yourself,” the Miss Grit mastermind says.

Single Review by William Ruben Helms

New Single: Carmel Shares Gorgeous Ballad “Mariposa Al Fuego”

Spanish-based singer/songwriter Carmel proudly boasts having mixed Moroccan, Argentine and Middle Eastern heritage. And her music reflects that heritage, as she blends flamenco, soul and other global sounds with lyrics written and sung in Spanish, English and Hebrew.

Her debut EP, Contraste will see her continuing her genre-blending sound and approach through collaborations with musicians and producers from diverse backgrounds, including Spanish flamenco guitarist José De Maria, as well as Latin and global producers.

The Spanish-based singer/songwriter’s latest single “Mariposa Al Fuego” is a flamenco-tinged pop ballad that according to Carmel is inspired by the image of a butterfly being irresistibly drawn to a flame with the song diving into the pull of destructive relationships and the struggle to break free from dysfunctional patterns. The song’s cinematic arrangement serves as a lush bed for the Spanish-based artist’s pop ballad belter-like voice. At its core is a message of self-awareness, self-love, resilience and resolve, seemingly rooted in lived-in experience.

“We’ve all been that butterfly at some point—drawn to what we know will hurt us .This song is that mirror, but also an invitation to choose ourselves,” Carmel says.

Single Review by William Ruben Helms

New Audio: XO BLAKELY Shares a Playful and Fun Club Banger

XO BLAKELY is an American electronic music producer, who specializes in bilingual pop that sees her blending Latin rhythms, upbeat beats and her unique and bold sense of flair. The result is music that channels the euphoria and freedom of the dance floor — glitter, strobe lights, thumping beats and late-night emotion.

Her latest single “Normalmente” is a slickly produced, Spanish language club banger that’s one-part Miami club, one-part Ibiza, anchored around hypnotic and propulsive beats, glistening synths and sultry vocals. At its core, “Normalmente” celebrates letting go and giving into the night; of getting on to that dance floor and dancing your troubles and concerns away.

Single Review by William Ruben Helms

New Audio: Devantier Rain Teams up with kiana on Vibey “CONSERVATIVE INC.”

Devantier Rain is rising, Berlin-based Cameroonian-German singer/songwriter and multi-instrumentalist, whose work sees him blurring the lines between R&B, hip-hop and Afrobeat paired with soulful melodies, intricate, jazz-like drums and a cutting-edge production approach. He has quickly become a standout in Berlin’s vibrant scene, playing at events like Poetry Meets alongside Tan Brown, bat zoo, Monica Mussungo and Dini Rompos.

Beyond music, Devantier Rain is a fashion world staple — as a model and stylist. Formerly signed to VIVAMODELS, he has collaborated with ADIDAS, Puma and BMW and walked for Kitschy Couture and Afrobodega at Berlin Fashion Week 2024, where he serves as in-house model.

Adding to a busy year, last year also saw the release of three striking singles, each brimming with his signature flair, which teased the forthcoming release of his highly-anticipated full-length debut.

Last year, the rising Cameroonian-German artist released three striking singles which teased the arrival of his highly-anticipated full-length debut, MELATONIN. MELATONIN‘S latest single “CONSERVATIVE INC,” a collaboration with kiana is a vibey, swaggering and hooky mix of hip-hop, neo-soul and R&B.

Throughout the track Devantier Rain and klana trade confident yet vulnerable, heartfelt verses that dive deep into themes of self-worth, betrayal, heartache and resilience with grizzled, hard-fought experience: Devantier Rain’s verses focus on strength forged through being underestimated. klana’s verses focus on standing firm without remorse after being wrong. Throughout the song, the pair offer the sort of much-needed lessons the old heads would try to give the young bloods at a gathering — or the sort of intimate “real life” conversation you’d have with a dear one, late at night as the party winds down.

Single Review by William Ruben Helms

New Audio: The Womack Sisters Share Strutting “If You Want Me”

Los Angeles-based soul and R&B trio The Womack Sisters — BG, Zeimani and Kucha — are proudly carrying on their family’s legendary musical legacy. And if you had been frequenting this site earlier this year, you might recall that I wrote about the sibling trio’s “I Just Don’t Want You (To Say Goodbye).”

“I Just Don’t Want You (To Say Goodbye)” is the B-side to their Daptone Records debut, “If You Want Me”/”I Just Don’t Want You (To Say Goodbye).” The sibling trio just shared the A-side, “If You Want Me.” Anchored around a percussive piano attack and the sisters call and response vocal, the new single is a hard swinging and strutting bit of old-school-inspired soul that sounds as though it could have been released in Motown‘s early days.

Single Review by William Ruben Helms

New Audio: Copenhagen’s Smag På Dig Selv Shares Pulsing, Dance Floor Friendly “Let’s Go!”

With the release of last year’s full-length debut, SDPS, Copenhagen-based jazz punks Smag På Dig Selv (SPDS) — Oliver Lauridsen (tenor sax), Thorbjørn Øllgaard (baritone sax, bass sax, vocals) and Albert Holberg (drums) — firmly cemented the trio’s reputation as one of most boundary pushing groups out on the contemporary Danish scene. With a sound that’s an explosive, party starting mixture of acoustic techno, punk energy, jazz and 90s EDM, the Danish trio have begun to make the round of the international festival and touring circuit, playing sets at Roskilde Festival, SXSW, The Great Escape, Eurosonic, Winter Jazzfest NYC and Capital One City Parks Foundation SummerStage.

SPDS’s highly-anticipated sophomore album is slated for a March 2026 through Stunt Records. The album’s second and latest single, the TMI Tammi-produced “Let’s Go!” The track is a mix of sneering, in-your-face punk attitude, ambient electronics, pulsing beats, thunderous Viking drumming and modal-influenced jazz that’s mind-bending, mischievously unhinged yet accessible and dance floor friendly.

“Let’s Go!” was composed last October. The band retreated to Albert Holberg’s 200 year-old summer cottage in the idyllic landscapes of North Zealand for a weeklong writing session. Originally, the plan was to create techno, but the autumnal, Bon Iver-like atmosphere shifted the overall mood. Instead, the trio leaned into simply being a band, playing together n silence and letting the music speak. And what would up emerging was a compromise between their initial intentions and a newfound urge to explore the idea of “ambient Viking band” — brought to life with TMI Carmen’s swaggering, maximalist production.

Single Review by William Ruben Helms

New Audio: Kelly Cappuccio Shares a Sleek Club Banger

Kelly Cappuccio is an Italian electronic music producer, whose classical training as a child helped shaped her melodic sensibility and musical ear. Her discovery of electronic music unreleased a creative epiphany: Cappuccio quickly realized she could craft a sound that flows seamlessly between techno and tech house that bridges nostalgia and innovation.

Every track she creates represents an emotional journey frequently drawing from blues foundations paired with irresistibly funky grooves and sleek, contemporary production techniques.

The Italian producer’s latest single “In My Heart,” is a sleek and melodic, deep house banger anchored around glistening synths, a relentless and hypnotic groove and skittering beats that feels simultaneously cinematic and intimate.