The West Coast duo consisting of former wedding singer, Kelsey Bulkin, and local Seattle-based producer of Blue Scholars, Sabzi, released the single “Slow Burn” on Tuesday. It’s the second single off their upcoming album (out May 26th) Without My Enemy What Would I Do. And I’m a little disappointed.
I want to start off by saying Made in Heights is an amazing group. Attempting to label their sound as a whole proves difficult, seeing as they have yet to accept any one genre themselves. Continuously welcoming suggestions from fans, the current official description includes: mythical filth, pop fiction, beauty slap, goon lit, artisanal (c/t)rap, and west coast gothic. To put it as simply as I can, they are known for pairing soulful vocals with crisp electronic beats and atmospheric soundscapes. At times even incorporating elements of rap into their bright and ethereal sound, Made in Heights weaves an intricate and special sound under the ever-growing umbrella of synth-pop. The only way to truly experience the sound is to hear it for your self, something I highly recommend.
Slow Burn turns its back on this complexity of genres and heads straight for the dance floor. Let me get one thing straight – this track is completely infectious and a solid dancy-synth-poppy song. The track begins with a catchy synthesized staccato baseline with Kelsey’s simmering vocals drifting atop. By the end, snapping and groovy instrumentals layer in, creating an intoxicating, sparkly-smooth pop track. I would be lying if I said I didn’t bob my head to “you give me that burn, burn, burn, burn, burn”. It’s received good reviews from several sources and is now one of their most-listened to songs on Spotify, it just isn’t what I was hoping for.
Listen for yourself in the stream below:
It might be a personal taste issue that turned me off the new single, seeing as the airy female vocals and snappy dance beat of Slow Burn kicked in some post-traumatic stress from my days working in retail. Once you imagine a song bursting from the cheap speakers of a former employer at the mall, it’s hard to listen to it without feeling a little bit guilty.
It also could be the high expectations I hold for the duo, set by their stunning previous work. Ever since first hearing "All the Places” and “Wildflowers” off of their 2012 self-titled album, I’ve been craving more. Even their opening act for TOKiMONSTA I attended in LA last October reflected their original aesthetic I adore, the pair performing synchronized 60’s backup singer dance moves throughout the set. I just hold them up to a higher creative standard than what this newest track has produced. With sporadic releases and no single website to find their collective work (scattered throughout Soundcloud, Spotify, Bandcamp and their website), I was overjoyed to hear about the new album coming out in late May.
Now I’m just hoping that this single follows the rule of singles, and is the lone shamelessly-dancey track of the album; the rest hopefully following more in suit with the innovative sounds I’ve come to expect from Made in Heights.
Rainy Dawg Radio is throwing a tantrum! After 12 years of feeling brought down by the man, we’re ready for our final years of pre-teen excellence. THIS FRIDAY, our favorite bands are setting up shop in Sylvan Grove to celebrate our terrible twelfth birthday (we’re soooo old)!
If you haven’t already, you can RSVP via our facebook event! There you can find updates before and during the show, including posts about food, fun and free swag. For example:
If phantasmagorical frybread isn’t enough, there will also be music! Lots of music… including:
You can check out all of their music on the band’s bandcamp which includes their debut EP, Sit Down.
The UW-based band consists of Grant Mullen on guitar and vocals, Gianni Aiello on bass and vocals, and Henry La Vallee on drums and vocals.
“Grant and Henry having been playing together for many years, when Gianni joined the band in the summer of 2014, Naked Giants became what it is today. They recorded their first EP in 2014 and you can listen to it here! Have a great day and enjoy who you are!” – from their bandcamp.
Congrats to these up-and-coming rock stars! We can’t wait to see what you’ll surprise us with next. To stay in the loop, be sure to follow them on facebook!
October 8, 2014 was a dark day for Crystal Castles fans. Stories with titles such as “Crystal Castles call it quits” saturated our newsfeeds as we sat in a corner wailing along with Not In Love and Vanished while eating copious amounts of ice cream.
No? Just Me? Okay.
Anyway, the pure despair beset upon me by the reports of Crystal Castles’ demise served only to enhance the state of pure bliss I was in the morning of April 16 when I awoke to a passive aggressive message from Ethan Kath accompanied by a Soundcloud link.
The message yielded a response from Alice Glass the next day and Kath later redacted most of the passive aggression, but that drama isn’t what’s important. There’s new Crystal Castles!
The track is called Frail and it’s signature Crystal Castles. It’s heavily distorted and is one of those tracks that melds into the background perfectly when doing anything to a beat, with just enough vocals to give you something to key into without drawing too much away from the instrumentals.
Speaking of the vocals, those on Frail are provided by someone referred to only as “Edith”. Though, they’re virtually indistinguishable from Alice Glass’ due in large part to abundant distortion.
Overall, it’s a solid track, but it doesn’t stand out too much when compared to the rest of their discography. You can listen to it on Crystal Castles’ Soundcloud, linked above.
With Ethan Kath releasing new music under the Crystal Castles moniker and Alice Glass set to release new music in the coming months, it’s an exciting time for Crystal Castles fans. Only time will tell if their split was better for listeners or not.
Jaapur’s latest release starts out as a series of digital noise. Its momentum and tones feel like a throwback to the over-dubbed days of 8-bit remixes. A series of high and low pass filters add dynamics to the track, which make “Double Much.aac” an excellent introduction to the eclectic (yet satisfying) Organic.
The second track, “Conclusion.txt” starts out quietly as it, like the other songs on the album, plays off of the various computer file-naming conventions. Bass-heavy and trance-like, the contrast between synths and snares provides a basis on which to build a vibrant system of sounds. The melody alternates between instruments, each subsequent variation adding to the last. Towards the middle of the track, the rhythm becomes increasingly danceable, each instrument battling for its turn in the spotlight.
Following the quick-to-end instrumental that came before it, “Effigy.jpg” traces the line between highs and lows. Each synthetic instrument stays within its chosen scale – the unique sounds finding their individual places in the track. Various voices interrupt the flow, interjecting with plays on the name of the song. Although the bass line leaves something to be desired, the catchy chorus makes this track one of my favorites on the album.
The album continues in various forms, the tracks in themselves progressive as they build along with the broken pieces of the same theme. An occasional rap-track, featuring iamlogan and (most likely) Jaapur himself, can be found on the album – the flow, slow to match the tempo.
From disco beats to trance suites, Organic takes us back to a time before heavy-hitting bass lines ruled the boiler room. Be sure to take a good listen to the standouts (embedded below), “Akebono.flac” and “But Do You Know” which features Sarah Rain, Jaapur’s IRL sister, on vocals.
Young musicians are awesome. They bring so much passion and energy and creativity to their projects, and I honestly think that’s great, becausewhen you’re listening to their music, you can almost feel that.
That being said, meet killer newbies,Hollow Wood.
I saw these guys open a couple of weeks ago at a Kris Orlowski show and I was blown
away. Originally from Boise, Idaho, these guys do strive for honesty and
purity, with their bio stating they work to “express music in an honest way.”
Two EP’s right now, both 6-track records. I can only run
through the highlights of each, but I just want to say, that for the most part,
what these two EP’s collectively do for me is just fully demonstrate how mature
these guys are at artists. They’re not very old, they’re all 18-22 in age
range. And they’re from Idaho.
But it’s good.
Their earlier EP Seasons,
which was released just this past summer in August has some of my solid tracks. “Forget me Forgotten” plays it up with some
mournful intro piano chord progressions, and the lead vocals coming in “One
more time across the empty sea/Promise me you won’t sleep.” Then bass comes in,
with underlying vocals and we get to the harmonies. So…Hollow Wood’s lead
vocalist, is a guy with a cool different sound in his vocals. It’s folky, it’s throaty,
it’s different. Solid drum rhythms, harmonica, violin, and some bass thrown in
for the quick instrumental and we just fall into this mournful state. It’s a little
depressing, maybe, but it’s introspective. This is a kind of song that really
makes you sit. Make you write, makes you think.
Their later EP, Wallflowers
has one of my favorite tracks of theirs, “Little Bird.” It’s soft, with sweet
guitar melodies creeping in under the intro vocals. Then bam! Listen to the way
belts “Oh don’t you cry, no don’t you cry, without me by your side/I gave you
my all, I gave you all, but that world was just way too strong.” The
juxtaposition of this strong, harsh, hoarse chorus with the sweet first and
second verses accompanied by simple guitar melodies is brilliant. The rhythm of it all keeps you on your toes to build up
to a fantastic bridge of grand instrumentals. Ending the track with resounding
chorus and a strong drum set brings it home. It’s the best track they have.
Other tracks on both EP’s are also great. Check out “Memento
Mori” on the Seasons EP if you want a
sense of indie folk and soft harmonies. There is a definite sense of unity
within the band in this track however, especially as they build up throughout the
chorus. What is best about Hollow Wood is not only their originality, but the
fact that all the vocalists have such distinctly definite sounds in their
voices. Yet they make it mesh.
They remind me of a young Typhoonin other tracks like “Wallflower”
on the Wallflower EP where they have more synchronicity among the vocals, while keeping it soft and unique.
These guys like soft guitar harmonies, they like moody vibes, but they’re not
afraid to jam it out like they do in “Families” on the Seasons EP.
It’s rough trying to give you a taste of everything, but for
the most part, Hollow Wood, for being young, is good. They’re tryin to keep it
100 with us, and I dig that. Check em out.
Earlier today, Toro Y Moi surprised us all with a track we never expected! “Buffalo” (available on SoundCloud below) premiered on The Fader this morning along with a few insights into TYM’s creative process:
When I started writing this song I was experiencing a bit of writer’s block and this song was what pulled me out. As soon as I wrote it, I knew it would set the tone for the entire album.
And so it did. Comparing this track with TYM’s last release from this album, we can hear similar vibes of snares and solidarity. Both “Buffalo” and “Empty Nesters” rely on a driving rhythm beneath insightful lyrics. ‘Cause you love it all / ‘Cause you’ll find a way / To keep on… Check out the video from the January release below:
Stay tuned (on Facebook, Twitter, etc.) for more coverage of Toro Y Moi’s latest endeavor! I am excited to see what other singles are planned for release before the album (tracklist below) drops in April!
What For? (Expected Release Date: April 7, 2015) 01 What You Want 02 Buffalo 03 The Flight 04 Empty Nesters 05 Ratcliff 06 Lilly 07 Spell It Out 08 Half Dome 09 Run Baby Run 10 Yeah Right
It’s been rough lately, and honestly I should be writing a paper, but I’d rather write about music, so let’s just procrastinate together.
I’ve fallen in love, recently. It’s that time of year, you know? And I realize that I fall in love quite often, I’m a romantic, but this guy is worth it, I’m telling you.
Let’s meet Taylor Berrett.
As I write this, I literally can feel myself become giddy,it’s almost unreal. It’s crazy. Is this how love feels?
Okay, so this is actually really strange because I first
discovered Berrett a couple of months ago when I went to an Alex Clare show at Neptune Theatre (remember that show
preview?). He was the opener, and I remember, at the time thinking, “He’s good,
young, but this kid’s got it.” I took a couple photos, swore he was going to go
far, and then just vaguely forgot about him. Here’s a photo of him performing,
he’s a pretty rad guy.
But anyway, then I followed him on Facebook, just for news
updates and slowly Berrett began to come out with more of his own music. When he
performed a couple of months ago, he had a couple of his songs, so I knew he
could write, but I was basing his vocal ability off his Beatles covers.
So I knew this kid has talent.
It’s a little crazy I’m reviewing
this guy so soon because his debut album doesn’t even come out for another two
weeks, but the tracks and the EP that he has out now are just too good to not
talk about, and I expertly assume they will be on his debut album.
But let’s talk about my favorite
tracks first, which aren’t on his 2012 EP Anchor
Chasing. “Those Days,” a track that he just released this year, starts off
just the way I like it: with some finger snaps, simple acoustic harmonies, and a raw,
The rhythm on this track is so brilliant and the lyricism that
this man has is so natural, I am reminded of singer-songwriter (and one of my
favorite musicians) Kris Allen. We
start off easy with “Slow down, turn around/Tell me what’s tearing your heart
out baby,” building up the main chorus “Everybody has, everybody has those
days/ Feeling like an ocean, having trouble making waves.” As we build up to
the chorus, we get a little trumpet and sax into the mix, and my heart drops into
my stomach. Then bam, xylophone, and the world just stops.
It’s this perfect mix of acoustic
folk with jazz and it just feels easy
you know? You get the feel of just chilling on the beach with this guy,
drinking some margaritas, with a guitar and a guy playing saxophone in the
background. When we get to the sax solo, you know Taylor Berrett is a classy
musician and not one to be reckoned with. He knows instrumental composition,
and he knows it well.
Okay, so now for my absolute favorite
track that he has out so far. “The Heat,” a track that he released,also, just a
couple months ago is just a game changer.
It’s a little more upbeat, but it’s probably, and this may be a stretch, a
track that I would say is one of the best new singles I’ve heard this year. He starts drumming out some awesome beats,
leading in with some great vocals that just has excellent rhythm and a sense
of, once again, jazz and blues. Listen to the part when he sings his chorus, “Got
no place that I can go/ Got no money to my name/ Got no scars that I show/ Got no
bad luck I can blame.” The way he weights his vocals rhythmically is not just
catchy. It’s brilliant. The electric guitar mixed with his drummer is all so
cohesively in sync with his vocals, that you would almost expect Berrett to be
someone who’s been in the business for years. Taylor Berrett labels himself as acoustic pop,
and definitely, I can see why he would want to brand himself that way; he wants
to be commercial. But don’t let that fool you, this guy knows solid blues. He
knows solid jazz. He is catchy, but he is skilled and talented. You see it in
the last track I discussed, you see it in the bridge of this track when he
sings “They say man take it easy, enjoy it while you’re free/ I said the heat I
can stand is, is standing still against me.”
And the acoustic version is even
better. Here’s a look.
This voice. Please. There is
control, there is great tone, there is great pitch, and there is just a
When I listen to this guy, a smile
forms on my face. Is this what love feels like?
Maybe it’s the combination of the fact
that I’ve seen this guy start it out live, and then have listened to his more
matured singles, and maybe it’s the fact that I know he is the real deal
because I have seen him sing. I’m not
sure. But this is probably my favorite artist
to review thus far, and I love a lot of musicians.
But anyone, one more, let’s talk.
Let’s take it back two years, to another
track, also not on his EP. I like his EP, and we’ll get there, don’t worry. But,
honestly? I really just dig these tracks that he chooses not to publicize as
much. They’re rad. “Fair Warning,” takes it back a little bit more to his folk
roots, but he still rocks it, like usual.
You get this banjo, tambourine, campy
feel, but once again, his lyricism of, “Call me the wanderer/ Write me away/ I’ll
be the mountain you cannot escape,” never fails. This a track I’m pointing out
just to emphasize Berrett’s versatility as an artist. I’m sorry, but I don’t
care how campfire folk he gets, the man has vocals and the man can write. And
why is it surprising? This 22-year old singer from Virginia started writing songs at age 13,
so he’s had plenty of practice.
Quick note on his EP, Anchor Chasing, because I feel like I
should comment. It’s alright; I’m not trying to disregard his first published
accomplishment. Style wise, it’s more lowkey than the other tracks I’ve talked
about, simple. When you listen to it, you can hear in his voice that he still
very much new, and hey this is an EP from two years ago, so it’s
understandable. We all mature as artists.
Of the five tracks on the EP,
there are only two that I truly love and know will make it to his full length
album. “Whole Heart” is definitely a track I love best and a song I think
Berrett is exceptionally proud of especially since he keeps promoting it. It’s
full of those beautiful piano melodies that you all know I love, so points
right there. It’s two years old, but I think this is a solid original
composition of his, and personally, I’m proud. “Pomegranate Sky,” another great
one on his EP is dreamy and acoustic, but solid with some violin and piano in
the background. You feel relaxed listening to this. You have to let his voice just
take you away, and he does, successfully.
By the way, please, please, check out all his music on his soundcloud here!
All in all, this man is going to
top charts. I’m not predicting that, I’m guaranteeing it. He knows what he’s doing,
and seeing as he is already signed to Warner Brothers, and seeing as his album is
about to be released mighty soon, it’s only a matter of time.
okay, so first off a little about Marian Hill. the electronic/pop/alternative/other cliche genre names for “i don’t quite know what to call them” duo consists of Jeremy Lloyd (production and writing) and Samantha Gongol (vocals and writing). the two are from Philadelphia, and have strong ties to Brooklyn. the two have a purely platonic history together; they’re 24 years old, and have been friends since 7th grade. even so, Marian Hill just started making music together last year.
their music is cool/interesting to me, because its got a bit of a blues/jazz influence, while having a some R&B-sounding vocals, electronic beats, a lot of clapping, and a fair amount of catchy repetition. i got addicted to their music after listening to my *current* fave song by them, “Got It”, which i’ve provided for your listening pleasure:
anyways, back to the reason for this post: the two just released a new song, called “Wasted”. it was released exclusively to Interview, so click here to listen.
i really like this song already. to be completely honest, I’ve had it on repeat for the past hour or so. her voice is sweet but seductive; the beat is heavy at times, and at other times minimal. the lyrics are dope. “You would make my dreams come true/ I’ve already got em” … “Now you’re tripping over me/ I’m not here to hold you”. it’s definitely worth a listen.
however, WARNING: you might fall in love with their music. this is encouraged. if this is the case, keep your eye out for their EP coming out next week, Sway, and check out the stuff they already have out on bandcamp and soundcloud.
just in case you really catch the Marian Hill fever, here’s their facebook and twitter. (10/10, would recommend catching)
In this dreary period of somber winter nights, I’ve felt a little melancholy. I’m pining for sunshine, for sweet summertime nights, for nights around the campfire drinking some lemonade. I’m pining for the days of cool relaxation and no stress. Mostly, I’m pining for cool, fresh new music, and I think I found it.
So… we should meet JUNGLE FIRES.
A New York based duo composed of artists Menashé David Israel & Kéren Or-Tayar, JUNGLE FIRES is a brand new artist that puts indie pop and indie soul on the map. With beautiful piano harmonies,some chill electric guitar, and soulful vocals, their debut album Bliss Point is sure to take center
It’s a six-track album with its number one track creating
the perfect interest into their record. Brilliant song, “Nothing Can Be
Changed,” JUNGLE FIRES builds this track up softly, quietly, but very, very
clean. Kéren, one of the artists in the duo, dominates in terms of vocals with Menashé
backseating it. However, the two harmonize well, and Kéren’s voice is beautiful
as she rolls on with excellent control. This track is full of acoustic
harmonies and some nice piano melodies that hints to me of some jazz
influences. This song sounds cool and all, right? Yet, I think what makes it
excellent is its free-flowing rhythm and very distinct lack of catchy “boppiness.”
This is no Alex & Sierra piano pop duo in which you take hold of the
predictable chorus and happily sing along. The melody in this track takes turns
you wouldn’t expect, but the artists do it very masterfully with soft vocals
and strong instrumentals reminiscent of instrumentalist artist Explosions in the Sky. Ending the first
track with some echoing whistles, I got the campfire, classy soul vibe and I
I’m not going to spoil the entire album for you, as you should
take a listen for it yourself. But, we definitely need to talk about my favorite
track off this new record, “It’s Okay.” There are so many reasons I love this
track. It’s a little more fast-paced, and we hear more of Menashé’s vocals and
it’s great. But more than that, the two did something awesome, and added horns into
this track. The trumpet that’s going on gives this Middle Eastern/Spanish vibe,
and it creates this song as jazz, soul, and pop all in one. I think what I love
most of about this track is its ethnic reminiscence and its musical diversity.
They have soft vocals, and they have good vocals, but I could definitely see the two going off in this direction that is
very acoustic guitar pop, very cookie cutter radio style. And the fact they are
doing their completely own sound makes me very happy.
The rest of the album is pretty fantastic for a debut. Their
October 2014 single, “Hold,” is a track that is a bit more folk based, but has a bit
more traditional harmony with Kéren leading the vocals. I like it though, and I’m
glad they put in the record. “Open Eyes” is beautiful as Menashé softly almost
whispers “Shouting as loud as a siren of war/ Just to desperately reach to your
world” over the hints of tambourine, violin, and guitar. “Best of Me” ends the record
on a fantastically high note, with a much more pop vibe, and I’m not complaining.
These guys know what they’re doing.
Agh, have I converted you yet? Hopefully, enough for you to
listen to their album here: