Tag: singles

Originally founded in beautiful Amsterdam, the rising indie duo Donna Blue — romantic couple and muses, Danique van Kesteren and Bart van Dalen — quickly established a dreamy and cinematic sound seemingly influenced by Phil Spector, Wall of Sound-like pop, Pasty Cline, yè yè and David Lynch‘s Twin Peaks with the release of 2017’s self-titled debut, which featured “Sunset Blvd,” a track that received airplay on Elton John’s Apple Music radio show Rocket Hour.

Back in 2020, Dutch indie label, Snowstar Records, released the duo’s self-produced and self-recorded five-song EP Inbetween saw the duo continuing upon the sound that quickly won them attention nationally and internationally — while also drawing from Roy OrbisonJulee Cruise, Nancy Sinatra, Patsy Cline. The end result was an effort that evokes late nights wandering narrow European streets, daydreaming in smokey cafes, sitting in bars reflecting on your life while nursing a drink. Personally, the EP’s material immediately brings back very specific memories: walking through Amsterdam’s Centrum and Red Light Districts late at night, the prostitutes summoning men with a wink and a wry smile, and passing drunk revelers on the street; and walking through Frankfurt-am-Main’s Haupwatche and Romer Districts with the surreal and lonely ache of being a foreigner.

Donna Blue’s highly-anticipated full-lengths but Dark Roses is slated for a May 13, 2022 release through Snowstar Records. The album is reportedly features 11 dreamy and cinematic tracks that feel like a film score for a romantic, film noir. While playing with the feeling of being alive, yet in a carefully sculpted parallel world, the album’s material finds the duo taking on a decidedly twangy Western sound inspired by Ennio Morricone, Piero Piccioni and John Barry paired with dreamily sensual vocals.

Dark Roses‘ fourth and latest single “The Beginning” is a slow-burning, lush, and cinematic track centered around shimmering and twangy guitars, soaring keys, propulsive, hi-hat driven rhythms paired with van Kesteren’s aching vocal. Fittingly, “The Beginning” sounds as though it should be part of the opening credits of a gorgeously shot and surreal film set in the Amsterdam or Berlin suburbs that’s one part social commentary, one part Romantic mediation, one part love story and one part psychedelic freak out.

Mike Rogers is an Amsterdam-based indie dance trio featuring three of the country’s rising electronic music stars — Mike Mago, TWR72, and Kita Menari mastermind Micha de Jonge.

The project can trace their origins back to the early 2000s: Mago and TWR72 met while DJ’ing Dutch underground electro parties. That raw and energetic scene saw the pari playing a mixture of electro pop, French house, fidget and techno. As the years passed by, they individually developed their own unique sounds — but they realized that they had long held a similar dream: to start a live act inspired by the bands they grew up with, as well as the likes of Miike Snow, Foals, Editors, Van She, and Goose.

Mike Rogers was a way for the pair to challenge themselves creatively and professionally — and to further develop themselves as producers and DJs. The duo recruited Kita Menari’s Micha de Jonge to his big, plaintive vocals to their hook-driven, crowd-pleasing sound.

Their full-length debut, which is slated for an early 2023 release will see reportedly see the trio crafting material that’s a mix of analog, digital and retro sounds with a modern feel. But in the meantime . . . The Dutch trio’s latest single “Can’t Stop” is an anthemic bit of post punk/dance punk centered around angular guitar attack, de Jonge’s achingly plaintive vocals and a motorik-like groove paired with enormous, euphoric hooks. While to my ears recalling the likes of Radio 4, Interpol, and Editors, “Can’t Stop” as the trio explains is about a lonely man, who looks back at his life: As a young man, he tries to do everything right, but always feels as though he is failing since people don’t seem to understand him. Battling a personal struggle with his past, the lonely man protests against this feeling, with the hopes that he can get rid of those negative thoughts.

Written last year, the trio explain, “In our minds that year was a year where we had a lot of questions. Like, what is freedom, what should one fight for, how should one fight for something, how do we move forward as a society and also, how do we judge our past behaviour. We believe questions are the biggest inspirator. We’re trying to ask questions more than to send a message, although that’s also a bit of a vision we want to share.” 



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.



Organic Mood is an emerging and mysterious Ukrainian electronic music producer. His latest single “Fields,” which features Alexander P. is a melodic deep house jam centered around glistening synth arpeggios, tribal beats and chopped up operatic vocals. The end result is a song that sounds both lounge and club friendly while nodding at slick synthesis of Between Two Selves era Octo Octa and Enya.

Filligar — Casey Gibson (piano, keys) and the Mathias Brothers: Johnny (guitar, vocals), Teddy (bass) and Pete (drums) — established a reputation during the early 00s and 10s for being remarkably prolific, releasing seven critically applauded albums between 2006 and 2015.

Nationally, Filligar has played sold-out shows at Los Angeles’ The Troubadour, Bowery Ballroom, DC’s Wolf Trap and Chicago’s Lincoln Hall — and they’ve opened for Counting Crows, Alabama Shakes and The Black Keys. And over the better part of the past decade, the US Department of State has designated the band as cultural ambassadors, sending them six times on tours to perform worldwide as emissaries of American arts and aspirations. And as a result of those tours, Filligar has built up an international profile, winning over fans across the States, Europe, Australia, Latin America, Asia, the Middle East and Asia.

The indie outfit’s recently released eighth album, the 11-song Future Self is the first batch of original material in seven years. The album’s material sees the band pairing the big sound that has won them fans nationally and internationally with lyrics that thematically explore life and love.

Future Self single “The Fire in the Sun” is centered around squiggling funk guitar, a sinuous bass line and shimmering synths paired with gospel-tinged call and response vocals and a handclap accented coda. And while being slickly produced, “The Fire in the Sun” manages to capture post-modern, existential ennui with an uncanny precision.

Jacqueline Loor is a Miami-born, Cuban-Ecuadorian singer/songwriter, currently based in Tenerife, Canary Islands, Spain. Loor has released a handful of singles that have received placement in movies and in TV — “Burn It Down” appeared on The CW’s Batwoman and “No Me Digas” appeared in the award-winning short film Un Pequeño Corte which was part of PBS’ LATINXPERIENCE.

Loor’s latest single “Nada Mas” sees the rising Tenerife-based artist collaborating with Bogotá, Colombia-based guitarist, songwriter and producer Enrique Lloreda. Featuring a slick reggaeton-inspired pop production centered around shimmering and looping guitar, skittering tweeter and woofer rattling beats paired with Loor’s sultry vocals, “Nada Mas” is a dance floor friendly, feminist anthem featuring a fed up narrator, who’s tired of waiting time on a deadbeats, fuckbois and the like.

As Loor explains, the song is meant to inspire and empower women to not settle for any man who doesn’t treat them right.

Over the past two years, through the release of a handful of singles and last year’s critically applauded debut EP creeping speedwells, London-based post punk trio deep tan — Wafah (vocals), Celeste (bass) and Lucy (drums) — qickly amassed buzz both nationally and internationally with the band being featured in outlets like NME, DIY, Clash, Loud and Quiet, The Quietus, So Young, Notion, Dork, BrooklynVegan, and countless others.

Their music has been playlisted on BBC 6 Music and Amazing Radio while receiving airplay on Apple Music Beats 1, Radio X, SiriusXM, KEXP, BBC Wales and Amazing Radio USA. And along with that, Steve Lamacq named then band his BBC 6 Music Spotlight Artist last May. Adding to a momentous year, last year the rapidly rising post-punk trio supported their debut EP with extensive touring that included an opening slot for critically applauded post punk outfit Yard Act and the British festival circuit with stops at Dot to Dot, Live at Leads, Wide Eyed Festival, and Manchester Psych Fest. They closed out the year with the Dan Carey-produced “tamu’s riffing refuge,” which was released through Speedy Wunderground.

The rising British outfit’s highly-anticipated sophomore EP diamond horsetail is slated for a May 6, 2022 digital release and a July 22, 2022 physical release. The band will also be releasing an extremely limited “Dinked Edition,” which will feature diamond horsetail and creeping speedwells pressed together on “piss kink yellow” vinyl. (And by limited, we’re talking about 400 copies. So if you’re a fan or collector, and you’re looking for it, good luck!)

diamond horsetail will reportedly see the members of the rising post-punk outfit further establishing their unique take on post punk in which their stripped-back, minimalist approach serves as a vehicle for songs that engagement with contemporary themes and concerns including deepfake revenge porn, surreal meme pages and furry hedonism among others.

The EP’s latest single, the taut “rudy ya ya ya” is a sparse and uneasy song centered around a propulsive and angular bass line, wiry blasts of guitar paired with Wafah’s sultry yet detached delivery in a vicious, yet occasionally veiled, satirical take down of the entirely deserving Rudy Guilliani — and awful men like him. It’s proof that Guilliani has moved on from a man that New Yorkers hate, to someone almost anyone with good sense across the world would hate.

New Audio: Emerging Artist Eldorado Shares a Slickly Produced and Shimmering Meditation on Heartbreak

Eldorado is an up-and-coming French singer/songwriter, multi-instrumentalist, and bedroom producer, who can trace the origins of her music career to when she turned 6 and started playing drums. Inspired by an eclectic array of artists, who have also abided by the DIY ethos including Mac DeMarco, Men I Trust, Yellow Days, Clairo and a list of others, the French singer/songwriter and bedroom producer’s work is inspired by real life, personal experiences, which helps evoke strong emotions.

Sonically, the up-and-coming French artist and producer has crafted music across a versa array of styles while maintaining a consistent brand and sound.

Eldorado’s debut single, the neon and heartache-tinged “3 in the morning” is centered around glistening, reverb-drenched guitars, the French artist and producer’s achingly plaintive vocals, skittering beats, atmospheric synths and a soaring hook. Sounding as though it were inspired by JOVM mainstays St. Lucia, Washed Out, and 80s synth pop, “3 in the morning” draws from a heartbreaking, fairly universal experience: wanting to be with someone, who has no interest in you whatsoever. It’s the sort of song, I can imagine heartbroken souls singing to themselves at 3am — or at the club, along with their equally heartbroken cohorts.

New Audio: Brooklyn’s Van Chamberlain Shares a Lush and Dreamy Single

Brooklyn-based, indie rock duo Van Chamberlin — siblings Van and Jacob — features two grizzled pros: Individually, the members of Van Chamberlain have toured across the world in a number of bands, including Phantom Buffalo and Eternal Drag. Back in 2019, the duo reunited in Brooklyn, where they started Van Chamberlin, a project, which in many ways can trace its origins to the siblings growing up and making music together on a shared wavelength.

With the release of 2020’s studio demo LY, the Brooklyn-based duo quickly established a sound and approach that meshes elements of dream pop and jangle pop — with a subtle 90s alt rock influence.

Understandably, the pandemic forced the duo to postpone playing material live, so the duo spent their time in the studio, working on their full-length debut In The Sun, which is slated for an April 8, 2022 release through Very Jazzed.

Sonically and thematically, In The Sun reportedly is about layers — both sonically and philosophically. The album’s material is centered round lush and reverb-drenched guitar textures paired with infectious percussion. And although Van’s laid-back vocal evokes lazy sunny days, lyrically the album’s material draws from personal experience of loss and growth. The album’s sonic approach helps to affirm the duo’s philosophical message: what’s past is prologue, and the future holds promise, but neither will count unless you make peace with the present.

In The Sun‘s latest single “Heavy Cloud” is centered around lush layers of gently twangy, reverb-drenched guitars, propulsive drumming, soaring hooks and Van’s achingly plaintive vocals within an expansive and roomy song structure. The end result is a song that subtly nods at painterly, A Storm in Heaven-like textures and 90s, 120 Minutes era MTV alt rock with a deliberation attention to craft.