Song: In My Garden
Label: Virgin UK/Spotify Ltd
Brioni is an artist in every sense of the word. Hailing from London, her approach to music is unprecedented as she utilizes her chromesthesia, a type of synesthesia where sound involuntarily evokes the experience of seeing colors. Being an experienced music producer and painter, Brioni successfully intertwines both worlds in a way that is wholly original. How is this done you ask? Well, the colorful textures she perceives when hearing music are depicted by her in her paintings, and when she performs she performs solo on stage playing her paintings as an electronic drum all connected with a keyboard, controller, and laptop. It’s like her paintings have transcended the visual world and have developed it’s own auditory language. Her music is heavily Electronic with atmospheric sound textures and pulsating drum machines, and it’s all packaged in an infectious Pop style that is accessible yet artistic. Her new single “In My Garden” is no exception, and the theme behind the song is also unsurprisingly unique. After reading a book about the flowers language used to write secret messages, Brioni was inspired to use this in a song. With the two plants “Fox Gloves” which can translate to “lies,” and “Honesty” which translates to “honesty and realness,” she metaphorically guides us though her own garden which represents her life. She uses this to analyze herself. To walk her through her early insecurities and need to please people, only to realize that there was no need to be someone she’s not, and that alludes to the “Fox Glove” theme. As she comes to the realization that being her true self is a lot more liberating and that people will accept her for who she is, she plants her garden of honesty. The fact that she’s able to conceptualize something like that is truly remarkable, and that makes her an artist to keep your eye on. Brioni has also teamed up with an organization called “Treedom Trees.” 50% of her profit will go to them to help plant trees worldwide.
Written By: Steven Sandoval
Artist: The Joyful Sadness
Song: Perfect Alibi
Genre: New Wave/Post-Punk/Electronic
Hailing from Preston, UK, “The Joyful Sadness” is a musical project created out of a subconscious desire to deal with repressed memories. Formed in April 2020, no time has been wasted as one single titled “Memories of You” was released last month, and now a follow-up single titled “Perfect Alibi” will be released this Friday on the 22nd. Much like “Memories of You,” “Perfect Alibi” is a sentimental track that explores vulnerability to reach a point of catharsis. Anyone who has been in a toxic relationship where you give and invest much time in your partner only to not have those feelings reciprocated will find solace in this track. Sometimes we don’t notice when our significant other is being toxic. It’s easy to develop codependency out of a fear of being alone or being lost in someone, and when it’s unrequited it does some serious damage. “The Joyful Sadness” delves into this subject with a style that draws heavily from genres such as “Dark Wave” and “Post-Punk.” With moody atmospheric synths, this subject is explored in a darker fashion because he knows relationships aren’t all sunshine. That sincerity is immensely admirable. You can pre-save “Perfect Alibi” below:
On this day in 2010 “LCD Soundsystem” released their third album This Is Happening. Remember when this was supposed to be their final album? Remember when they released another album seven years later? Yeah, like any of us bought that the band were calling it quits for good, but if This Is Happening had really been the band’s final album, they would have gone out in a blaze of glory, because this was without a doubt some of the band’s best material. James Murphy and Co. delved even deeper into the realm of dance ready “Electronic” music on this album. Of course this was by no means new territory for the band, but it’s almost as if the band had the most fun making this record, and James Murphy not once loses his signature wit on this record. Perfecting a myriad of genres such as “Synth-Pop,” “Post-Punk,” and “House,” this album surprisingly never comes off as scatterbrained and each track flows into the other quite cohesively. This album showed us all that James Murphy is serious about what he’s doing, even though he might not take himself too seriously. Happy Anniversary!
Artist: Bliss My Heart
Drawing inspiration from her three varying influences, Bauhaus, Depeche Mode, and Lana Del Rey, Paris born musician Jenna has crafted an E.P. under her “Bliss My Heart” project that’s incredibly focused and never emulates her influences. Morningstar is the name of the E.P. It’s her debut, which is hard to believe seeing as how these three tracks are sharply constructed and her knack for catchy songwriting is unmatched. It’s evident she’s been writing music for years, because no one sounds this good on a whim. This music can be labeled “Electropop,” but it’s got distinct qualities that can be traced back to 80’s “Synth-Pop,” 2000’s “Electroclash,” and even a little “Gothic Rock.” Especially on a track like “Cross You,” which sounds like it could be a “Clan of Xymox” song with its backing operatic vocals and moody guitar. Her vocals are immensely unique and have the potential to place her in the same boat as other unique and creative vocalists such as Miss Kittin or Karin Dreijer. To say she has potential is an understatement, because though her sound contains shades of the aforementioned genres, she’s already developed her distinct sound that separates herself from her peers, and we’re only talking about three songs! That’s undeniably impressive.
Written By: Steven Sandoval
On this day in 1985 “New Order” released their iconic third album Low-Life. Following the release of their highly successful and influential single “Blue Monday” in 1983, “New Order” released what became known as their finest work. Low-Life is an album that found the band perfecting the “Electronic” style they hinted at in prior singles and deep cuts off their previous album Power, Corruption, & Lies, and the synths, samplers, and synth bass combined with their usual Rock elements thanks to Peter Hook’s high-end bass and Bernard Sumner’s guitar saw the band developing the distinct “New Order” sound. This album was the complete transformation that departed from their earlier work that featured shades of their previous band “Joy Division” with it’s gloomy Post-Punk dominated sound. This album also featured Bernard Sumner sounding his most confident vocally and even writing simplistic but impactful lyrics with themes such as love, alienation, and even an anti-war song that opens up the album. Very few records are flawless, and this is one of those rarities. Not a skippable track on this thing. Happy Anniversary!
EP: The Commons
Hailing from New Delhi, musician Gaurav Balani has played with numerous musicians primarily playing bass, so he is an experienced musician who knows his away around collaborations, and his ambition most definitely shows on his debut E.P. The Commons under his project “Inalab.” Assembling musicians Shruti Dhasmana on vocals, Suyash Gabriel on drums, and Archit Anand and Shashank Singhania on keys and flute, Balani has composed a grandiose work of art that’s carefully constructed as opposed to sounding too self-indulgent. Rich in orchestral arrangements and a hint of Progressive Rock, The Commons fearlessly blends various genres and the result is an epic journey that contains a large cinematic tone. This E.P. ranges from jam band excitement to roaring songs with Dhasmana delivering soaring vocals that perfectly reflect the infectiously dramatic tone. There is never an empty space on this E.P. as the rhythm section manages to be distinct but never overbearing, the keys and sound textures add an Electronic element that brings forth a spacey and atmospheric tone, and the flute arrangements are undeniable as they soar majestically. Dhasmana’s powerful vocals grounds the music and makes it human contrasting the otherworldly sounds of the instrumentation. This is the perfect example of how a musical composition can be immensely detailed without sounding over-produced and can be translated flawlessly live, and that’s no easy feat. The Commons is some of the most inspired and utterly addictive music i’ve heard all year. I’m begging to hear more.
Written By: Steven Sandoval
On this day in 2010 producer Dan Snaith released Swim under his “Caribou” moniker. This album found Snaith departing almost entirely from the “Neo-psychedelic” nature of his previous album Andorra, incorporating various sounds and production techniques associated with “House” music due to his growing interest in “Electronic” music. However, his attention to experimental detail is still present throughout this record as he combined the danceable sensibilities of minimal House with flute, guitar, and the reverbed effects that dominated Andorra.” Elaborating on the album’s title, Snaith has stated that he wanted the album to have a fluid sound to it, which he definitely achieved. This album can also be considered the quintessential album when it comes to his complete dive into “Electronic” music not only with “Caribou,” but also his second project he developed called “Daphni.” This album was a massive turning point for Snaith, and is one of the best “Electronic” albums of the 2010’s. Happy Anniversary!
Electronic duo “ADULT.” are set to release their new album Perception is/as/of Deception on April 10th via “Dais Records,” and today the Detroit duo have released another new track off the upcoming album as well as a new music video to accompany it. The track is titled “Total Total Damage,” and the music video was made in quarantine and features the two completely annihilating the set they had built for the video with sledgehammers, which perfectly reflects this stir crazy time we’re forced to endure at the moment in quarantine. You can watch the music video for “Total Total Damage” below:
“Anybody out there?” asks Trent Reznor as he and Atticus Ross casually drop a new “Nine Inch Nails” album. The band’s new album is titled Ghosts V-VI, and it is a continuation of the Ghosts series they dropped for free back in 2008. Like Ghosts I-IV, the new installments of the series are available for free on the band’s website. Reznor has described the album as “Some of it kind of happy, some not so much.” You can download Ghosts V-VI from the link below:
GHOSTS V: TOGETHER AND GHOSTS VI: LOCUSTS
Artist: Machine Girl
Album: U-Void Synthesizer
Genre: Electronic/Hardcore/Breakcore/Industrial/Drum and Bass
Listening to Machine Girl’s music is like being sucked into a tornado carrying the most abrasive elements of various genres, and I do mean ABRASIVE. What a long way Machine Girl has come from spewing out tons of “Electronic” instrumentals on “Bandcamp” to getting even louder and louder with every release while lead member Matthew Stephenson screams his guts out. Following the highly successful The Ugly Art, Machine Girl has returned with his follow-up U-Void Synthesizer, and somehow this album is even noisier than it’s predecessor. Like The Ugly Art, this album incorporates live drums that give this album a fuller sound that evokes the fast-paced and brutal spirit of “Punk,” but just keep in mind, this isn’t “Dead Kennedys.” This is Synth-Punk meets Industrial meets Breakcore meets just about every abrasive genre known to man. It’s uncompromising, it’s discombobulating, but that’s part of this album’s charm. Sure it’s not for everyone, okay, sure it’s not for most people, (anyone who hasn’t acquired this taste will think that all of their electronic household appliances got together to have an orgy) but this is futuristic “Punk,” the result of the massive influence “Death Grips” have had on a younger generation of DIY artists such as “Deli Girls” and “Five Star Hotel.” Machine Girl is undeniably the torch carrier for this generation, and though they can be lyrically absurd with lines like “I don’t want you on my dick so suck my shit,” that absurdity combined with loads of cryptic content is fun to decipher and formulate your own interpretation. U-Void Synthesizer isn’t much of a departure from The ugly Art, but it’s louder and noisier and Machine Girl’s sound hasn’t lost it’s appeal quite yet.
Written By: Steven Sandoval