Like the majority of Elodie Rêverie’s music, her latest single Under the Radar originated from an iPhone note, but it marks the start of a new era of her music. “I wrote the lyrics on my phone early on in quarantine, and I’d just finished The Sirens of Titan by Kurt Vonnegut,”she recalls. “I often turn to literature when looking for lyrical inspiration.”However, the LA based singer-songwriter known for her creative beats, clever lyrics and bewitching vocals wasn’t preoccupied with generating new music. A few weeks later, she was browsing on Splice(a cloud-based music creation platform) with no specific objective and came across a loop that made her pause—the loop sparked her decision to turn the iPhone note she’d written a few weeks prior into a song.For the first time in her career, Elodie decided to hire a producer. “I love to produce, but I felt really zapped and decided it was important to preserve my energy.” Elodie connected with the producer of Under the Radar, Riley Urick through a colleague. “It’s been cool to see someone else’s interpretation of my song align with how I wanted to feel when I listen to it,” says Elodie. “I want to be transported somewhere else mentally, to slow down. I want the song to capture the essence of how I was feeling when I wrote the lyrics.”IG handle @elodiereverie
Bit of Rain” blends Concetta’s uniquely deft layering of plucked strings, soft yet powerful voices, and shifting moods that are good sightlines into her mix of outsider folk w/ new classical touches."Concetta Abbate As a performer she regularly plays violin and sings with a variety of ensembles in the New York area. Concetta is most known for her collaborative work with poet Cornelius Eady (Kattywompus Press), musical instrument builder Skip La Plante, photographer Vera Comploj and Latin music band Inti and the Moon (Intiluna Records).https://www.concettaabbate.com/https://www.instagram.com/concettallegra/https://www.facebook.com/concetta.abbate/https://www.youtube.com/user/concettallegra
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funeral’ is the second single from bloody white’s forthcoming debut ep “you’d walk right over me’ on September 9.The video was just released on July 30th.bloody white has a way of transforming his most pensive teenage experiences, romanticizing them, and presenting them in their most rare form. The EPs material is an accumulation from his informative years to his struggles that he faced leading up to being a teenager, coming to terms with addiction and as he says “the self inflicted b.s” that he put onto himself.bloody white has created a series of home made video on a vintage vhs he’s had since childhood. The video for the crescendoing angst ridden single “funeral” is really a culmination of the last year and a half. It’s little moments from that time since I finished the EP. The way it looks and flows is true to the vibe of the song. The video for “funeral” is similarly about how that song feels to me. The location we chose to shoot it at is eerie and has a cemetery. I just wanted to be surrounded by heavy shit like death and religion,” he said.
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‘FUCK IT’ is the 8th single of Ayumi Anime, a song with a cool vibe and a motivational and supportive message.
A more uptempo pop track from Ayumi Anime.
Ayumi Anime shared with us: “Although I’m far from the United States right now, I know how hard it can be for people staying there and I’d like to support every soul and heart born and living there.. so ‘F**k it! Just be happy, f**k it and choose to live high… no matter what you go through”
Today, singer, songwriter BabyJake drops his highly-anticipated debut EP, Don’t give me problems, give me wine—listen HERE!
The seven-song genre-blurring EP includes his latest single, “Head In The Clouds,” out now.
Don’t give me problems, give me wine jumps from exuberant pop to moody sunset-slicked folk. The EP features BabyJake’s breakout songs, “Confidant,” “Blue Cellophane” and “MadHappySad,” alongside four new tracks, “Head In The Clouds,” “(Consumption)(Addiction),” “Bread & Butter” and “Anywhere,” which are each accompanied by unique and compelling visuals shot by Alex Hall.
Of the EP, BabyJake says, “‘Don’t give me problems, give me wine’ is a special project for me. It’s the first time in my life I’ve really felt like the songs all make sense and have a genuine feeling. It took me awhile to figure out who I was as an artist, and this project fully embodies that,”
This past spring, BabyJake teamed up with Dillon Francis on his tracks, “You Do You” and “Touch,” which Billboard Dance praised, saying, “Florida vocalist BabyJake delivers the track’s smooth-as-silk vocals over Francis’ slinky production.” The singer, songwriter capped off 2019 with over 25 million streams across his first three singles and live performances of “Blue Cellophane” and “239” for Vevo DSCVR’s ‘Artist to Watch’ 2020 campaign, which he was 1 of 20 emerging artists selected.
Stay tuned for more from BabyJake this year! Follow him on Instagram!
More about BabyJake:
Jake Herring, the artist who records as BabyJake, has a complicated relationship with music. Growing up in Fort Meyers, Florida, Herring first picked up the guitar when he was eight years old. “My dad actually played guitar,” Herring says. “He used to sing in the Navy band and taught me ‘Smoke on the Water’ on guitar, and from there I just picked it up on YouTube and started playing.” Like a lot of other kids his age, Herring’s interest in music happened to coincide with the release and subsequent ubiquitous popularity of the Guitar Hero video game, which emphasized guitar theatrics over quieter playing. “I was listening to AC/DC…you know, all the classic records that you would hear on rock radio. I didn’t even want to be a singer. I just wanted to play guitar.”
Herring, it should be noted, is 6’ 6” and very athletic. By the time he was in high school, he was juggling a deep, somewhat private love of music with genuine enthusiasm for sports and partying with his friends. He didn’t feel like he fit in in any specific social group, and soon felt alienated. “I was just kind of sad,” he says. “I remember always feeling like I wasn’t in the right place.” For solace, Herring turned to his dad’s folk records, favoring the low-key contemplative sounds that resonated with the sense of alienation that he was feeling. “When I was in a mood, when I would feel anger or sadness, I’d go to the guitar,” he says. Though he maybe wasn’t conscious of it at the time, Herring was priming himself to be a sort of musical chameleon. Well versed in the building blocks of rock music, the intimacy of folk, and with an innate understanding of the rap and pop music he grew up around, he was constructing a well of disparate influences to draw from when he eventually made a serious go at a music career, it just took him a second to get there.
First, Herring gave college a try, thinking he’d maybe get a marketing degree while also living it up and partying. About a year in, he realized he didn’t want to be at school, and he was maybe interested in partying a little less, too. “I got depressed again, and I started playing the guitar and writing heavily, and I just fell in love with it again,” he says. He and his friends made “Bright Blue Eyes,” a song he says, “sounded really bad but got a little bit of notoriety on Soundcloud.” That song, along with one other key moment, was enough to convince him that maybe he could try to leave college and make a go at this music thing. “One of my best friends is named Aaron,” he says. “The turning point actually came from him. I was drunk one night and went to his apartment and I was playing guitar and I remember closing my eyes and jamming and then probably 30 minutes later [he was like], ‘You’re pretty good at this. You should try to do something with it.’” Herring brushed him off, but Aaron grabbed the neck of his guitar and said “No seriously. Do something, because you don’t want to be here.”
Herring dropped out of college and started writing songs as often as he could, and after narrowing down his six favorites, he convinced his dad to give him a loan so he could record them in a local Florida studio that gave him a Valentine’s Day discount. Before too long, he had his first official body of work: The Little Mess, which evolved into a multifaceted career that currently involves his own music as “BabyJake,” a record label called daycare with an added merch/streetwear line, and a budding career penning and producing songs with artists like Dillon Francis. Herring and Francis’ collaborations, the club-ready “Touch” and poolside dance gem “You Do You” both have more than five million streams combined to date.
Herring debuted as BabyJake in 2019 with his viral single “Cigarettes on Patios,” which has accumulated over 35 million streams to date. The piano-led anthem is accented by subtle snaps and booming drums that follows a night of party-hopping, but with a slightly dark edge. This theme of partying and coming down, of love and regret, of anger and frustration, is a crucial part of his music. Herring’s perceptiveness is what makes him a good songwriter and is a common theme throughout his music.
Toward the end of 2019, BabyJake was named one of VEVO DSCVR’s Artists To Watch 2020, and now he is preparing to release his debut EP, Don’t give me problems, give me wine, a seven song collection that jumps from exuberant pop to moody sunset-slicked folk, and even includes a psychedelic digression on substance abuse. The EP opens with “Blue Cellophane,” as Herring meditates on loneliness, addiction, and the pitfalls of giving yourself over to another human over a warm guitar stomp that evokes dimly lit blues halls, and a country swing that is present in so much of the music of the ’70s that he loves. Elsewhere, on “MadHappySad,” Herring combines disparate influences—think Kanye circa 808s and Heartbreaks by way of vintage Police—to create a modern, tense reggae inflected breakup jam. While on the bouncy, jangly “Head in the Clouds,” he explores the hidden weight of emotional escape, juxtaposing bright guitarwork against moody lyrics about self-defeat and the pitfalls of depression and avoidance. “Confidant,” (over 3.5 million Spotify streams to date), on the other hand, is about navigating the knotty feeling of bitterness that comes from being jerked around in a relationship. But on the last two songs—the one-two punch of “Bread and Butter” and the choir assisted “Anywhere”—Herring steps away from the party, slows down, draws on the warmth of lush ’70s southern rock, and the moody crawl of the folk music he grew to love to create a mature, horn-drenched suite that feels like the result of an artist older than his years, someone who has lived recklessly and loved hard and is ready to put it all on record.
VIDEO RELEASED for bloody white’s undeniably catchy, lo-fi pop/electronic single “tongue tied.”
In the lead up to his September 9 debut EP release “you’d walk right over me,” bloody white has self directed and edited a series of VHS home videos for each single, with the catchy lo-fi pop electronic song “tongue tied” being the first. Everything about bloody white is DIY, including his entire EP which was self-written, produced, performed, mixed, mastered all on his own.
bloody white is part of the new wave of fearless artists emerging with refreshing and exciting sounds. The 20 year old, self-taught singer/songwriter/producer has been crafting electronic beats since he was 11, from his bedroom.
“With a layered production of frenzied electro-tinged chords and sharp basslines, “Tongue Tied,” centers around the relatable burden of counterproductive decisions. While the chorus – “hey! hi! how’s it go? send a text and let me know,” – is wonderfully catchy and simple, a closer look at the transparent lyricism reveals the loneliness, desperation and self-destructive instincts of humanity in vivid clarity.” -Earmilk
“It was really important to me that my first videos feel real and represent the small town I’m from near Santa Barbara. They had to be true to what I grew up around and look nostalgic, too, and the most honest way I could do that was by recording with my old VHS camera I got when I was 7. My friends and I shot a lot of footage together for more than a year. Small town California is the backdrop for all the videos. I’m calling them VHS home videos because that’s what they are,” says bloody.
“tongue tied” is the first for opportunity for his early and new fans to get an inside look into his world. Since, unlike most 19-year-old’s, he has remained pretty enigmatic on social media – but this is no coincidence, as that’s his thing. bloody white’s mystique is just part of what makes him so fascinating.
Don't Look Down from Superheart, at Akira Records and his same titled ep is a well produced daydreaming anthem with a melody that will keep playing in your mind after it finished and soft dream vocals. What Superheart says about his music and will agree 100% his is a "dreamy underwater anti-gravity flying music".
Picked from The New Masculinity: José Maria Debuts Provocative Visual ‘LQQK’ EP.
After a wildly successful Kickstarter residence and campaign in Fall 2019, recording and performing artist José María is ready to share their LQQK visual EP with the world. The project features six tracks that explore the concept of gender, toxic masculinity, and transformation.
José María: “Each track has its own music video where I progress from James Dean into a non-binary Mondrian,” says José. The LQQK EP takes a deep dive into society’s ideas about masculinity, turning the concept on its head.
José María : “I’ve always loved pop music. For a long time, I was scared to admit what I liked about female-driven pop and why. And then I finally asked myself: why can’t I be a pop princess? Who made the rules for how someone has to write? Think? Act? Why can’t I wear heels with my f***ing Carhart jacket while I lay a pipe? If Joan Jett could subvert and thus empower femmes and feminity, then I sure as hell can claim my sexuality and power by embracing the fullness of my non-binary identity.”
Indeed, the opening track, “EDEN,” opens with the artist sporting a rockabilly pompadour, white T-shirt with rolled-up sleeves, and black jeans – all accentuated with killer stiletto-heeled Pleaser boots. The song opens with a haunting six-part harmony before exploding into an alt rock groove set over a pounding beat.
Later tracks such as “BODY” find José in a colorful bodysuit and makeup, joined by Mãr Galeano and Ashton Muñiz. The catchy R&B-infused pop track muses on life, the future, and the inevitability of change. All of the music for the album was written by José, along with Cesar Gonzalez, Alexander Ronneburg, and Karl Ronneburg. The six part music video series was filmed by the queer femme savants at Proteo Media + Performance.
José María : “The music is earnest and sexy – stuff you shout-sing along to in your mom’s car,” José continues. “Our sound is inspired by the intersection of noise and new music with pop vocals, with SOPHIE, Tristan Perich, Meredith Monk, and Queen as references – I sing from my gut.”
It’s not José’s first foray into the intersection of music and visual art. Born in the Bronx to a working-class, Puerto Rican/Italian American family, José started singing and writing as a small child. They had entered the world of contemporary and postmodern dance at 18 when they were accepted into the NYU Tisch School of the Arts on a full ride MLK Jr. Merit Scholarship. At 21, José created their first “musical painting” that incorporated camera, dance, fashion, music, and performance to tell a universal story – and they’ve never looked back since.
José has showcased their work via YouTube, Radio City Music Hall, La MaMa ETC., NYU Tisch, and The Flea Theater. They have been featured in The Advocate , on Logo NewNowNext, and WNYC/NPR. Recent projects with artists Sam Pinkleton, Ani Taj/Dance Cartel, Meredith Monk, The B52s, YouTube’s Queer Kid Stuff, and some fabulous early covers are available online.
Stream or buy the LQQK visual EP here
Find José María at www.joseishere.com and @joseishere on Instagram.
A wonderful guitar vocal driving track, recorded/mixed with clarity which delivers a great positive outlook. If you could picture the joy of listening this song, would be long fields of grass nearby cliffs and a happy couple, holding hands and dancing smiling all around and around endless.
Few words about Saven:
Having grown up in New York, London and Stockholm, SAVEN is international by nature. This musician, singer, songwriter and record producer found inspiration and is heavily influenced by artists like Nirvana, Portishead, Blur, Lou Reed and Cat Stevens. SAVEN delivers an interesting mix of pop and rock with lyrics that will give you something to think about.
Haze is about the claustrophobic feeling of being trapped and lonely. Its told as a story of a lost astronaut who has wandered off in space and is on the verge of losing all hope. But, anyone swimming in this state of emptiness can relate to the track. Palindroma’s fascination for space led to the production of this dark electronic track with sci-fi inspired vocoders, sound design elements and cinematic strings.
Palindroma is a musical project by Nitin Muralikrishna.
Palindroma’s music is a combination of acoustic, electronic and cinematic sound with Indian influences. The sound of Palindroma was nurtured over a 15-year musical journey and finally took shape as musical productions in 2016 at Berklee College of Music. The fine blend of acoustic and electronic elements is the crux of Palindroma’s sound. The importance is given to every small sonic element that then forms a part of a multi-layered arrangement. Nitin is also an Audio/Music production educator and an Audio engineer.