New-York based singer Kimbra has just dropped the official music video for her new song, “Like They Do On The TV”. The two-time Grammy award winning artist has recently dropped her new record, Primal Heart, and is currently on tour in support of the album. “Like They Do On The TV” is just a taste of Primal Heart, and the music video takes the viewer on a glimpse into the wonderful world of Kimbra. With a retro vibe, Kimbra finds her way onto everyone’s screens in this catchy track. Filled with eye candy and a great color scheme, “Like They Do On The TV” is not to be missed. With stunning visuals and a knack for the slightly abstract, Kimbra has done it again with another fantastic music video. Check it out today!
If you haven’t heard of singer and actress, Brittany Campbell, get ready. Not only is the Brooklyn native a part of Chicago’s cast of Hamilton, she is also featured on Netflix’s remake of “She’s Gotta Have It.” Most recently, Brittany has been showing us her musical talents on BRIC TV’s B-Side sessions. Brittany discovered her for music at a young age when her music teacher insisted she enter an opera competition. When watching this session I was truly blown away by her smooth yet soulful voice. On “Still In Love” she shows off her impressive vocal range while keeping you drawn in with her passion and energy. My personal favorite is Brittany’s “Mean.” This is her final message to a soon-to-be ex lover. Its jazz undertones and poetic lyrics such as “…and shame on you for letting such a good thing go to pieces, and shame on me too” makes for an emotional performance and will leave you thinking about the “one that got away.” With a voice like Brittany’s, it is no surprise that she here to stay.
Keep up with Brittany by visiting http://brittanycampbellmusic.com and be sure to look out for her album Stay Gold releasing April 10th.
Last week, Young The Giant – expertly made up of Sameer Gadhia (vocals), Jacob Tilley (guitar), Eric Cannata (guitar), Francois Comtois (drums), and Payam Doostzadeh (bass) – surprised their fans with the official release of a song that has been a long time coming. The track, “Metropolis”, was written and recorded by Gadhia during Mind Over Matter‘s massive success. With 2024 marking the hit album’s first decade of existence, they brought this incredible, vulnerable song out of the vault.
The stripped-down track is beautifully and simply comprised of an acoustic guitar and Sameer’s voice. The video – by Guadalupe Bustos – shows frames of the recording process and the band in the studio together in a moody black and white mostly, with other B roll footage from the tour adding moments of pure joy to the visual. The song is paced like the lyrics, as it brings a sense of calm to the listener. Check out “Metropolis” below.
Mind Over Matter is being released as a 10th-anniversary edition. The exclusive deluxe version comes in clear smoke vinyl and includes a 12-page booklet, fold-out poster, and an exclusive slipcover — Pre-order / Pre-save. See all tour info here
Mind Over Matter (10th Anniversary Edition) Tracklist: “Slow Dive” “Anagram” “It’s About Time” “Crystallized” “Mind Over Matter” “Daydreamer” “Firelight” “Camera” “In My Home” “Eros” “Teachers” “Waves” “Paralysis” “Mind Over Matter (Demo)”* “Camera (Demo)”* “What You Get (Demo)”* “Metropolis (Acoustic)”*
As someone who’s been studying up in the DMV (shout-out George Mason!), I’ve been slightly aware of MasVusi, an active drag performer in the area. She’s certainly a remarkable figure in both her performances and trans activism, and when I heard she was releasing an EP, I knew it would be something truly interesting. Despite pride month having come and gone, it’s still critical to shed light on new releases by queer artists absolutely worth your time, and MasVusi’s debut EP i hope you like it and is a shining example of such.
The EP has been in the works for two years, with MasVusi describing it as a “true story of love, loss, and a coming of age where queer young people must choose between their own safety or the presence of their loved ones.” The songs are implied to be autobiographical in some ways, which makes the release more intriguing given it’s already quite confessional and honest, even without the prior context. The music of the EP contrasts the moodiness of the lyrics by mainly being an eclectic blend of several eras of dance music (likely also chosen because the genre is a staple in queer/drag culture). Musically, I spotted influences from flashy 70s disco (“Chaser ‘69”), early 80s synthpop/Italo-disco (“(the) Night Shift”), and modern EDM (“t4t”) throughout the record. Though that’s assuming those aesthetic/stylistic references were intentional and I’m not just being a massive nerd, anyway.
Immediately, the opener and lead single “Closet Blues” caught my attention with a thumping dance beat and a squelchy, groovy bass line. It’s a fun opener, and the lyrics set up the themes of late-night romance (and eventual heartbreak) in a way that still complements the funk. My favorite song from the EP was definitely “(the) Night Shift”, which really impressed me with its production. It has these dreamy and lush 80s-inspired synths, and the whole track just sounds gorgeous. I absolutely must point out MasVusi’s vocal performance because while I think the opener’s mixing could bury her voice, she really comes alive in this song specifically. She has great vocal range, and her voice can have a glammy dramatic quality that really soars during the more emotional, longing moments of the record.
The next song and second single “Chaser ‘69” (featuring fellow DMV-drag artist Queenie Iman Glamazon) continues in this throwback direction by incorporating synthesized strings and a four-on-the-floor beat. It’s intentionally campy to achieve the vintage 70s disco flavor the song is going for, which is reminiscent of Donna Summer or ABBA, and again succeeds because of the vocals and production. After that comes the most vulnerable song on the record, “Momma, I”. Interspersed throughout the track is a recording of the inside of a DC metro station, which makes the lyrics and entire EP seem more real and personal. This is because the audio juxtaposes against MasVusi singing earnestly at her most desolate and bleak, with the music styled in a jazzy piano ballad to match the tone. The lyrics of the middle three songs are the most downbeat, focusing on yearning, financial hardships, and loneliness, respectively.
Fortunately, the EP ends on a positive note with “t4t”, a fast-paced contemporary rave song. I believe the lyrics show MasVusi found her own happiness with the local drag/club scene she’s currently involved in, a sentiment that wraps up the EP nicely. As a debut release, i hope you like it (which, yes, I did) is bold and revealing while still being quite danceable and engaging, and it shows that MasVusi is a performer with something to say.
The second album by any successful artist can be a critical moment in their career. It’s made to show the impact of their previous work wasn’t a fluke, and that they’re still someone worth giving your time and attention to. This is easy to mess up, as the term “sophomore slump” still gets used when describing artists not being able to make a follow-up that builds on their previous acclaim. The new album by Luna Shadows, bathwater, thankfully doesn’t fall into known sophomore slump pitfalls and expands on Shadows’ previous music from 2021’s Digital Pacific. It expands on her goth alt-pop sound by incorporating more guitars and orchestral arrangements, but also shows a deeper, more personal look into Shadows than before. bathwater is a slow-burn album that rewards listeners with poetic and vulnerable lyrics and gorgeous melodies that split the difference between songs you can dance or cry to in equal measure.
Musically, the album isn’t a complete reinvention of Shadows’ previous work, as it uses Digital Pacific as a jumping-off point to new sounds and textures. The previous album’s hazy synthpop and use of drum machine rhythms found in hip-hop or R&B are still present, but they take more of a backseat. As someone who doesn’t listen to moody alternative pop records (i.e. Lorde, Lana del Rey, Billie Eilish, etc.), the sound took a bit of getting used to. I deeply appreciate that Luna Shadows remembers to keep her music rhythmic and interesting, unlike a lot of alt-pop that focuses too heavily on vibes. However, some songs are produced more in minimal accompaniment with a greater focus on Shadows’ vocals and a richly produced dense atmosphere. Still, the album sounds great and even goes into psychedelic, somewhat ethereal territory that almost reminds me of dream pop like Beach House or even Cocteau Twins.
Speaking of Shadows, her vocal performances here are as pristine as ever; being breathy and somewhat whispered at points, yet still dynamic enough to convey the raw sense of vulnerability she’s going for. Her voice is soothing and occasionally functions as an instrument themselves when set against the eerie and psychedelic soundscapes she sings in. Fitting with her namesake and the album cover, her voice and persona all have an otherworldly, mystical quality that makes her music even more intriguing. All the vocal harmonies sound wonderful, alternating between misty, heartbreaking, playful, and just all-around pretty whenever the song demands it.
In terms of individual songs, my favorites are the more up-tempo pop-friendly singles like “bleach” and “heroine” which both feature killer electric guitar and breezy vocal harmonies. Some of the slower songs are just as strong, like the heartbreaking “monroe” with its desperate sentiments, and “honeymoon” which features some beautiful finger-picked acoustic guitar. The indie stylings mostly come down to acoustic guitar being used as background texture, like on the more R&B-inspired “tourist” and the ballad “superstars”. However, there’s still time given to use guitar solos on songs like “stay mad” and “nudes” that are consistently excellent throughout the album. Experimenting with string instruments like on “witches’ brew” and the closer “apocalypse love song” complements the melancholy and moody tone that the tracks themselves provide.
bathwater may occasionally feel its length with a track list of 14 songs (including an intro) and can go into the same sonic territory of ambiance a bit too often, but each song has enough personal feeling to justify its place. Luna Shadows likely made this album as a way of transcribing her personal struggles and conflicts into art, such as many other artists, and she succeeds by pushing herself forward musically and emotionally. For only a sophomore album, it suggests more great work from her is still to come.
Maybe it’s just me, but I think Gen Z needs to be more aware of the countless R&B and funk superstars from the 70s and 80s. A lot of these artists just seem to be overshadowed by larger artists like Michael Jackson, Prince, or Stevie Wonder. I love the music of those three too, but there’s so much great music that needs to be rediscovered and praised as classics. One of these artists is Chaka Khan, known as the “Queen of Funk” and has multiple hits with both her band Rufus and her solo career. She still has a large following, but only a handful of her biggest hits have reached younger audiences. If you’re unfamiliar with her work, I can’t recommend her Tiny Desk Concert performed last week at NPR enough as a starting point.
For those that don’t know, Tiny Desk Concerts are performances held in NPR’s headquarters in DC. What separates them from just a normal concert is that all the musicians and equipment must be able to fit behind the desk where NPR’s weekly podcast “All Songs Considered” gets recorded. That means all the musicians get squeezed just inches apart from each other in an office space. If it sounds awkward, that’s the fun of it! With the audience only a small group of NPR employees right next to the space, it makes the concerts more intimate, up-close, and personal. The limited room makes the music fully center stage instead of surrounding it with other stage effects and unnecessary parts of a more corporate concert performance. Really, just think of Tiny Desk Concerts as a late millennial/Gen Z version of MTV Unplugged except less pretentious and not entirely acoustic.
Despite the tight space that Chaka Khan and her band have, what’s even tighter are the nonstop grooves and funk rhythms they play for their 30-minute show. (Was that clever writing? I thought it was.) The entire time I was listening to it, I couldn’t stop dancing, swaying, and moving to the music. Chaka’s backing band that accompanies her is absolutely on fire, with the funk starting immediately and never letting up. My favorites were the percussion, shakers, and sparkly chimes, as well as the bass playing. If I had one tiny criticism, it would be that a synthesizer is used to replicate horns and orchestrations, even if a lot of classic synth-funk did that as well. However, it still sounds serviceable (even great during the closing songs), and I doubt they could fit anyone else with the limited space they had.
The concert set list is a collection of seven singles from both her solo career and time with Rufus, spanning from 1974 to 1985, with the most famous singles being at the very end. Okay, let’s talk about Chaka Khan herself during this show. You would never believe that she’s 71 years old because she looks and sounds fantastic. Her energy is loose and fun, her singing hits the high notes with ease, and she sounds almost identical to the original studio recordings. Just as good as her are her backing vocalists, who get moments of their own to shine (see Tiffany Smith getting a solo to show off her pipes on “Sweet Thing”). The onstage chemistry between Chaka, the backing vocalists, and the band is always apparent during the show.
Like many Tiny Desk Concerts, part of the fun is also the interactions between the band and the crowd. A show highlight was Chaka letting the NPR audience sing several verses on their own during “Sweet Thing”, and it’s adorable hearing the enthusiasm and love for the music from the crowd. By the time the show closes with “I’m Every Woman”, it’s impossible for anyone on stage (or yourself, for that matter) to keep a smile off their face. Chaka Khan’s Tiny Desk Concert is nothing but delightful, and a victory lap for a monumental artist.
Considering the band members that comprise psych-tinged alt-rock quartet Liily – Dylan Nash (Frontman), Sam De La Torre (Guitarist), Charlie Anastasis (Bassist), and Maxx Morando (Drummer) – are all artistic in a variety of ways, it comes as no surprise that the video for single “Swallow” off their fresh drop Liily was so fully ideated and realized by the band, who directed it. The song – which is very specifically about their disdain for trauma porn – is, according to the band, “a pretty simple rock tune, we wanted to keep it straight forward along with the rest of the EP, no bells and whistles! We saw it as our chance to be musical vs over-intellectualizing something that is meat and potatoes.”
About the composition, they are correct. A little bit of a dirty edge to it, with a steady rhythm most can get into, the song is more catchy than one would assume when they think of the subject matter. With both vocals and a video that are sprinkled with the stereotypical bored demeanor of a true rock outfit, the build of energy in the song is almost unexpected, but equally welcoming.
“Swallow” was shot by members of Liily in 2022 with a little help from Keegan James Hurley, Justin Billings, and Andie Jane. Guitarist Sam De La Torre edited it, giving it an admittedly engaging finish.
With their latest single, “Heaven,” Austin-based trio Culture Wars plunges listeners into the dizzying rapture of all-consuming love. Blending raw energy with heartfelt intimacy, the track’s smooth guitars, propulsive basslines, and pulsing rhythms mirror love’s intoxicating rush.
“All I have is your love,” frontman Alex Dugan chants over a hypnotic bassline, his voice—reminiscent of Julian Casablancas and Matt Berninger—carrying both desperation and reverence. This refrain becomes the song’s heartbeat, a mantra born from Dugan’s real-life period of isolation while living abroad, where these words took on literal significance.
Lyrically, “Heaven” reads like fevered journal entries, snapshots of a heart so full it might burst. “Fill my head up / Cold and broken down (I need it now) / Heat my heart and / Heat my heartache out,” Dugan pleads, framing love not just as desire, but as a salve for deep wounds. It’s a sentiment that hits even harder when contrasted with the band’s earlier, more detached writing. Here, vulnerability isn’t just on display—it’s a force of nature.
The beauty of “Heaven” lies in its ability to immerse you in the feeling of being utterly consumed by love. The outside world fades away, replaced by a swirling vortex of you and your person. Verses simmer with restrained longing before exploding into choruses that swell with tidal waves of affection. Dynamic shifts aren’t just heard; they’re felt, carrying the listener through love’s peaks and valleys. A bridge near the song’s end strips things back to little more than voice and heartbeat-like percussion—a musical inhale before the final, cathartic release.
While “Heaven” explores well-worn thematic territory, Culture Wars avoids cliché by grounding universal feelings in vivid specificity. The result is at once highly personal and widely resonant. It’s a track that feels vitally current in an era of digital disconnection as the band reminds us how earth-shattering human connection can be.
Don’t just listen to “Heaven.” Let it envelop you. Let Alex Dugan’s lovesick pleas unlock your own memories of consuming passion. Let the pulsing instrumentals sweep you off your feet until you, too, are standing in that transcendent place where love is all that exists. Then, once you’ve caught your breath, join the growing chorus of voices eager to see where Culture Wars heads next. Because if “Heaven” is any indication, this ascent is just beginning!
French Cassettes, an indie band based in San Francisco, has released their new single “When You Know, You Know” and it’s every bit as dreamy as a song can get! The song is featured on their new album, Benzene, set to come out on June 7th.
When asked about how the song came about, songwriter Lorenzo Scott Huerta muses, “I was listening to a lot of Bread and Barry White at the time, and this one just came out of that very quickly. I’d never paid more attention to what kind of pick I was using on my guitar; I just wanted it to have that feathery strum sound.”
The band consists of Huerta, guitarist Mackenzie Bunch and drummer Rob Mills, with the song itself mixed by Nick Krill. A fun fact is that “When You Know, You Know” was created at Bunch’s record studio in Oakland, CA.
The music is similar to that of a lullaby, with a slow melody and clear guitar acoustics strumming the song forward. The lyrics are like a diary-entry, describing a dream one had the night before. In the chorus:
Baby don’t wake me every time, no You don’t have to wake me every time, no Maybe I seem lucid in your eyes I don’t wanna see that go
It’s apparent that they are reminiscing about a time with a loved one; they see it as a dream-like experience and express how they don’t want to wake up from it.
The song is accompanied with an official music video; the visuals add to the haziness of the song, and makes one lose themselves in a nostalgic memory.
French Cassettes are currently touring around the US, with the exception of Vancouver in late July of this year. In addition to YouTube, you can also stream “If You Know, You Know” on all streaming platforms.
