Electro-pop demigod Chris Glover (aka Penguin Prison) has penned our latest late-night anthem, “Turn It Up.” Glover’s distinctly soulful croon drives this track which is peppered with jubilant bass lines, electric guitar flourishes, and a strong electronic background. Recommended for fans of Bleachers, Fun., or Capital Cities. “Turn It Up” is available online in many different forms – see them all here.
Pure Mids is a SoCo trio whose “Maybe It’s Alright” caught our ears for its hooky, shoegazy sentiment. Reminiscent of The Depreciation Guild or Slowdive with a hint of The Killers, “Maybe It’s Alright” combines frantic drumming with lush synth pads and plucky guitar melodies. Get intimate with the widget below and listen for yourself. Pure Mids’ discography is available via Bandcamp… You know what to do.
Veda Rays are a bunch of Brooklyn dudes creating smart and succinct indie rock with elements of dream pop and post-punk. Falling somewhere on the spectrum between Interpol, The Neighbourhood, and The Killers, “False Coloured Eyes” is a fun jam full of precise guitar riffs, calculated beats, and singer Jim Stark’s distinct baritone. About the song, Veda Rays says, “the song is about examining the images, ideas and motives that shape consensus, mold identities, and inform our narratives.” Deep! Learn more about Veda Rays via their website.
Seattle songstress Racquet has just released a lush, post-rock song by the name of “Artifacts.” Racquet is also known as Sapphire Jewell – her spacy, ethereal delivery compliments her lyrical content perfectly – the song is about disagreeable love, and making it through it against all odds. We were drawn in by the twinkly guitar work and deep, atmospheric vibes… Give it a listen below. Add “Artifacts” to your Spotify playlist.
Everyone has their way of getting over a breakup… CHILDCARE are here with an infectious and… “unique” take on moving on. “Getting Over You (By Dressing Up Like You)” boasts a distinctly British flavor, reminiscent of Kasabian or Arctic Monkeys. Their unstoppable basslines and frantic alt-percussion certainly ramp up the danciness of this particular ode to letting go. If you feel generous, drop CHILDCARE a follow on Instagram too.
We’re pleased to present Du Tonc to y’all – they are back with a melancholic new single, “High.” The disco-tinged duo come equipped with a very unique sound, combining disco sentiment with an overarching electronica instrumentals. On “High,” an ethereal vocal melody floats over heavenly synths, the perfect inter-galactic soundscape to enjoy your afternoon to. If you dig “High,” check it out here.
Londoner John Joseph Brill has us captivated with the warm, synthy goodness of his latest single, “All Eyes.” Inspired by the likes of Leonard Cohen, Jason Molina and Neil Young, Brill pairs his National-esque, brandy-warm baritone with a sexy, swooning beat. This dude specializes in moody indie rock, equally perfect for a brooding, overcast Monday or a hazy, balmy Friday night.
Rolling solo when it comes to creative projects, especially music, comes with perks. For starters, you’ve got virtually unlimited creative space to wander around in. And with nobody to answer to but yourself, the exploration of that space becomes entirely unhindered and worth the wander. That musical wanderlust makes all too much sense to Ex-Pat, or Patrick Weil, whose experimental dreampop is a headtrip, a vacation, and a bit of sonic time travel all rolled into one package. His newest album Does Life hones in on a certain soulful airiness and polishes it as much as the lofi designation will allow. Does Life is our album of the week. Ex-Pat’s signature is as hazy as it is deliberate, much akin to the experimental stylings of Ariel Pink and the lofi tremble of newer artists like Elvis Depressedly. Does Life is decidedly less noisy than previous endeavors, focusing now on a[...]
“Teenage Bodies” by Rachel Mallin & The Wild Type is a sleek-as-can-be dive into teenage lust, underpinned by lines conveying the need to impress a love interest. The youthful and eager narration is lifted by a polished but not overproduced instrumental backing. The song bounces on a chugging rhythm and reaches an empowered climax toward its conclusion. This four-person group hails from Kansas City, where they’ve garnered a respectable fan base with their relateable and danceable tunes. Thus far, they’ve supported big-name groups on the festival circuit such as Cold War Kids.
After a stint at design school and a job at a car parts factory in Holland, both of which he abandoned prematurely before his eventual move to Los Angeles, Nick van Hofwegen has crafted album covers for bands like Foster the People and Maroon 5 and delved into musical ventures himself. His latest single under Young & Sick, entitled “Ojai,” is christened after a small town in California and finds solace in a litany of apparent influences. The song begins with a flourish of jazzy piano. A stretch of pop-style vocals then segue into a driving bassline. The song climbs higher as drums and backing vocals enter the mix. After the first-minute, stabs of buzzing synthesizer, as slight as they are, add even more to the song. They round out the details like appreciable set pieces. A stylish guitar solo caps off “Ojai,” a song that surely deserves an extended[...]
Hearing Seattle Fix without knowing their genetic makeup might surprise anyone unaware that only two members create so much sound. The fast-paced dreaminess of “Where I’d Rather Be,” a recently released tune from the Melbourne-based duo, creates perceived allusions to dream pop fore-bearers like Cocteau Twins as well as contemporaries like Beach House, Warpaint or The XX. With Olivia Puchalski’s work on vocals, guitar and synthesizer beside the frenetic drumming of Luke Burns, the song is at once ethereal and exciting, a hard-to-capture combination, especially for a band in its early stages—they released their debut EP a little over a year ago. With lyrics pointing to being “higher than the moon” and “running away” and a captivating melody matching these sentiments, the mood of “Where I’d Rather Be” is one of unadulterated freedom.
Following her ode to liberation “Wearing Nothing,” Dagny’s “I Love You Like That” possesses the universal pop appeal and structure of what should be a surefire smash hit. “I Love You Like That” starts with a light instrumental touch and reserved vocals, which meets a series of handclaps and rising intensity until the chorus breaks the Norwegian songstress completely out of her shell. The repetition of the root words “I love you” serve to foreseeably mesmerize the listener enough to prompt some uncontrollable finger snapping, foot tapping and the like. The pulsing beat present thereafter propels the song to the status of being an even greater earworm; the same goes for the minimalized part two-thirds of the way in, which transitions back into the final chorus seamlessly. In the vein of artists like Robyn or fellow Norway native Annie, Dagny shows her capability to rework the potential of ‘80s-sounding punches[...]
Darryl Rahn’s Newlywed Records debut “Still In Luv,” is a three-minute slice of perfect indie pop, raises the momentum of the up-and-coming singer-songwriter, a New York City-bred artist acclaimed by alternative rock band Guster and discerned favorably by college radio stations statewide. Carried by a thumping bassline and impassioned vocals, “Still in Luv” welcomes in splashes of guitar—both acoustic and fuzzed-out—as well as trickling piano lines. Though the dispirited lyrics cleverly reevaluate the memories experienced alongside someone still entrenched in love (or “luv,” rather) with another man, the tune manages to stray away from balladry and instead takes up a deceivingly buoyant sound. Around the 2-minute mark, the song gives way to a wordless midsection and a breakdown of instruments. The song ends with one last build-up, after a line of questioning shows apparent recuperation from the anguish of lost love before culminating in a cry of “did you tell[...]
Funktastic guitar licks and striking solos quarterback “Breakdown,” the opening salvo of Nothing Casual’s Blank Slate, the band’s first release since rebranding themselves (they were formerly known as White Shade). Thankfully for Nothing Casual, the guitar work helps mask the rather off-putting vocals of Matt Sacha, whose unique delivery sounds just out of place here. Blank Slate manages to recover rather quickly from its auspicious start on the following “394,” as Sacha’s mellow tones gel perfectly with the track’s indie pop sensibilities. Zach Moore’s howling guitars again work to pace “394,” as the band’s penchant for lush melody gets put on display. The closing “What a Shame” follows suit, with Sacha’s sleepy aesthetic perfectly complimenting Moore’s wailing riffs. The guitar-driven bridge during the song’s latter stages is a highlight. The EP is raw and messy at times, but Nothing Casual do a yeoman’s job in clicking at the right times[...]
Vivid psych pop experimentalist Dylan Lindquist pens another chapter in his collaborative musical adventure as clawmachine with a new track: “Notion.” Spearheaded by the lyricism and vocal stylings of fellow Gold Coaster Whitney Veitch, the pair put their heads together to create the melodic equivalent of distinct gratification. “Notion” draws fuzzy bass lines, fluttering synths, and bright guitar tracks into the fray while Veitch soulfully serenades as the melodic cherry on top. It’s a call to give into your instincts and embrace the simple satisfactions that life brings you. This track is the first single released at the forefront of clawmachine’s upcoming EP, Good Harvest.