Electronic duo DivineAstronaut released their new single and music video for “Voices”. This is the group’s second track off their debut album, Made Not In Berlin, set to release sometime in 2020. Inspired by artists such as Radiohead and Bjork combined with the absence of electronic acts, the duo came to fruition in August 2019. Their music is downtempo, alternative electronica with trip-hop and industrial elements weaved in. The track has a menacing feel with airy vocals and deep guitar riffs.
With toned-down colors, singer Livvy Holland walks around an ominous castle. The video was actually shot at Dracula’s Bran Castle in Transylvania, Romania, capturing the haunting nature of the track and the mythology of Dracula. The duo tackles how haunting our own voices and inner demons can be. As Warm Audio Featured Artists, DivineAstronaut are partnering with the pro-audio manufacturer on the release of the track to give audiences a chance to win a Warm Audio WA-47JR microphone. The microphone is featured multiple times in the video and you can sign up here for your chance to win. Don’t forget to take a look at the “Voices” video now.
Here’s a little playlist of some of my favorite songs over the years. These are the type of songs I can listen over and over on repeat (and I have) and all of them just pull you in from the very beginning. They all evoke a certain strong emotion and are all driven by strong melodies and strong guitar parts. Each one of these songs have been an obsession of mine at some point during my career.
A true nomad, EvelynCools has found herself exploring the world all throughout her life. As a child in Belgium she studied piano, flute, choir, and musical theater. Eventually, she made her way over to Hong Kong and Budapest. At her university in London, Cools found herself captivated by the music scene and made some musical friends, and together these things provided the foundation for her career. Finally, in 2018 she moved to Los Angeles. Inspired by the nature of California, the new people she met that would eventually become her creative team, and the unparalleled love she found, Cools decided to bring to life her upcoming EP Misfit Paradise. Her penchant for wandering and connection to other people and nature are the driving forces behind this record.
Regarding Misfit Paradise, Cools says that it “explores the complex relationships we have with ourselves, others, and our environment, and how we find peace and meaning within it all. It is about life’s greatest joys – love, acceptance, nature, adventure – but also its greatest sorrows. It aims to capture little specs of magic against a world of unknowns.”
Her new single off the EP, “Gold Woman”, reflects some of the qualities that you can expect to hear in Misfit Paradise. Cools‘ personal songwriting is enchanting, with her ethereal voice and strong emotional resonance. Her sound lies somewhere within folk, indie-folk, alt-country, and folk-pop music. That being said, don’t think that the single is simply a girl fingerpicking a guitar and singing simple melodies. This music grabs you and commands you to listen to it. You can definitely hear undercurrents of country, but overall this track sounds a lot like alt-rock. It places a strong emphasis on the guitar which has a heavier quality to it. On top of this, amidst countless songs today which are making heavy use of harmonies (although fabulous in their own way), Cools isn’t afraid to let her voice stand on its own. She shows impressive control over her robust chest voice and delightfully airy head voice, both of which are showcased in the adventurous vocal lines throughout the song. Her accessible lyrics and storytelling abilities reveal her folk roots, however, reinforcing who she is at her core.
Some may feel as though the music of today lacks the fire and fervor which used to be so plentiful in music from days gone by. If you find yourself agreeing with that sentiment, then let spunky girl group DramaDolls fill that void with their new single “Favorite Girl.” The LA based band produces rampant brat-punk music that has the grit and energy of the Misfits and the Ramones, but also the musicality and power of the Bangles and the Go-Go’s. The single will be on the group’s upcoming EP Over The Shoulder / Boulder Holder which was recorded at the legendary Larrabee Studios, the same place where the Foo Fighters, Blink-182, Tool, and countless other iconic artists recorded their music.
When asked about the meaning behind the track, DramaDolls stated (somewhat cryptically) “WE WANT TO BE THE GIRLS WITH THE MOST CAKE.” While you make sense of that, settle into the nostalgia of “Favorite Girl” and feel its energy seep into your veins. Right away you hear the rugged guitar, and the punchy drums remind the listener of the opening drums in The Go-Go’s “Vacation.” The lead vocals are bold and full-bodied, sounding both fresh and familiar. The high energy established at the beginning of the track is further magnified by the key change in the courses. It culminates in the instrumental bridge/interlude that hits you with rapid-fire drums and heavy, distorted guitars. The reverberating harmonies after the final chorus are like a choir in a resonant church: resounding, and glorious. With its spirit and spunk, “Favorite Girl” is loads of fun and definitely one to rock out to.
Microcosms released its newest single “Scenes,” focusing on the post-punk sound. With angular guitar and bass lines, the trio is crafting up their sound. The track is moody and carried by the heavy sounds of the drums and bass, playing into a dark alt-rock sound. Instead of just putting out a song we’ve all heard before, Microcosms is releasing music that is authentic and raw. After building up the local fan base, the Chicago-based band is ready to put themselves out there and show the world its sound. Following up the last single “Tightrope,” the band continues to release thought-provoking music that keeps you rocking your head to the beats. This is only the beginning for the group with a bright future ahead in the alternative rock world.
She was born in Flushing, Queens and raised by a pack of cigarettes. With only four chords to remember her mother by, she took her love of vintage guitars, muscle cars, and old man bars and pursued music without ever looking back. She sang lead vocals for Gary Lucas’ Gods & Monsters, and opened for Bob Dylan and Paul Simon at Jones Beach Amphitheater with her band Eudora. After taking a break to grow, get married and raise some lovely kids, she turned once again to music in 2015 to release her debut solo album Go Tell Your Friends. She is EmilyDuff. A wife, mother, and artist who managed to find happiness and become a role model despite never really having one herself. A couple more albums and some TV and film projects later, she is now looking back at the past with the confidence and wisdom from motherhood and marriage in her new record Born on the Ground.
This illustrious musician sings nine “love” songs that represent nine different breakups from her past. With time and self-love, she looks back on these experiences without anger, instead, she wants to examine them with the maturity she has gained. While the songs on Born on the Ground refer to Duff’s past relationships, she points out that breakups aren’t always romantic, one can break up with friends, careers, and even bad habits. They’re hard, but they can be the seed that turns into a better understanding of yourself. The universality of what Duff is discussing is reflected in Born on the Ground. Her songwriting shows an expert command over the genres of country, roots, soul, and rock and as a result, the album is a well crafted, classic set of accessible songs. Rock and blues are established by the drums, country is brought in by Duff’s voice, and the bass, guitar, and keys drift in between. Her sensitive lyrics are graced with sophisticated metaphors, and there’s a guitar solo in every song.
Some tracks are more straightforward, like the opener “We Ain’t Goin’ Nowhere”, with the line “Oh honey get off the train, we ain’t goin’ nowhere” talking about a dead end relationship. It has a bluesy-rock sound to it from the piano and underlying harmonies, but it also has a kind of deep earthiness to it. “There Is A Way Out” urges someone to deflate their ego, telling them that they don’t have to be so self centered. Lines from “Knuckle Sandwich” such as “how ‘bout my fist down your throat” and “how’d you like if I opened up a can of whoop-ass” make her message crystal clear. “Forever Love” tells of a supposedly undying love that ended anyway. But accessible as they are, these songs are far from boring. “There Is A Way Out” has a fun piano solo and the bridge is almost anthemic with its full harmonies, cymbal crashes, and guitar solo. “Knuckle Sandwich” is just an explosion of energy, driven by the spirited guitar, supported by the drums and ornamented by the lightning-fast piano glissandos. It contains itself just for a moment towards the middle of the track only to come back stronger, with unbridled energy that persists right to the end. “Forever Love” is pretty classic in its blues/country sound. Yet it has almost gospel-like harmonies in the chorus, which has this congregational sound to it that compels you to sing along with it. The clarity of these songs creates a sense of knowing between you and them.
The rest of the songs on Born on the Ground are more puzzling. The title track has some ambiguous lyrics such as “Put on my favourite red party dress, and dance with the devil in five-inch heels” and “when you’re born on the ground, you’re dead inside.” The bass in particular but also the mood of the song in general has a darkness to it, suggesting that something may be going on underneath the surface. In a similar way, “No Escape” hints at something alluring, from the 1920’s blues club feel of the music to Duff’s sultry voice. But the electric organ and lyrics like “I would do most anything if you would only disappear” denote something sinister– right down to the expressive ending. “Something Sexy” has a classic rhythm guitar part and a strong country vibe, and the lyrics chide someone for not understanding a “phenomenal” girl. Perhaps the girl in question is Duff herself, looking back at a relationship with a renewed sense of self-worth… but perhaps it means something else entirely. “Killer” still has the same kind of sound as the others, but it also has a wistful quality from the fuzzy bass, electric piano and held chords that soften it. Duff sings “there’s a killer among us, tearing at this happy ending.” It’s unclear what exactly is going on, but seems as though there’s something poisoning her relationship. The final track, “Easy Go!” has a fun rhythm in the guitar, which is great for bringing ‘er home. The lyrics seem to be about warning someone not to love her, “lovin’ me’s like diving into flames,” but at the same time implores her lover not to haunt her.
The songs that you find puzzling and straightforward might be different from mine, but no matter how you interpret it you can expect Born on the Ground to be both relatable and thought-provoking. There’s more to this album than meets the eye, much like EmilyDuff herself.
Produced by Eric “Roscoe” Ambel, and recorded live in Brooklyn featuring the EmilyDuff band and guests Eric Ambel on guitars and vocals & Syd Straw, Mary Lee Kortes & Tricia Scotti on background vocals, Born on the Ground will be released on June 26th. You can also see Duff doing her “virus escape” live stream from her Hudson street fire escape every Sunday at 4 PM EST on her Facebook page, and watch the video for “We Ain’t Goin’ Nowhere” here.
Brooklyn based trio HolyHive pairs transient harmonies and Paul Spring’s exceptional falsetto with poetic lyrics in their tranquil debut album Float Back To You. Following their acclaimed EP Harping and successful live shows, HolyHive combines Spring’s folk guitar playing, Homer Steinweiss’ precise drums and Joe Harrison’s grounding bass to create their soulful, vintage sound. The album also features several guest musicians, including Mary Lattimore on the harp, Leon Michels on saxophone and keys, Shannon Wise on backing vocals, Dave Guy on trumpet, Nick Movshon on bass, and Spring’s wife Sophia Heymans on the piano. Each of these talented musicians brings something unique to the table, pushing Float Back To You passed the boundary of a simple folk or soul album.
While generally, the album is laden with dreamy harmonies and jazzy drums and bass, each of the songs also brings their own individual flair. “Broom”, “Hypnosis”, “Blue Light”, and “Float Back To You” each use the dreamy sound to their advantage. “Broom” parlays the hazy harmonies into a smooth brass interlude. “Hypnosis” uses them along with harp and electric piano to create a mesmerizing sound. “Blue Light” sounds like lounge music and has a pensive, wistful mood to it. The harmonies in the title track “Float Back To You” serve to augment the potent feeling of longing within it. These tunes all feel suspended in the air, but each in subtly different ways.
Other songs on Float Back To You take on a more unique persona and use surprising harmonies to pique your interest. “Oh I Miss Her So” is undoubtedly a standout track. Its whimsical use of harp sounds like something out of a fairy tale, and the unexpected harmonic changes are enchanting. The beginning of the song floats into the sky, but then the drums bring it back down to earth and drive a gentle groove. “Red Is The Rose”, on the other hand, is more mysterious, and carries with it undertones of sadness. It is a reimagining of an Irish folk tune, and the mystical music really plays into that folklore element. “Embers to Ash” also has a darker, almost spooky tone to it created by the electric organ and phantom-like keys. The concluding track on the album, “Sophia’s Part”, begins with discordant piano notes, yet the clash isn’t unpleasant. In fact, as the motive repeats it slowly becomes pleasingly crunchy. All of the instruments in this song seem to be completely in their own world, yet somehow the song remains cohesive and satisfying.
Paralleling one another both in title and in sound, “Be Thou By My Side” and “You Will Always Be By My Side Forever” are two love songs that feel more like classic folk. “Be Thou By My Side” features some beautiful guitar picking and is simple, tender, and infused with love. “You Will Always Be By My Side Forever” has more going on, but still has a folk quality to it. While its music is somewhat sparse, it gets the message across, and the sax and jazz organ outro prolong the easy vibe of this track to ease you into the final song.
Finally, we have the individuals of the album. The bass, drums, and piano at the beginning of “Didn’t You Say” have the most obvious jazz/funk sound to them, and the harmonies in the chorus are delicately soulful. This track shares a lot of the same characteristics as the others (falsetto, touches of brass, jazz undertones), but it also feels as though it could easily stand on its own. It finishes with a fleeting piano outro that transitions into “Embers To Ash.” “Cynthia’s Celebration” is an instrumental interlude. This is an unexpected inclusion but at the same time it makes total sense considering the abundance of skilled musicians at the band’s disposal. In it, blurred sounds from the bass, harp, and electric keys are set against the crisp drums and piano, making for a relaxed but engaging sound.
Float Back To You has a lot to offer. It uses several elements to produce twelve songs that calm your mind but excite your heart. The album is available digitally, on CD and on vinyl, so you can listen to it however you please. You can also watch the music videos for “Broom”, “Be Thou By My Side”, and “Float Back To You.”
As a player and producer, LesNuby is no stranger to the music world. The virtuoso began in Birmingham, Alabama as the drummer for indie-rock band Verbena but never settled, exploring as many opportunities as he could. Notable endeavours include touring with the esteemed Scottish band Idlewild, as well as playing guitar for Amy Ray of the Indigo Girls and the band Vulture Whale. A marvel behind the scenes as well, Nuby has produced releases for artists such as Will Stewart, Sarah Lee Langford, The Dirty Clergy, and Witch’s Wall. Alongside being the current guitarist and vocalist for Holiday Gunfire, he is finally adding a solo album to his repertoire. Clouded will be released on July 10th, 2020.
“Know What She Said” will be the first single, and it lets you in on the secret of what to expect from this long-anticipated album. The song is quite melodic and emanates exciting but controlled energy, meanwhile the surrounding music is made up of skilled instrument playing. A particularly bouncy bass part especially stands out and would be worth keeping an ear out for. In fact, you could listen to this song over and over again and rediscover it each time as you listen to the intricacies of each instrument. The vocals and overall atmosphere of the single is reminiscent of 80s era R.E.M., but the melody points more towards early 90s power pop, and the two blend together wonderfully.
The video is a captivating, artsy black and white live visual that allows you a brief glimpse into Les Nuby’s live performance. It’s enough to make you yearn for pre-Covid days.
You can look forward to these well-executed aspects in Clouded as well. In a culmination of his musical resume, LesNuby produced, engineered, and played all the instruments on the album, and that care and experience is certainly heard in “Know What She Said.”
Be sure to check out Nuby’s earlier release “Never Falling Away” here.
John Legend released his much-anticipated album Bigger Love on Friday. Inspired by his wife, and family, the album explores themes of love, sensuality, and intimacy, but also draws from the extensive tradition of black music that has influenced Legend as an artist. Among the anxiety induced by the pandemic, and the outraged and mourning protesters flooding the streets, Legend explains how he intends for this album to fit: “During these painful times, some of us may wonder if it’s ok to laugh or dance or be romantic… but it’s important for us to continue to show the world the fullness of what it is to be black and human. Through our art, we are able to do that. This album is a celebration of love, joy, sensuality, hope, and resilience, the things that make our culture so beautiful and influential.” In a nod to his debut album Get Lifted, Legend offers Bigger Love as an uplifting, heartfelt work that inspires you to love, dance, and be happy.
Listening to this album, the overarching quality that comes to mind is soul. Bigger Love is soulful in its music, Legend’s voice and the surrounding harmonies, and even its message. The use of “big” in the title refers to the album’s expansive amounts of joy, soulfulness, and diverse range of musical styles. The tracks embody many different genres, and expressive vocals, gospel-like harmonies, and Legend’s expert falsetto are ever-present. Every song has an easy, untroubled sound to it, but they also have unique touches that elevate them to a higher level.
“Ooh Laa” tells you right away what the album is going to be like: a clash of contrasting forces. It kicks things off with two wildly different genres– 50’s doo-wop and trap music. The doo-wop comes from a sample of a 50s recording of the song “I Only Have Eyes For You” by the Flamingos. Continuing in the vein of hip-hop, “Actions” samples a song known from “The Next Episode” by Dr. Dre and Snoop Dogg, reminding listeners of that era of hip-hop. The central lyric plays on the phrase “actions speak louder than words,” a mantra that is especially relevant to the protests that have been happening recently.
Moving over to funk, “I Do” and “One Life” are dance songs. They have groovy basslines and are mellow but have catchy choruses that make you want to move. “One Life” stretches into contemporary jazz and uses strings to add some individuality. The chorus, with lyrics like “We’ve got one life, I won’t waste it,” are universal and inspiring, they really feed into the uplifting sentiment of the album.
Beginning with “Wild” featuring Gary Clark Jr, we begin to see a lot of slow jams and ballads, but there is still some contrasting material inserted in between. “Wild” tugs at you. It is a song that you would play in the car on an open road at dusk with the windows down. Its hard-hitting beat and the chromatic upwards motion in the guitar part pulls you along with it. “Bigger Love” takes a right turn with its Afro-Caribbean beat, but continues to include elements of gospel and house music in the vocals of featured artist Natalie Imani. It really drives the central message of the album: hope, optimism, and resilience.
Bringing the energy back down, “U Move, I Move” featuring Jhené Aiko is about two people in complete harmony. What’s unique about this track is how the beginning has a very minimal amount of music. Legend’s voice really stands on its own. When the music does come in, it’s swelling and romantic. Aiko’s voice complements Legend’s nicely, but it has its own distinct timbre that adds interest to the song. Despite being recorded in quarantine, the effortless harmonies between the duo are coordinated perfectly. In “Favourite Place”, short brushstrokes of harmonies paint the background. The tune is sultry and alluring, with more trap beats and gospel harmonies. “Slow Cooker” on the other hand, is all about taking it slow. It’s infused with cuisine-related metaphors, which work well for Legend since he and his wife Chrissy both like to cook. The swaying 6/8 time makes one think of a couple slowly moving to the music, delicately enveloped in an intimate moment.
Just when you think the album has hit a plateau when it comes to genres, some folk music is thrown in. “Focused” reaches out to ordinary people with lyrics like “everybody has their days when the work feels like chains.” Its defining musical characteristic is the acoustic guitar, but the connections to gospel and jazz remain strong thanks to the harmonies and jazz chords. “Conversations in the Dark” is a soulful love song reminiscent of Legend’s 2013 hit “All of Me.” It highlights the small intimate moments in a relationship. “Don’t Walk Away” features artist Koffee, who pilots a return to the Afro-Caribbean flavour from earlier. Gentle harmonies subtly support the infectious chorus that really highlights Legend’s control over his voice in this song.
For the last four tracks, deep emotions move to the forefront. “Remember Us” featuring Rapsody uses lounge piano, flute flutters, and deep bass to make a beautiful musical foundation that supports the emotional lyrics which remember some departed friends. Rapsody adds a contrasting but fitting quality to the music, expertly spitting out lyrics but still matching the vibe of the song. “I’m Ready” featuring Camper recalls Marvin Gaye’s soul-stirring music and is a tribute to him in that way. This track has a very cool a capella beginning that establishes some surprising rhythms and harmonic changes which continue throughout the entire song. “Always” is another love song. It has a simple, sweet message and relatively straightforward music but still has some twists along the way.
The final song, “Never Break” is an anthem for 2020. It discusses the power of the human spirit, something that is crucial for the valiant protesters around the world. Suspended chords create a deep sense of passion, which is amplified by the wonderfully jazzy chords. Towards the end, there’s a powerful build-up before the haunting final “no” that instills a great sense of resolve within you. The track, with its resilient sentiment and hopeful mood, is the perfect ending to Bigger Love.
Ultimately, this is an album you won’t want to miss. It sweeps through and lifts you up at a time when things feel low. Give it a listen on Spotify or other streaming platforms, and be sure to check out the amazing cover art painted by artist Charly Palmer.
