Earlier this summer, Bobbie Allen aka Young Summer shared the first single (“Alright“) off her upcoming EP, and now the DC artist has revealed the third threnody from the record. The cut, called “Fallout” is another gorgeous pop ballad, with lush synth textures infused with Allen’s signature sensibility. There’s also a sublime interlude around 2:35 that is worth the listen alone. Considering that Aqualung — an acclaimed pop artist turned producer of the early aughts — co-penned some of the tracks, we’re not at all surprised that this EP is shaping up to be one of the best pop collections of the year.
Brace your ears for the “Fallout” below. And if you’re looking to catch Young Summer live, she’ll be playing at NYC’s Mercury Lounge August 31.
Roughly every other weekend, we deliver a RMX Roundup of the freshest mixes and electronic beats on the blogosphere. To kick off this installment, we have London outfit Eat More Cake‘s new track “I See You.” Featuring vocalist Claire Row, this deep house number is one for the club with its contagious steel drums and buoyant bassline. You can find a free download for your end-of-summer playlist over on Soundcloud.
Next is a relatively unknown British DJ / producer based out of Barcelona who goes by the handle Henotik. Following a favorable reception with a release through Einmusika Recordings, Henotik has opted to self-release his new track “A Thousand Questions.” And an impressive self-debut it is with its melodic beat, driving sound and warbling synths all guided by an entrancing vocal. We have a thousand more questions for Henotik, and have a feeling we’ll be hearing a lot more from the house producer in the future.
Last but not least, we have the new remix from red hot Canadian producer CRi. Not only did he have a stellar original work that was featured on our last RMX Roundup, now he’s chosen to do a retake of “Noise Above Our Heads,” arguably our favorite track off James Blake‘s latest LP, The Colour in Anything. Although we’ve not been shy about our love for this album — and feel its perfect in its own right — Montreal’s CRi certainly gives the original a shot of adrenaline, revving up the bass and allowing Blake’s haunting vocals to hang delicately in the balance. Stream below and grab a complimentary DL on CRi’s Soundcloud.
Nascent German artist NOVAA has been busy recently, releasing three singles in a matter of months. The third single, “Sex,” is clearly designed to get your attention and will be featured on her upcoming EP, Stolen Peaches. And with early comparisons to Tei Shi, Bjork, and Grimes, it’s no wonder we’re digging the singer’s otherworldly vocals and supernatural synths.
Originally the EP, due out in October was meant to be called Peaches, but the story goes that while NOVAA was working on the record, her car was broken into and her laptop full of material for the album was stolen. Despite the setback, NOVAA decided to reconstruct the remnants of these ideas — begetting the new title Stolen Peaches and her own her genre she’s designated ‘Organic Electronic.’ See for yourself below.
Graveyard Club came together over a mutual appreciation of stories by sci-fi author Ray Bradbury, the music of Ryan Gosling’s project Dead Man’s Bones, and a shared love of 50’s and 80’s pop. The Minneapolis-based band was resurrected in 2013 by founding members Matthew Schufman (vocals, synths) and Michael Wojtalewicz (guitar), and eventually grew into a quartet with the addition of Cory Jacobs (drums) and Amanda Zimmerman (bass, vocals). Together they create a retro blend of Goth-romantic new wave and synthpop noir, inspired by the musical stylings of The Cure and New Order.
Eschewing personal narrative in favor of more overarching thematic pursuits, Graveyard Club cover a range of subjects on their new LP Cellar Door, including nostalgia, love and yes, death. The record’s title track, a gorgeous and melodious dirge is a testimony to this with its swirling, haunting synths and bittersweet lyrics. Over an elegiac soundscape Schufman croons, ‘Close your eyes and count to ten, I’m going to start to love again,’ suggesting a sense of hope in the face of past disappointments. Stream below and support the group by following them on Spotify.
We have a new installment of The Coverup for you today, a segment in which we feature a fresh take on a classic. This week, we wanted to showcase a modern recast of a jazz standard — Amy Syed‘s reworking of Billie Holiday‘s “You Go To My Head.” The ethereal cover, which also serves as the introduction to the unsigned singer-songwriter, is the first recording with musical collaborators Ali Thynne (MNEK) (drums) and Peter Lee (keys) — which will be included on the London trio’s forthcoming EP.
Maintaining the jazzy undertones of the original, Syed reimagines the song as a haunting blend of trip-hop and electronica. Speaking on the song selection, Syed says: “I heard the original of ‘You Go To My Head’ a few years ago, and it always stayed with me as some of the most beautiful lyrics I had ever heard. We wanted to see what would happen if we stripped away all the original music from an old classic, and rewrote the harmony and production from scratch.”
As a professionally trained jazz singer and backing vocalist, Syed also has experience supporting established acts such as Florence Welch and Bat For Lashes in the studio. And with influences ranging from Frank Sinatra and Ella Fitzgerald to Robyn and Daft Punk, it will be interesting to see what kind of original works she and her bandmates come up with for the EP. While you wait for its release, let this cover cast a spell on your ears as you listen below.
Like many singer-songwriters before her, the beginnings of Pearla‘s musical career blossomed as a youth with innate talent upon discovering the likes of Bob Dylan and Joni Mitchell. The now NYC-based artist, aka Nicole Rodriguez has been writing music ever since, and is about to release her first official single under the pseudonym Pearla that will be a part of her forthcoming EP. With other worthy influences ranging from Alanis Morissette, to Conor Oberst and Laura Marling, Pearla puts her own artistic flair and unique voice on the uplifting debut, “Waking Up.” Listen below.
Wow. Or is it whoa? Either way, that will be the general sentiment when you hear the new single from WILLS, the handle of Bronx-bred artist William Johnson. WILLS delivers the freshness and originality on “Woes vs. Whoas,” an explosive track that fuses trip hop with rap, future soul–and a myriad of experimental sounds such as breakbeats, wind instruments, and deep bass.
As a composer, producer and sound designer, the now Minnesota-based artist has produced multimedia performance art for spaces such as New York’s the Apollo Theater and the Brooklyn Academy of Music; scored works for HBO; and contributed to a range of musical projects including Flume‘s recent LP Skin. WILLS’ work is also inspired by his father, Bruce Johnson, a musician who released avant-garde recordings with Strata-East Records in the ’70s. Given his unique background, it’s no surprise that those variegated influences should be expressed on his own oeuvre.
“Woes vs. Whoas” will be out on WILLS’ self-titled debut EP this September via IAMSOUND. And with edgy efforts like this, we have a feeling it won’t be long before the world takes notice of his ascending star.
We’ve received a number of standout electronic submissions lately, so today we’ve got a supersized edition of RMX Roundup — a segment in which we bring you the freshest mixes and/or electronic numbers on the blogosphere. First up is the debut track from a mysterious London-based producer who goes by the name Lully. His first single, “Slow D’s” is an enterprising, sensuous number showcasing pitch-shifted vocals, a stuttering beat and some hi-hat sorcery. Although next to nothing is known about the artist, the track comes replete with a poem, which you can check out over on the Noisey premiere.
Next is a new single from the Canadian electronic artist known as CRi, featuring vocals from Ouri & Odile M. “Why I Love You” is taken from CRi’s recent EP, Tell Her on TOKiMONSTA‘s label Young Art Records. Brightly layered synths, a euphoric soundscape and an excellent build make this your better than average house track.
The first step to making an ace remix is choosing top-notch original material, and Brooklyn electro-pop duo Glassio did just that with the selection of Goldwash‘s aptly titled track “Need To Hear.” While the original is an excellent piece of “existential funk,” Glassio’s rendition combines disco influences and atmospheric synthesizers to create an intricately layered piece de resistance, designed for a day-at-the-pool or rooftop soirée.
Next is a straight-up dance cut from LA producer/performer Speaker of the House. Instrumentally, it’s not overly complex but the energy and warm, kaleidoscopic synths render this house beat infectious AF. Listen below.
And finally, we beseech you to get familiar with Bewilderbeast, a bedroom electronic outfit started by South London’s Gus BC. This August via Color Station they reissued their 2013 LP Unreal_Estate, on which a number of inventive electronic compositions can be found—including but not limited to “Swimming II.” Again, this is another one for your summer playlist so get on it.
After a six-year hiatus, the critically-acclaimed bossa nova cover band, Nouvelle Vague is returning this fall with an anniversary album and brand new material. The project of French producers Marc Collin and Olivier Libaux, ‘Nouvelle Vague’ refers simultaneously to the French New Wave cinema movement of the 1960s, to the new wave music movement of the ’70s and ’80s, and to bossa nova (Portuguese for ‘new wave’), naturally.
Co-opting classics from the punk and post-punk cannon and reinterpreting them through a Brazilian bossa nova lens, the Parisian outfit is now set to release a four-song EP entitled Athol Brose September 2 on Kwaidan Records / !K7. The title track is a reinterpretation of the Cocteau Twins‘ song of the same name, featuring the smoky vocals of Liset Alea. The EP will be followed by the as-yet untitled commemorative LP, which will feature original compositions by Collin and Libeaux for the first time.
Stream the luscious new cover via Spotify below. If you’re excited as we are, you can also peep the EP tracklisting and check out the choice remix of classic cover “In A Manner Of Speaking” (Tuxedomoon) by German producer Freiboitar.
1. “Athol-Brose” featuring Liset Alea (Cocteau Twins cover)
2. “La Pluie et Le Beau Temps” (composed by Olivier Libaux)
3. “Love Will Tear Us Apart”
(Dream Koala Remix of Nouvelle Vague, Joy Division cover)
4. “Ever Fallen In Love” (Unlocked Destination) (Buzzcocks cover)
Bat and Ball make a bold entrance on their new single, “Cruel Cats,” an intriguing left-of-centre pop song that commands attention through crashing synths and syncopated drum beats. The brainchild of brother-sister duo Abi and Chris Sinclair, along with Harri Chambers, Bat and Ball formed in 2013 when the trio were studying music at Goldsmiths College in London. They’ve been steadily building their repertoire through live appearances and the release of an EP, and now they’re getting ready to deliver their debut album this fall. While recording the album, the trio recruited Ted Garfath Gibelin to join Chris on guitar duties–and drummer Ben Penfold to abet Chambers on keys. The album will purportedly explore the modern propensity for anxiety, and the distance between our flawed selves and the people we wish we could be. That tension is reflected in their singular musical style, Abi’s vocal prowess, and lyrically through their unconventional poeticism.
Check out the crafty “Cruel Cats” below. Bat and Ball’s forthcoming LP is slated to release October 2016 via Hush Tongue Records and The state51 Conspiracy.