Influenced by “dreams, waves and outer space,” the celestial Mai Kino weaves together satin sounds in her single “Dopamine”, the title track on her newly released EP. Praised for her mesmerizing take on electro-pop and her intriguing voice, Kino’s music transcends sound, using her background in dance and multimedia art as well as her synthesia condition to integrate sound, video experimentation and self-directed video work into her own personal multifaceted universe.
“Dopamine” is an ethereal expression of this world, beginning with soft dulcet tones that induce a feeling of floating atop calm waters. Soon enough, however, you find yourself immersed in deeper waters as the music transitions seamlessly to ambient but grounded bass and other electronic sounds. These sounds create an entrancing soundscape, filled with waves of electronic bliss. Kino’s voice floats within this atmosphere, reminding listeners of the lead singer of Metric, Emily Haines, with her bright yet muted vocals. She sounds like an angel as she sings her charming words, suspended above in the ether.
With the mélange of sounds in “Dopamine” one could only imagine the array of colours that Kino would see as she listens. Fortunately the sweet sounds that enchant our ears are more than enough.
Joshua Ackley released his debut single, “Working Class”, which is a part of his upcoming album Dark Arts. After moving to New York at the age of 19 to follow his music dreams, he has been on the scene in different bands such as the art-punk band The Dead Betties and rock band Teen Vice, with Tammy Hart. This album was recorded following a major skiing accident that caused him a 4 month recovery post-surgery. In a makeshift studio he recorded Dark Arts,which is the singer’s first solo album.
Ackley’s mystical voice fades in and out of the track on top of a light melody. The lyrics when you listen closely are much darker than the song sounds, but not in a bad way. There is some trouble being faced here between Ackley and another person. The lyrics that really stand out are, “Did everybody run away and leave you with nothing but shame? / did I treat you wrong, by staying way too long / I should’ve run away, I was so scared I had to stay”, and, “You want me to take your name / you want me to wrap my arms around you / you want me to have your back / but you treat me like a punching bag.” The Brooklyn-based singer really digs deep into these intimate issues, while presenting them perfectly. As the song buzzes through your speakers, make sure to pay attention to Ackley’s storytelling because his execution is on point.
Aja Volkman and Dan Epand of Nico Vega have come together to form the duo TWO, and just released their brilliantly painful EP Pull The Knife Out last Friday. The EP reflects a traumatic time in Volkman’s life, but while it certainly projects the feelings of sadness, loneliness, anger, and despair that plagued her at that time, a ferocious sense of empowerment surges from within the tracks and overshadows those negative emotions in favour of acceptance and self-worth. Written entirely by the duo and produced by Epand, Pull The Knife Out displays a varied set of seven songs that showcases the duo’s incredible talent in every facet of the record; the vocals, lyrics production, instruments, and even the structure of the songs and the EP as a whole are executed incredibly well.
“Live Forever More” is a hybrid song-poem with spoken word poetry verses and sung choruses. Not only are the lyrics expressive, narrative, and insightful, the rhythm of the words and the melody of the chorus invite you to sing along. The more you sing (or just listen) along, the more you believe in the words and their message. “Whoa Man” is also a spoken word performance, but the atmosphere is hauntingly empty, with Volkman’s voice and deep, throaty “mmm’s” intensified in the vastness. Her words reverberate into the silence when she pauses, amplifying their effect. Again, the words are profound. “If I am to be the woe, and you are to be the man, then let me blow your mind with just how great I am.” Even in this single line, you can recognize the trauma (“the woe”) and the empowerment (“how great I am”) that Volkman has gone through.
“Cage Fighter” also exudes confidence through its music and features more spoken word poetry in the bridge. It’s straight-up rock– heavy guitars, a pounding beat, and Volkman’s incredible gravelly vocals. From the music to the words, this track is powerful. In the bridge, sounding like she’s some higher being, hovering above. She says “when you’re small… it’s an opportunity to have humility and fall,” and “be a ball of fierce compact energy, waiting to explode,” and then the music does just that, launching into the chorus again with sustained energy. The only other song that rivals the energy of this track is “Phoenix”, a song that bleeds determination and resolution. It has a slow but firm beat that emphasizes her words– “you can’t take this song away from me.” Despite the slower tempo compared to “Cage Fighter”, even the quieter parts of this track are filled with energy that feels as though it can barely contain itself. Volkman’s astonishing vocals come to light once again as her voice sails at the climax of the line “for out of the fire I’ll rise again.”
The standout track “In This Rough” is also overflowing, not with energy, but with emotion. Volkman says that she “went through some dark times trying to find the kind of surrender expressed in this song.” As she sings her voice catches, brimming with emotion. The bridge has only drums and her voice in that classic anthemic manner, where, in a live performance, the audience would be screaming out the lyrics alongside her, tears streaming down their faces because at that moment– they’re understood. The guitar, spirited drums, and synths sound relatively carefree, but her words and voice are tortured. In a similarly contrasting way, the music of “Faces” sounds calm and nostalgic, with the initial guitar voices singing an easygoing duet and fun melodic “oohs” in the chorus. The lyrics, however, place the nostalgic sound in a more regretful context. Volkman’s vocals are especially intriguing in this track as well. Her inflections play with the placement of her voice, and it’s impossible to guess where she’s going to go next.
The closing track, “Crazy Love”, is full of conviction and honesty, something that’s easy to perceive in her voice. It begins with a unique drum part that sounds like deep water droplets. The rest of the track is an accessible song about exactly what the title says– a crazy love. In the transition to the bridge, the music feels as though you’re being submerged into water, and in the bridge itself, the classical background vocals contrast with Volkman’s sharp voice, creating quite a unique effect.
Pull The Knife Out is well done from the inside out. Volkman and Epand’s immense abilities as musicians create fantastic music, and their close relationship doesn’t hurt either. Volkman says “Dan and I have always remained close and supportive of each other. He has been my cheerleader for over a decade,” and Epand returns the sentiment in saying “We have been through a lot together, a friendship and a creative collaboration that continues to evolve.” It’s that close bond that truly makes their music shine, and combined with Volkman’s remarkable voice, it’s no wonder that the duo has been generating buzz and accumulating some influential fans including P!nk. The EP is out now, as is a music video for “In This Rough” that was shot in quarantine and written and directed by Epand.
Philadelphia-based duo Dom & Jesse share their latest single “Can’t Help Myself”. It is a mix of pop melodies with soulful rhythms, destined to be a song used in the next TikTok trend. In a time like we are in right now, you want to break all the rules to be with the one you love and that’s what the duo is trying to convey here. Sometimes there is just a magnetic connection that is so hard to resist, it will pull you in.
Produced by Grammy-nominated producer Dilemma, they were able to create an upbeat track that is perfect for their sound and will pull in new fans. Blending current styles and classic storytelling, Dom & Jesse have a similar style to artists like Liam Payne, Charlie Puth, and the Jonas Brothers. It is easy on the ears and would be a great addition to a pop workout playlist. Their vocals float through the track with a beat that will keep your head bopping. You won’t be able to help yourself from playing this song on repeat, so dive into the sounds of Dom & Jesse now.
Beabadoobee, one of music’s most talked-about artists, dropped her new single, “Care”. The track is from her highly-anticipated debut full-length album Fake It Flowers, which is set to release later this year. “Care” is all about rejecting sympathy from people who aren’t interested in really getting to know and understand her. A cathartic, to-the-point chorus is a new and explicitly vulnerable direction for her music.
Bea Kristi, beabadoobee, gives fans another bedroom pop song to jam out to. You can feel the real emotions and the anger behind the lyrics, without overdoing it. Some of the first lyrics in the song that stand out are, “I need some help to forget about it / I don’t want your sympathy, stop sayin’ you give a shit / ‘cause you don’t really / care”. Everyone can relate to this feeling at some point in your life and can connect with the frustration felt in this type of situation.
Accompanied by a music video full of outrage and different trippy graphics shot in quarantine, it makes the song more personal. It’s the type of music video that you would love to see premiere on MTV in the early days. Talking about the track and the video, Bea explained, “This song has end-of-a-90s movie vibes, like you’re driving down a highway. It is pretty much me being angry at society, or people around me who I just don’t think know me and don’t care. I don’t want you to feel fucking sorry for me. I just want you to understand what I’ve been through. I never expected to be making the first video from my album during a pandemic! I was so lucky to be locked down with the bedroom guys, it feels like it turned out as one of the most personal, real videos I’ve made.”
“Care” is another great addition to her repertoire and the fans are all for it. The song is brutally honest and exemplifies her struggles, but shows how she still is the same person she’s always been. With praises from Rolling Stone and NPR along with her feature in the worldwide chart-dominating hit “deathbed (coffee for your head)”, which includes a sample of her song “Coffee”, beabadoobee really is something special.
The English post-punk legend Gang of Four’s new EP Anti Hero dropped today. The EP is a celebration of the life of band member Andy Gill who passed away in February. Gill’s widow Catherine Mayer joined together with the band to memorialize Andy through music and to fundraise for Guy’s and St Thomas’ Hospital– the hospital that worked tirelessly to try and save his life. All net receipts received by the band from sales and streams of the forthcoming EP and associated singles will be donated to Guy’s and St Thomas’ NHS Foundation Trust so that they can continue their valuable work. Anti Hero features two new tracks and new versions of old songs that were completed at the time of Andy’s death. “Change the Locks” and “Glass” were written before we were really in the throes of quarantine, but resonate with it nonetheless. “[Andy’s] ability to write songs that remain relevant was unparalleled,” says singer John Sterry. Bassist Thomas McNeice worked with Andy’s longtime friend and collaborator Santi Arribas to produce and mix the EP. McNeice says “I like to think that this EP exhibits a progression in Gang of Four, while paying tribute to a unique talent that I was extraordinarily lucky to work with.”
The title Anti Hero comes from the first single off the EP, “Forever Starts Now.” Written by Gill and Sterry, its original working title was “Hero,” referring to the lyrics which describe “a character who sees himself as the hero of his own life and manipulates his partner into supporting this fantasy,” according to Sterry. Andy was always wary of narratives surrounding supposedly great men, hence the word “anti” in the title. You can hear the aggression and conviction of the character in “Forever Starts Now”, especially in the bass. There are two bass parts, one electronic, one physical, and both attack each note with the ferocity of a deluded man. The rest of the music is made up of these short, fragmented motives in several different voices that give the track an unsettled quality, which also plays into the instability of the character. All these fragments create a really full sound, however, using mostly physical instruments but also some hints of electronica. It’s disjunct and edgy, yet incredibly easy to jam along to.
This unsteadiness is also mirrored in the second single, “Day Turns To Night”, but rather than being fueled by delusion, it’s fueled by the inner turmoil that one experiences after a loss. Sterry wrote the song only days after Andy’s death, and while he didn’t intend the song to be about him, it evolved into a tribute anyway. The track is made up of chaotic electronic sounds interspersed within a foggy musical atmosphere. Touches of angelic, but ghostly harmonies peek through every once in a while. This amalgamation of sounds are overwhelming, like a sensory overload, reflecting how grief can feel. However, the lyrics are clear. They are a plaintive but touching message to Andy with lines like “Is it too late to say thank you?” and “You forever changed my fate.” In some sense, it’s as though the mayhem in the music is giving you an out– something to focus on. Because if you pay attention to the lyrics, the emotions are piercing.
To complete the EP, the two reworked tracks “Change The Locks” and “Glass” update the sound to fit the vibe of the EP. “Glass” retains some of the 80’s energy from the original 1979 version, such as the DEVO-esque vocals, but it feels edgier with the pounding beat of the drums and guitar. The repetitive guitar licks and lyrics bring back the unstable sound of the first two tracks– as though the whole song is twitching. It’s short and restless, ending abruptly.
The original version of “Change The Locks” is much more recent than that of “Glass”, appearing on their 2019 album Happy Now, and consequently sounds more modern with lots of electronic elements and a pop-punk character. The Anti Hero version leans more towards alternative rock, with less bouncy electronic sounds and more distorted guitars that sound almost like buzzing. Funk comes into play in the bassline which maintains a steady groove throughout the track. The bridge adds a deep uniqueness that makes “Change The Locks” the standout track on the EP. It begins with simple, static drums, guitar, and bass. As Sterry sings “bang bang on the drums,” the drum beats ring out like shockwaves. It then dissolves into an old-timey sounding piano part before the chorus comes back, sounding familiar but also different after the mood shift that just occurred in the bridge.
Anti Hero is a wonderful celebration of a valuable band member. It honors him, not in a lachrymose way, but in a way that connects with who he was as a person and musician. The skilled musicians create music that has ties to the 80s post-punk roots of the band that Gills co-founded back in 1976, and highlights songs that Andy wrote, but also songs that capture the impact he had on those around him.
The masterful work of artist Thomas Arndt has been unleashed upon us with the new album from his solo project, Another Magic. The twelve-track release – Sunderwater/Underwater Sun – dropped today, and we know you will be enveloped in a unique atmosphere from start to finish. With percussion-driven initial tracks “Sites * Bones/Free” and “Breaking Promises,” we get a sense of the transformation Arndt went through while connecting with this project. All we want to do is dance and feel and breathe. “(Gone)” presents itself as a slowdown, notable for the saxophone and melancholy feel. “Set It Off” brings the pace back up, a track we can see being played at your next (socially distanced) outdoor barbecue event. (It’s so good, right?)
The rhythm and the introspective lyrics in “Want to Feel” make this one of the most relatable songs on the release. As Arndt sings of wanting these things, this sense of humanity cascades around you with the music. At a time when everyone is trying to be better and to feel in different ways, this track speaks to us. “Can the Body” takes a slower pace again, a more meandering track that leads beautifully into “Not Loud Enough.” It is at this point that the structure of the tracks comes alive because you can see how Sunderwater/Underwater Sun plays with pace and layers to present a robust audio adventure.
And just like that, “Ocean Goes” offers a reprieve from the cacophony of instrumentals in its predecessor, incorporating sounds that add a sense of tranquility to the atmosphere. It still feels quirky, almost imbalanced, but done so in such an intentional way that we can do nothing but appreciate the humanity in it. “Here (Like Love)” and “Stolen” maintain similar ambiance, whereas “Lost in the Future” takes on an almost Andrew McMahon-feel to parts of it, examining more than just the present moment in its lyrics. “Show for It” rounds everything out quite nicely, once again bringing us back to relatable lyrics, a slower – more calculated – pace, and existentialism laced throughout.
Don’t take our word for it. Take the album for a test drive. Let us know what you think.
The illustrious TaylaParx is gracing the world once again with a video for her recent single “Dance Alone.” Parx has an extensive collection of achievements under her belt: Grammy nominations for her work on Ariana Grande’s hits “thank u, next,” “7 Rings” and “My Everything”, Janelle Monáe’s Dirty Computer, Christina Aguilera’s “Like I Do” featuring GoldLink, The Internet’s “Ego Death” and Hairspray; guest performances on Lizzo and Anderson .Paak’s tours, and the establishment of a songwriting camp called “Burnout.” She was born in Dallas where she trained with the legendary choreographer Debbie Allen. After sharpening her skills in LA, Parx released her mixtape TaylaMade in 2017, which now has over 25 million streams. By the time she released her debut album We Need To Talk in 2019, she had already become the first female songwriter to have three simultaneous top 10 songs in the Billboard Hot 100 since 2014: “7 Sings”, “thank u, next”, and Panic! At The Disco’s “High Hopes.” We Need To Talk itself was lauded by critics from The New York Times, Rolling Stone Magazine, and more. The album held characteristics that we also hear in “Dance Alone”: playfulness, a conversational tone, the blend of pop, R&B, and traces of rap, and high notes not unlike those of Grande herself. Parx is a creative powerhouse, already gearing up to release her new album Coping Mechanisms later this year.
The video for “Dance Alone” ties in with the concept of coping mechanisms as well. To cope with quarantine and social isolation, Parx offers a breezy video of her dancing at home in her pajamas. She says “We need human connection, but at least when you’re home dancing in your pajamas while blasting your favorite song, you feel a little less alone.” The video is captivating, drawing you in with an adorable dog shot at the beginning, then keeping your attention as you watch Parx move through her home in elegant pajamas, bathed in dreamlike purple and blue light. Her smooth and carefree moves put a smile on your face. The music is made up of funky bass, guitar, and drums and provides an infectious groove for her to dance to. But instead of the music being simply a foundation for her to maneuver upon, the two feel more like distinct equals, like they are keeping each other company. Parx’s vocals are spectacular as well. She attacks her high notes precisely and deftly, with no need to prepare. They are like little gems that give the track an extra sense of enchantment.
“Dance Alone” is sure to have you dancing the quarantine blues away in no time. Get your dose of sunshine here.
I don’t know how it happens, but every month I am more and more impressed by the talent that ends up in my inbox. In fact, since I’ve been largely holed up in the apartment since March, I look forward to diving into said inbox more often and even scrolling through Spotify to find new sounds. With the lack of chatter around me, less driving music, and experiencing new music by happenstance in everyday situations, it has been easier to really curate my environment and create an ambiance. And it feels like all of the new music coming out is insightful, artful, and speaks to my soul.
