“Everything is Weird in America” isn’t exactly a new song from Hannah Rogers’ “Pixx” project, the track was featured on her debut album The Age of Anxiety back in 2017, but the sentiment of the song still rings true. After three years, Rogers has finally released a video she had shot for the song, and now seems like the best time to release it, because right now things are incredibly strange here in America. You can watch the music video for “Everything is Weird in America” below:
Today “U.S. Girls” have shared a new music video for their track “And Yet It Moves / Y Se Mueve,” which is one of the most undeniably infectious tracks off their new album Heavy Light. The video is packed with trippy animated visuals, flashing lights, and optical illusions, and it was created by Evan Gordon. You can watch the music video for “And Yet It Moves / Y Se Mueve” below:
Following her lush debut single “Canary,” singer-songwriter Courtney Jacobs has released an even more irresistible track titled “Heat Dream,” and it’s another smooth Summer jam with infectiously dreamy vocals and production that takes an unexpected turn incorporating heavy synths and a Hip Hop styled beat that’s sure to make you move. About the track, Jacobs has stated “The song is a descent into a hazy dream of falling into a lover’s arms after being separated. Chill but romantic with a heavy drop, this song is perfect for daydreaming or a night under the covers.” You can listen to “Heat Dream” below:
Song: Life Goes Fluently
Genre: Pop/Alternative Rock/Indie Rock/Indie Pop
We’re all guilty of dwelling in the past. Caught up in the could haves and should haves. Many of us reminisce over simpler or happier times, but though acknowledging the past is important, it’s also more important to focus on the present. To lay the groundwork for the future, and to strive to grow and improve. As simple as that concept may be, it’s also very complex, because us as humans have such a vast memory that it’s hard not to live in the past where we’ve invested so much time and emotions. There’s a reason why the old saying “life goes on” rings true, and on her new single “Life Goes Fluently,” up and coming artist “Greysha” captures this feeling in a way that isn’t exactly happy-go-lucky, but also isn’t exactly pessimistic or self-deprecating. Instead, she has created an immaculately produced guitar-driven ballad that finds her diving deep into her realizations and acknowledging that she herself is guilty of dwelling in the past. She’s letting us know that she’s right there with us, instead of waving her finger at us. It’s clear that young love is the main focus on this track. It’s youthful and can be naive, but that’s what makes it so charming. I’m very much looking forward to what she does next.
Written By: Steven Sandoval
Song: Aros Am Byth
Genre: Indie Pop/Psych-Pop
Label: Libertino Records
Welsh artist Dylan Hughes under his “YNYS” project makes the kind of dreamy music that takes you on a meditative journey with a juxtaposition of sunny day “Indie Pop” and night time melancholy. His new single “Aros Am Byth” is no exception, but this time around he incorporates 70’s Italian Disco synths to create a lush tune that is as attention grabbing as it is humble. Instead of going full-on Disco, Hughes utilizes these synths to fit his distinct musical world he has created, and my does he pull off this sound well. About the track Hughes has stated “The vibe I was trying to get was Jeff Lynne taking over the studio after being at a Tame Impala listening party.” Well, mission accomplished because this sounds like an “Electric Light Orchestra” ballad from an alternate universe or “Tame Impala’s” younger brother, and it’s modern enough to not sound too anachronistic. It’s both a fun and tender tune.
Written By: Steven Sandoval
Artist: Lucky Iris
EP: Turns Out We Should Have Stayed At Home
Genre: Pop/Alternative Pop/Indie Pop
Remember when we used to be able to go out? Seems like forever ago doesn’t it? Though it was fun to spend a night out on the town bar hopping, hanging out with friends, and meeting new people, there were also those nights where things didn’t go according to plan. Where we’d end up alone, surrounded by laughing people having fun while we stared at our phones to look busy and less alone. Where are the club anthems about those nights? Leeds duo “Lucky Iris” haven’t forgotten about those nights, and they’ve captured that feeling perfectly on their debut E.P. Turns Out We Should Have Stayed At Home. Formerly of the band “Everyday People,” “Lucky Iris” consists of vocalist Maeve and producer Jasper, and their chemistry is impeccable as the two create Pop music with an Alternative edge mixing a bit of Indietronica, R&B, and piano lead sentiment that is as heavy on self-realization as it is melancholy. Turns Out We Should Have Stayed At Home isn’t a preachy statement, but it is a deep look inward that frequently looks outward at the same time. It’s a concept E.P. about the nights of feeling the need to fill that void with validation from others, and with this dive into this reality these songs realize the superficiality that comes out of it all. “When I was younger I was told to be kind and look nice, but to be seen and not heard. Then they taught me to argue, how to think for myself, but now i’m too outspoken, they still call me little girl” sings Maeve on the opening track “Get Ready With Me,” a song that notices roles we feel like we must play when it comes to social situations, but instead of having a “humanity is doomed” tone, “Get Ready With Me” feels like it has two meanings. On the surface it sounds like our narrator is getting ready for a night out, but there can also be an underlying message of self-acceptance as she encourages us to get ready for a better human condition if we were to just acknowledge who we truly are instead of succumbing to social norms. At least that’s my interpretation. The following track “Take 5 (Why Can’t You See Me?)” is a beautiful piano-driven song about the feeling of isolation as you’re alone but surrounded by people who look right through you. It’s vulnerable and quite possibly the biggest tearjerker on the E.P. That’s what’s so fascinating and refreshing about this music, it’s honest, it’s not afraid to be vulnerable, and it’s a look at how social norms can truly damage someone’s self-esteem and mental state, but it isn’t all a grim look into those nights. “Glitter Vision” is the most danceable track which is fitting seeing as how the subject is about the point where you start to appreciate your own company and dance the night away by yourself, unafraid of the feelings of alienation, but like the frequent ups and downs of life, this track is immediately followed by a broken mindset on the closing track “Fell Backwards.” It’s a painful listen and I mean that in the kindest way possible. Since this is a concept album, which to me is like a film, I don’t want to spoil the ending, but it leaves the listener on a sad note as our narrator feels alone, broken, and unsure what to do following everything she’s done to appease others only to feel like she’s falling backwards. It’s a lot to take in. If you were to restart this E.P. over again you’d get that mood shift again, like a constant loop, much like the shifting moods of our lives. This is a fascinating listen because it doesn’t glorify the partying lifestyle. It by no means says going out is devoid of it’s fun and memorable times, but it is a reminder that things can be very shallow out there, and that we should treat each other better, including yourself. Here’s to when we can go out again.
Written By: Steven Sandoval
Nihilism has never sounded so upbeat. Today solo artist “Fleurt” has released a brand new song titled “Nihilist,” and it isn’t the dark and brooding affair the word is typically affiliated with in music. To contrast the wonderfully written feeling of loneliness and boredom, the song’s instrumentation consists of delicate bells, subtle but effective synths, and a minimal but upbeat electronic drum beat that evokes the spirit of “Indietronica.” This song couldn’t have arrived at a better time, because in this time where we are forced to self-isolate, we are stuck with ourselves and our own thoughts, and not all of us enjoy our own company. It’s easy to become envious of those fortunate enough to spend this time with a significant other, it’s easy to get stir crazy, and it’s easy to become completely bored of the hometown you’re stuck in, like the song says “I’m getting bored of New York.” Though the song’s content can come off as negative, Fleurt cleverly depicts the feeling of self-realization, and underneath it all there’s a real feeling of hope, not 100 percent succumbing to nihilism’s tendencies. This is a perfect example of how music, especially in this time, is immensely important. You can listen to “Nihilist” below:
Artist: U.S. Girls
Album: Heavy Light
Genre: Experimental Pop/Indie Pop/Gospel/Soul
U.S. Girls’ Meg Remy at this point has solidified herself as one of Rock and Pop’s most intriguing and innovative artists. Following her breakthrough album In A Poem Unlimited, I didn’t expect her to release a follow-up so soon, let alone depart from the album’s sound almost entirely. On her new album Heavy Light, Remy goes in a bolder direction which might turn those who enjoyed the infectious fusion of Psychedelic Pop, Disco, and Art Pop of her last album off, but if you know Remy’s catalog you know that she is always reinventing her sound. Just compare her debut album Introducing to an album like In A Poem Unlimited and you will not believe both albums are from the same person. Much of the instrumentation on Heavy Light is stripped back with more focus on a beautifully crafted array of backing vocals evoking a Gospel feel, a subtle but detailed combination of various percussion, and a dominance of piano balladry. Though her sound has shifted, Remy sticks to her guns of topical storytelling told from the perspective of various characters touching on topical subject matter. The sardonic take-down of the U.S. economy on the Funk-driven track “4 American Dollars,” the Spanish spoken message of prospering with a positive movement on the track “And Yet It Moves / Y Se Mueve,” and the realization that humanity isn’t as significant as we think in the grander scheme of the planet on the track “The Quiver to the Bomb” are all topics Remy and her collaborators paint vividly with a tone that is hopeful despite the grim nature some of the subject matter suggests, and as much as Remy is looking to the future of her sound, this album isn’t without an acknowledgement of her past. There are three older U.S. Girls songs that get reworked. “Overtime,” State House ( It’s a Man’s World,)” and “Red Ford Radio” all sound better than ever polishing the lo-fi bedroom-recorded sound of the older versions. Though In A Poem Unlimited was the most collaborative U.S. Girls have sounded at the time of it’s release thanks to the contributions of the band “The Cosmic Range,” Heavy Light feels even more like an ensemble effort with various voices heard, and this is a perfect progression for Meg Remy, someone who understands the beauty of collaboration. I’m already looking forward to seeing what Meg Remy does next.
Written By: Steven Sandoval
It’s nice to see “Gorillaz” being as active as they’ve been in recent years. For awhile we grew to expect long gaps in between albums, but hey, Damon Albarn and Jamie Hewlett are busy guys. After a 7 year gap following The Fall, everyone’s favorite animated band released Humanz and The Now Now just a year later. It’s looking like the band aren’t going to disappear anytime soon, because so far this year as part of their “Song Machine” series, the band dropped their Punkishly anthemic track “Momentary Bliss” featuring slowthai and “Slaves,” and now following that up the band have released another new track titled “Désolé” featuring Malian musician Fatoumata Diawara. The track is both upbeat and melancholy with bouncy synths and dramatic strings while Albarn and Diawara sing in English, French, and Bambara. No word on whether or not this is a roll-out for an upcoming album, but I truly hope it is, because the band sound rejuvenated and more inspired than they did on The Now Now. You can watch the music video for “Désolé” below:
After much anticipation and patience patience patience, we now have a release date to look forward to for “Sorry’s” upcoming debut album 925. The album will be released on March 27th via “Domino Records.” Today the band have shared a new single titled “More,” and just like their previous singles it’s a catchy tune that finds the band refusing to compromise their lyrically honest and inward looking sound that frequently genre bends. You can watch the music video for “More” below: