Talented pop-tinted duo Flora Cash recently announced the upcoming release of their album, our generation, in late October of this year. Along with that announcement comes the premiere of their latest single, a haunting track titled “We Use to Laugh/9 to 9”.
The pair is privy to the overarchingly sad effect the song has on people. After all, this single has a bit of a melancholic subject matter to it, outlining the heartbreak that Shpresa has experienced. “That moment you realize everything you thought you knew about somebody was a lie. Sadly, it’s a feeling a lot of us have experienced. In many ways this song describes a sober, honest reflection on a relationship defined by narcissism and manipulation.”
Reflecting back on memories within an unhealthy relationship can be a difficult thing to do, however much easier when you find people who can relate and survive their own memories alongside you. Check out the new single below.
Right now, nostalgia comes in waves. Enjoying a song from our past, Re-discovering a snack we used to love. Engaging in re-releases with new traits, flipping through memory books, and digging through the past. Memories can be healing, especially in today’s health and political climate, and the memory of a live performance can be fleeting.
Singer-songwriter Jen Grinels plays on our nostalgic hearts with the release of her Live Volume 1 full-length, recorded over three nights in early 2019 at The Music Box in Cleveland, OH, Rams Head Onstage in Annapolis, MD, and Avalon Theater in Easton, MD. The live music experience, something we haven’t been able to indulge in for an entire year, encapsulated in one gorgeous collection.
The light echoes from the sound bouncing off the walls of each venue, the magical eccentricities that live music brings with it. From the first mellow track “I Know Your Heart” through the soulful “Don’t Wanna Be Happy” and “Misery,” to the slow ballad-like presentation of “The Feeling,” Grinels powerfully champions multi-genre entertainment. And she doesn’t stop there, as “Can’t Stay Here” has roots in country with a little grunge flare. The sheer feeling (ha!) that rushes over you while playing this album gives you chills, as you imagine being at a live event in the future, singing into the open night air on a gorgeous evening.
That’s what this collection feels like. Live Volume 1 provides a little bit of hope at the end of this crazy pandemic tunnel. And doesn’t that just feel good right now?
Are you a 90’s baby nostalgic for some butterfly hair clips and group choreography music video scenes in a warehouse setting? Then go relish in the stunning 90s inspired official music video for “All In” from rising singer/songwriter Jenny March, the second single off Jenny’s forthcoming 2021 EP, about meeting someone and the type of chemistry that flows strong from the start.
Directed by Colton Tran, and inspired by Jenny’s own 90’s baby memories, the theme and visual aesthetic is a giant salute to the music, fashion, imagery and style of that dreamy decade. Written about that ride or die love of your life, “All In” encompasses that power couple type of romance that makes you feel like you can conquer the world together. No obstacle stands in the way of the love shared, as both parties are “all in” no matter what.
This Ohio-born, Los Angeles-based songstress is a self-proclaimed “open book” and writes lyrics like she’s texting. Her sound and vibe is pure pop, but her aim lyrically is to be honest and unafraid to allow fans, particularly her female fans, to not be afraid of living unapologetically and having just as much fun as anyone else.
Keep up to date with Jenny and her future pop bobs by following her Spotify and Instagram
Columbus-bred R&B talent I M a N I is coming at us with a sultry, gorgeous new video for her track “Pretty Boi.” Not only does this song perfectly display the artist’s insane proclivity for vocal range, it’s kind of the perfect track for a meet-cute at a (socially distanced) house party. (Or going through your scrapbook of memories and exes alone in your apartment with your cats. Whatever.) Explains I M a N I of the track:
This song has two phases, the love-struck phase and the heartbroken phase. In the beginning I basically explain how I’m “lost in a daze” with this guy, totally not understanding that he is only with me for his pleasure. The second verse goes into me “confronting” him, telling him my intentions while his intentions are easily seen. The guy is “pretty” but he is also a boy which displays immaturity. I knew this situation was pretty relatable and knew that there would be people who can relate this song to their life. I want the people who listen to “Pretty Boi” to understand their worth. You are definitely worth more than a “booty call”. Don’t settle down for Pretty Boys, settle down with someone who has the time and love for you.
The video was shot outside, gorgeous sunsets and greenery surrounding I M a N I as she captivates us all with the most vibe-worthy song of autumn 2020. (Seriously, read the Youtube comments if you’re not convinced. We are NOT the only ones fawning over her.)
Michelle Ray channels her rich musical background to produce an electrifying summer bop with her new single “Chasing Shadows.” Growing up in an extremely musical home, Ray had an opera singer manager for a grandmother and a rock band manager for a father. Infusing both classical music and rock ‘n roll into her heart, Ray began classical voice training at age 10 and later performed backing vocals on her Dad’s band’s national tours and opened for their sold-out shows in Japan. As she grew and began to think about her own sound, Ray gravitated towards soul/R&B pop music, finding inspiration in talents like Christina Aguilera, Justin Timberlake, and Bruno Mars. In the past years, she has been honing her skills singing in commercials for Maybelline, Mastercard, JCPenny, Nickelodeon and numerous others, and even found her way onto the fourth season of The Voice.
“Chasing Shadows” isn’t just any old summer anthem, it’s a paradoxical juxtaposition of the beauty of summer against the regretful longing for something that’s no longer there. Ray tells us “’Chasing Shadows’ is about thinking you can see or feel this presence everywhere you go but you can never actually hold it, it’s not tangible, so is it real or just your imagination? Instagram-filtered memories and drive-in movie fantasies melt together as we imagine a love that could save us.” From a sonic perspective, the single has a great groove, Ray’s velvety vocals, and crisp backing harmonies; all the fixins for a feel-good dance track. But her words are filled with hard realizations that add a layer of complexity, something that we often experience ourselves over the summer. It’s like a choose-your-own-adventure: you can blast it through your speakers on a hot summer night, lost in the dream-pop/nu-disco sound, letting the musical vibes ease your mind. Or, you can take a moment of reflection and confront the beautiful and wistful nature of summer. Either way, “Chasing Shadows” shows Ray’s ability to use her long-developed breadth of musical knowledge to her advantage.
Tomberlin announced a new EP, Projections, with the lead single “Wasted”. The track is out with a Busy Philipps-directed video (Yes, you read that right!), from an iPhone in quarantine, that was shot and edited by Marc Silverstein. The song is an uptempo journey about a relationship that withholds as much as it gives. The video captures the innocence in the lyrics, creating a hauntingly beautiful atmosphere. Tomberlin shines bright in a neon green dress following the journey of a day in the life of two young best friends. The scenery around the subjects of the video changes naturally, not overdoing the simple concept of it all. It’s as if she is reflecting back on these times with her best friend, remembering and trying to keep up with all the things they did together.
On the subject of the video and song, Sarah Beth Tomberlin says:
‘Wasted’ was the most fun song to record. I brought the song with the guitar part and knew I wanted drums, but wasn’t sure what kind of beat I wanted. Alex played this drum beat for me and was all ‘kinda left field but maybe this would be cool.’ It took the song to a whole new level. Sad song or summer banger? You tell me. The video was made with the help of Busy Philipps (who directed) and Marc Silverstein (who shot it), who are more like family than friends at this point. I was quarantined with them and their girls in South Carolina and we came up with the idea and shot it in about 4 days on an iPhone.
The “Wasted” music video truly feels like the fleeting memories of a childhood summer. The ending of the video, when the day comes to an end, connects all the emotions with the two looking towards each other. It’s simple, beautiful and then gone in an instant. The song and EP were co-produced by Alex G (Alex Giannascoli) and bandmate Sam Acchione. Following her critically acclaimed 2018 debut, Tomberlin continues to prove she is a force to be reckoned with. Check out the video for “Wasted” now.
L.A.-based trio LANY has released its soothing new single and music video, “you!.” The band first revealed themselves to the world with their self-titled debut in 2017 and secured their reputation with their 2018 album Malibu Nights which cracked the Billboard Album Chart. They have millions of followers and billions of streams from across the globe, which they follow up with by playing sold-out shows from L.A.’s Greek Theatre to London’s Brixton Academy. Now, they’re back with their upcoming album mama’s boy, set to release on October 2nd. “You!” is the third single to be released from mama’s boy, following “if this is the last time” and “good guys.” After finishing their Malibu Nights world tour, Oklahoma-born songwriter, lyricist, and producer for the band Paul Klein made his way to the country outside Nashville and began to outline mama’s boy. Working with several accomplished songwriters, Paul began to reconcile the differences between his newly found L.A. persona and his Great Plains heritage. “Someone asked me where I was from and somewhere, out of my spirit, I just said ‘Man, I’m from Oklahoma!’ It was a weird sense of pride, to be from the middle of nowhere,” he says, pointing to the inspiration behind the album. In the video for “you!”, we see this deeply rooted pride in Paul’s homeland come to life with nostalgic musical scene painting that ties in perfectly with the barren landscape.
Over the course of the video, the sun peeks over the horizon at varying degrees, sometimes shrouding the trio and revealing them only as silhouettes, sometimes shedding light onto them and their strikingly sincere demeanor. The music is straightforward and genuine, with a concise use of calm instruments and atmospheric harmonies that achieve the nostalgic sound without excess, matching perfectly with the secluded environment that is empty save for the band and their equipment. Each verse feels somewhat removed, consisting mostly of vocals and slightly muffled drums with comments from the guitar now and then. The chorus brings everything into focus, with each instrument part adopting a clean sound that resonates with the listener. The video, shot in the middle of nowhere, evokes a sense of eased isolation– and although it’s a nod to Paul’s memories of Oklahoma, it also reminds us that isolation isn’t necessarily a bad thing. In the context of the pandemic the idea of being removed from society is not ideal, but when you watch “you!”, you really feel the sanctity and peace that can come from taking a step back.
It’s always important to take a moment and let yourself breathe. Let “you!” and the perspective it brings be that moment for you. Listen here.
Earlier this summer, Donna Missal released her beautifully raw and utterly powerful album Lighter. Its soulful vocals, touching lyrics, and country-meets-90’s rock sound garnered an impressive amount of praise from publications like Billboard and The New Nine. But releasing an album in the midst of a global pandemic is different. It’s missing that live performance component that usually goes hand-in-hand with the release. To remedy this, Donna offers her evocative “Bedroom Sessions”: four reimaginations of songs off of Lighter in the form of intimate live performance videos shot in her L.A. bedroom and childhood backyard in New Jersey. Each video was directed by Missal, and features projections of footage from the process of creating Lighter superimposed on top of her. The immersive projections, the personal setting, and the newly envisioned instrumentals aim to recapture the connection of a live performance environment in an intimate space. Missal explains, “From the shifting paradigm for the way artists connect to listeners, along with the inability to tour an album live, we’re all trying to fill the void – connect, and create. ‘Bedroom Sessions’ is a take on the challenge of staying close to others through music, even from far away.” What results are fresh snapshots of the acclaimed album that elevate Donna’s exceptional vocals, sending out shockwaves that crumble walls even in her gentlest moments.
Delving into the wounds of a relationship, the original studio version of “Carefully” overflows with emotion. Backed by solid drum, string, and piano parts and embellishing harmonies, Missal’s words ring out like a reflex, unable to keep the depth of her feelings inside. In the bedroom session, her voice is much softer and accompanied only by her brother Stevel Missal on guitar. The emotional effect of the original is powerful, but here, in her bedroom, this intimate space, watching her untouched motions and expressions… her voice is absolutely earth-shattering.
In a similar way, the familiarity of Missal’s room in the bedroom session of “Bloom” augments the sincerity of the message, which in the original version depended only on the humble guitar and voice combination. As she sings “I don’t want to be the reason you don’t shine, realize I’m standing in your light…I don’t want to be the reason you don’t bloom,” she makes eye contact with the camera, supported by multi-instrumentalist and singer-songwriter Liv Slingerland’s rustic guitar playing. Watching her face, her eyes are the colour of integrity, and you can’t help but to hang on every word she says.
“Who Loves You” is the most avant-garde endeavour of the quartet. While the original has this nostalgic, well-rounded sound with slight blues-rock vibes, the bedroom session uses an omnichord and lushly layered vocals to create an otherworldly atmosphere. The musical texture is much more sparse, allowing it to feel untethered from the earth itself. Missal used two microphones to record the layers of vocals, an impressive feat to accomplish from home. By the end, each of the voices soars and crash into one another, drawn to and pulled away from each other in an immersive and surreal soundscape.
Set against the others, “Slow Motion” endeavours to offer a new take on the original meaning of the song. As it was in the original, the bedroom session is an ode to letting go, but rather than being recorded in Donna’s bedroom in L.A., it was recorded in the backyard of her childhood home in New Jersey, drawing up memories of the past and showing how far she has come. The studio version is a moving piano ballad with understated but powerful energy that peeks through in the belted chorus. In her backyard, Missal is less firm and more gentle, singing on top of a thinly dispersed assortment of shimmering strings. Her voice is not nearly as supported as it is in the original with its resonant piano accompaniment, but Donna doesn’t need a musical foundation at all. The strings are just sparkling ornaments on her already magical voice. As she sits on the grass in a sequined gown and belts out the chorus in an effortless vocal performance, the effect is staggering.
Missal’s bedroom sessions are a brilliant way to stretch the novelty of her recently released album, but also to connect both to her fans and to new listeners through the universal experience that the pandemic has brought to all of us. They are simple, but thoughtful and extremely affective, and in a way, exactly what we need in the world right now.
Grief and trauma can cause enormous pain that will affect the rest of your life. It can change you as a person and make you weaker or stronger. Samantha Crain has taken control of her life and tackled her grief head on with her new release, A Small Death. Her sixth studio LP will leave you in awe of her talents and inspired by her journey. Crain explains , “I didn’t completely die, but I feel like I died a little bit and that allowed me this new beginning…What I was trying to capture with this record, really, was a sense of reconstruction.”
The Oklahoma-based artist starts off strong with “An Echo” which highlights complex relationships and makes you feel the pain behind her voice. If one track had to sum up the feeling of the record, “An Echo” takes the cake. Not every song is as serious, “Pastime” is a look into Crain’s start of a new romance, but learning more about herself in the process. She took to Instagram to speak about the track, saying, “when I was writing this song I felt like I was getting to know myself from scratch, peeling off a costume that I was put in as a child and allowing myself, for the first time, to dress myself and fully lean into my curiosities and sensitivities.” This theme seems to follow through to most of the tracks, experimenting and digging deep into her soul. Raw emotions are present in “High Horse” with the feelings of fleeting memories. In the lyrics, “I know the shape of the great heartache / and I know the weight of a big mistake / and I know the feel of a magical moment,” you can hear the strain accompanied by the steel guitar.
Her alluring vocals pull you in on tracks like “Reunion” and “Joey”. They are soft, yet powerful, similar to artist Brandi Carlile, who she has previously toured with. Crain, who is of Indigenous descent, connects with her roots in “When We Remain”. The track is sung in Choctaw and accompanied by a light instrumental. “Little Bits” closes the record out, by being herself and owning who she is. It’s short, upbeat and to the point, almost as if she was wrapping everything up with a red bow on top. A Small Death follows the 2017 release of You Had Me At Goodbye and is the first release under Real Kind Records, founded by UK-based artist Lucy Rose. It is the beginning of a new chapter for Crain and her music, something that is uniquely her and her experiences.
