Brooklyn drill standout Melvoni joins forces with drill star Dougie B. and fellow Brooklyn standout KALIQ for the release of his new single, “BEAM,” which is now streaming. The fast-paced music video, featuring the trio of artists taking to the streets of their stomping grounds, is also available today.
[Get “BEAM” f/ Dougie B. & KALIQ HERE]
[Watch “BEAM” f/ Dougie B. & KALIQ HERE]
Melvoni’s rise as one of New York City’s most promising young drill artists has seen a steady incline in the last couple of years, owed largely to his ability to create infectious anthems effortlessly, while still retaining the edge and serious lyrical content that characterizes his street appeal. On “BEAM,” this quality of the Brooklyn native shines brightly. Despite the ominous context of the song and its music video, Melvoni—still a teenager—makes you want to dance. Dougie B. and KALIQ complement the star-in-the-making seamlessly, maintaining the song’s fluent bounce despite their unique cadences.
The past two years have been pretty strange for all of us, but particularly so for Dave Brandwein, co-founder of powerfunk band Turkuaz. After 10 steady years of touring as festival mainstays, the band suddenly splintered while on the road with Jerry Harrison and Adrian Belew, marking the 40-year anniversary of the Talking Heads’ classic Remain in Light album. Amidst a pandemic-induced shutdown, the dissolution of his marriage, and a stint in rehab, Brandwein moved from Brooklyn, NY, to Los Angeles, California, to pick up the pieces. He seized the opportunity to assess his past accomplishments with Turkuaz and the uncertain future that lay ahead, a chance to clean out his closet and start fresh.
Setting up a new home studio in his California home, Brandwein has turned to writing and producing for other bands – as he previously did in recording set-ups he had in Boston, Williamsburg, Bushwick and Greenpoint – coming full circle with the completion of the final two Turkuaz albums, Paradiso and Apollyon (both releasing on September 9), and the first releases from two new projects, New Originals and Band For Sale.
“Lovely Day” is the lead single from an upcoming EP, From a Warm Valley, coming out this Fall.
Jackson says, “‘Lovely Day’ is about stepping into the light of life and breathing in a deep breath. I feel like a part of growing up is trying to recenter yourself- trying to relearn how to live. I wrote ‘Lovely Day’ in the spring after a dark winter. I remember feeling the sun shine through the windows of my paper mâché apartment. Life wasn’t great, but I could see it getting better. Every day it gets better.”
Over the past couple of years pizza crunch have established them selves at the heart of on of the countries most vibrant music scene. Glasgows talent pool is currently first rate and pizza crunch have fought to establish them selves as real heavy weights. Gaining praise from the likes of of Steve Lamacq, The Scotsman, Robert Carlisle and more the band have gone on to release 3 singles already this year and ‘Romanticised Past’ is set to be the fouth. Taken from their upcoming EP ‘That Serine Age’ the track has already been performed this summer at headline shows in Manchester and Glasgow as well as packed out festival slots at Stockton Calling and Belladrum Tartan Heart Festival.
Lyricist Ewan Hearns said the following when talking about the song: “I think Romanticised Past was probably the first song on the EP to fully materialise. Nathan sent through the guitar parts and I had the lyrics down pretty quick. I remember sitting in my flat and looking at the photos my girlfriend had on a section of our wall of us and people we barely see anymore. I think as humans we tend to put the past on some pedestal even when the past wasn’t too kind to us. We also recorded this one at home instead of in the studio which allowed for a lot more freedom with the backing vocals and guitar layering.” The track was mixed by Johnathon Hucks (Sigrid, The Rills, Spring King).
After an extended break from music, Scottish songwriter and musician – DAVEY HORNE – steps back into the spotlight with the AA-side single: “Welcome to the Future” and “Diego & Maria”.
STREAM ON ALL SERVICES HERE
Two sublime, seventies-styled pieces, the tracks mark a welcome return for the Fife talent and showcase the full spectrum of his enviable abilities.
Out today (15 August), “Welcome to the Future”, is a southern-rocking runaway train of swampy slide guitars, bluesy barroom pianos, and hammond organs getting the full hammer-and-tongs.
Letting his soaring, rootsy vocal do the talking, “Welcome to the Future” is a song ultimately about escapism; making time to enjoy the now, whilst also maintaining an optimistic outlook for all the promises the future might hold. Wrapping personal admissions in psychedelic obfuscations, it’s as time-warping as it is telling. As Horne explains:
“In life we have our ups and downs and in the last few years I’ve had plenty – at times I definitely was going crazy…. This song is all about trying to take my mind somewhere else. Take the listener and me to a whole other world. I make references to myself in the song but really it is about living life right now and what the future holds. The last lyric ‘the people you love will always come back and grab you when you feel the strain, oh how I want you anyway’. Life can be strenuous but I love being alive.”
The single is backed with the “Diego & Maria”, a tale of two outlaw bounty hunters journeying across the American midwest told with all the drama of a Bob Dylan or Nick Cave narrative, and all the retro groove’n’gusto of Creedence Clearwater Revival or The Allman Brothers at the peak of their powers..
Recorded at Tpot Studios in Perthshire Scotland, both tracks were written by Davey Horne, mastered by Pete Maher (U2, Echo & The Bunnymen) and engineered/mixed by Robin Evans.
Following the success of previous singles ‘Slow Down’ and ‘Ya Bam Bam’, UK prodigy Mr Julz has returned with a slice of heaven in the form of sensual Afrobeat’s single, ‘You Are Mine’ alongside Egar Boi as summer comes to a close.
STREAM/DOWNLOAD: MR JULZ FT EGAR BOI – YOU ARE MINE
Intertwining elements of both Afrobeat’s and Afropop to form this seamless listen, ‘You Are Mine’ encapsulates a sense of freedom that’s perfect for the summer months. Underpinned with a percussive production courtesy of Skimzea Beats and glossed with silk-like melodies, Mr Julz opens the track with an infectious chorus that ultimately sets the tone. Affirming the love in a relationship, the title is as evident as it seems. Calling on Egar Boi for assistance who’s previously written and produced for many heavyweights including Yemi Alade, Ice Prince, Oxlade, and more, Egar Boi has named ‘You Are Mine’ as his Alte cruise tantalizer. Paired with a seductive visualiser, we follow both Mr Julz on stage and a attractive young woman in coloured hue lighting; correlating flawlessly with the feel of the track.
I’m Not A Painter
Preview Date: 8th September, 6 – 8 PM (BST)
Exhibition: 9th September – 8th October, 2022
Gazelli Art House proudly presents I’m Not A Painter, a crucial commentary on the role of emergent technologies and human-AI collaboration within contemporary art-making by Alexander Reben.
Across a mixed media installation of wallpaper and oil painting, the exhibition displays an amalgamation of surreal imagery that feels at once familiar and remote. The latter becomes explicit with the gradual permeation of the uncanny. A feeling of uncertainty surfaces; just what are we observing? Indicative of their making, and certainly applicable to the arts in general, curiosity will often walk hand-in-hand with new frontiers.
The artworks in this exhibition are the direct result of Reben’s experimentations in human-machine
collaborations at the forefront of AI technology. Using a custom neural network combined with a text
generation AI (GPT-3), descriptions of non-existent artworks are generated. The artist then curates from these outputs and inputs the selected artwork descriptions into text-to-image AIs, such as DALL-E-2. The resultant images are presented alongside the AI generated artwork description. Throughout the process, Reben interjects with punctuation tweaks, curatorial choices and, ultimately, selecting the final images, of which one is chosen by the artist, a curator, or collector to be reproduced by an oil-painting artisan. The magnitude of imagery may be breathtaking, evidencing the breadth of outputs for which AI is capable, but what this exhibition truly engages are those fundamental ideas surrounding the creative process. Authorship, control, authenticity, communication, enthusiasm: where do these definitions sit within this brave new world of AI technologies?
“It’s Been Years” is a lively song about reflecting on a past version of one’s-self, as if peering through a window in time and reliving moments from a previous life. Some of these memories are ones that we may not be proud of, during times when we resisted the pressures of society and its expectations to exist in a sort of limbo between adolescence and adulthood, but they are a part of us nonetheless.
⚡ OUT NOW across all streaming platforms:
Born from a period when our lives were lived on the stages of pubs and in the back rooms of bars, “It’s Been Years” is a track that has existed only as part of our live show for so long. Often played near the end of the night, when inhibitions were lifted and memories were hazy, it speaks to the feeling that although we were on a different path than many of those around us during those times, we were never in it alone.
Creating Live Again with producers Carlin Nicholson and Mike O’Brien from Zeus, we craved the more organic and analog side of recording and approached this collection of songs from a live performance perspective first. Ironically, just as we were wrapping up the recording process, COVID hit, which forced us to pursue a less live and more online musician experience. Two years later, the album title now has added meaning.
⚡ OUT NOW across all streaming platforms:
We hope you’ll enjoy its 70s AM rock n roll vibe.
Ahead of a fresh run of UK and Ireland shows this Autumn – ANNIE KEATING – reveals a surprise new single: “Sunshine Parade”.
Released today (15th August), the track is a taster of a brand new EP from the NYC singer-songwriter, ‘Twenty 22 Tour EP’, which will be exclusively available at her upcoming shows. See the full list of dates below where you can catch a show and pick up a copy.
With its blazing Keith Richards-inspired guitar licks and vaporising lyrics capable of blistering even the most hydrated of tongues, “Sunshine Parade” is the tarmac-melting new release from Annie Keating.
Born in the daze of the New York heatwave in the summer of ‘21, “Sunshine Parade” came together as Keating found herself dreaming of escaping the city’s almost claustrophobic temperatures. As Mercury relentlessly rose, she began to play around with some phrases that were hounding her thoughts in the heat.
“It was hot enough to fry an egg on the pavement” remembers Annie. “When I was walking my dog in the thick August heat, I wanted to take myself someplace else with my imagination, to have some fun with words”
Inspired by a phrase inherited from her mother to not “let it rain on your parade”, the single offers a tongue-in-cheek inversion of that old adage, as Keating purrs: “There’s no rain on this parade / yeah not today babe not today / You can lie down in the shade but sunshine’s what I really crave / There’ll be no rain now on this Sunshine Parade”.
Bankroll Freddie represents the best of what southern rap has to offer. Born and raised in Helena, Arkansas, the work he put in honing his talents behind the scenes paid off in a major way when he was discovered by Quality Control’s Pierre “P” Thomas. After hearing a freestyle on Instagram, “P” flew Bankroll out to Los Angeles and he was quickly signed by QC. In 2019, Bankroll formally introduced himself to the game and made waves throughout the industry with the hard-hitting track “Drip Like Dis,” calling on his newfound labelmate Lil Baby and Memphis-heavyweight Young Dolph to feature on the track. The single blazed a path for the 2020 release of Bankroll’s debut project, From Trap To Rap, which boasts additional features from Lil Yachty, Moneybagg Yo and Tay Keith, among others. Never one to take a day off, in May 2020 during the COVID-19 pandemic, Bankroll released “Quarantine Flow,” a rapid-fire track that put his lyrical prowess on showcase. In 2021, he made a major move in signing to Motown Records (in addition to QC) and released his debut album Big Bank with lead single “Pop It” [feat. Megan Thee Stallion] and standout tracks featuring Gucci Mane, 2 Chainz, Young Scooter, and PnB Rock. As part of QC’s newest class of rappers, Bankroll Freddie is destined for the spotlight. He continues to take over the streets with his latest mixtape, From Trap To Rap 2, which boasts breakout singles “Patience” [feat. Lil Baby] and “Pickin’ Sides” [feat. Icewear Vezzo].
AJA (Aja Neinstein) reveals her standout new single ‘Bad Game Of Telephone’
A wash of undeniable vocal talent and headstrong songwriting, the rising artist’s latest offering is a powerful new cut.
After a hugely challenging final two years of high school, AJA has found catharsis in her song writing. Bad Game Of Telephone is an empowering response to being victimized during her time at an all girls school. Now able to move on with her head held high, this new chapter of releases is going to ensure AJA comes out on top. AJA shared: My last 2 years of high school have been horrible. The next bunch of songs are really like my personal diary and have actually been my form of therapy. I hope that other people who have gone through similar experiences will relate and feel the weight lift off their shoulders too’
Bad Game of Telephone is the third single AJA has released this year and follows on from her stunning release ‘Fireflies’ which, born from a dark place, came as a reminder to keep looking forward. Clash Magazine coined it a ‘gorgeous ballad’.
AJA kicked off 2022 with ‘Love At First Song’ back in March. Written as a testament to her love of music, the knock-out single was a certified bop, scooping support from the likes of DORK and Ones To Watch, amassing hundreds of thousands of streams.
Despite only just turning 18-year-old, the Toronto born and bred artist has already made an impact with both music fans and critics. In the short time since she launched, her songwriting has evolved into a strong and inspiring language that is complimented by a vocal prowess way beyond her years.
Highlights so far include being coined the iHeartRadio Future Star for her smash single “Red Button,” plus bagging support from array of press outlets including The Line of Best Fit, SPIN, Billboard, LADYGUNN, American Songwriter, Complex, Wonderland, Dork and Flaunt.
Like three complementary threads being woven through an ornate tapestry, “Mothering” sees Arliston gently blend together delicate vocals, glistening guitars and textured piano taps to create a track that feels just as clean as it does complex.
Sophisticated and self-assured in both its lyrics and production — and written, produced and played by the band themselves — the new cut sees gentle instrumentation ebbing and flowing as silky vocals balance moments of vulnerability and introspection with quieter, more reserved assertions.
Speaking of the shiny new track, guitarist George Hasbury explains:
“I”m so happy with how this one came together. We always try to keep a lid on the productions, it’s too easy nowadays to use all the toys on every song, but with Mothering I think we’ve managed to get a real sense of groove and momentum into such a small arrangement.”
With rhythmic choruses that feel catchy without ever straying from the track’s ambient aura, vocalist Jack Ratcliffe adds:
“This one grabbed us the moment we started writing it and hasn’t really let go since. There’s something about how it all fits together that is deeply satisfying. It was the first song we wrote after ‘The Ground Might Disappear’ and once we had the sound and feel of the first take down we knew we had to build an EP around it.”
Unfolding like a carefully textured soundtrack for those much-needed moments of quiet contemplation, “Mothering” is the first single from ‘Even In The Shade’, Arliston’s second EP of 2022. Far from putting on the breaks, the new release keeps up the glistening momentum built on earlier EP ‘The Ground Might Disappear’ and sees the band establish themselves further as an assured new voice in indie-pop
With intricate production and tight musicianship seeing the band expertly toe the line between optimism and melancholia, Arliston have amassed over 38,000 monthly listeners on Spotify and gained placement on a number of the streaming giant’s editorial playlists including New Music Friday and The Most Beautiful Songs In The World. Well and truly embedding themselves in the indie music scene, Arliston have also gained praise from the likes of Wonderland, Earmilk and CLOUT with the latter saying “Arliston have star quality written all over them”. Elsewhere, Clash Magazine have lauded the band’s music as “beguiling experimental pop”, with The 405 applauding their “swirling ambient sensitivity.”
Mixed and mastered by Brett Shaw at 123 Studios, the ‘Even In The Shade’ EP is set to arrive this November as Arliston’s signature sound further earmarks the band as dreamy and diaphanous ones to watch.
Known for her intricate synth work and guitar-driven production, Chelsea Lester has carved a unique space for herself at the intersection of dance, indie, and pop music as Nyxen. Having an exploding career since she first emerged on the scene in 2015, she has graced some of the brightest festival stages, sold out her own headline shows, and supported the likes of Crooked Colours and Golden Features. Nyxen has used her revolutionary sound to amass millions of streams and garner a dedicated following, solidifying herself as one of Australia’s most revered multi-instrumentalists in the process.
Weaving deep, emotive electronic foundations with indie sensibilities and universally relatable lyrics, PXNK is a testament to the years Nyxen spent refining her sound. A cohesive collection strung together through angst and melancholy, the album displays her range of talents, with tracks like ‘The Search’ and ‘Synthetic’ highlighting her vocal abilities while instrumental cuts like ‘Oceanview’ and ‘Lightyears’ show off keen ear for production.
The 11-track project emphasizes emotional lyricism and dynamic production while incorporating Nyxen’s affliction for a retro aesthetic. Including early staples from her catalog like ‘Tunnels’ and ‘Nightmare’ in tandem with new hits like ‘Silence In Motion’ and ‘Fantasies’, PXNK is the soundtrack of Nyxen’s career thus far. Through layers of fuzzy guitar riffs and ethereal vocal effects, PXNK leaves its mark on her listeners with each and every track.
PXNK is the culmination of Nyxen’s musical influences, both past and present, married harmoniously to tell the story of her sonic evolution.
Rising psychedelic-funk multi-instrumentalist Kainalu announces his sophomore LP today, Ginseng Hourglass, due out November 4. Along with the announcement is a brand new, retro-futuristic, tarot-inspired single, “Queen of Wands,” out everywhere now.
Trent Prall is the writer, producer, engineer and singer behind Kainalu, a word that roughly translates to “ocean waves” in Hawaiian. Raised Buddhist in the Midwest, Kainalu’s roots lay in his Japanese-Hawaiian heritage and inform both his writing and sound. Since 2017, the multi-instrumentalist has been blending psychedelic funk, synthy beats, and distorted vocals with vulnerable lyricism to immerse listeners in a kaleidoscopic, expansive daydream. The musician’s 2019 debut album has garnered millions of streams on Spotify, and in March, Kainalu shared a live EP through Audiotree. Watch it in full here. Most recently, Kainalu supported (and is the touring bassist of) Joe Keery‘s (Stranger Things) musical project Djo at Chicago’s Bottom Lounge. Kainalu carves his own intricate medley of his influences and upbringing creating a modern, spacious sound unlike any other.
Formally known as ‘The Free’, Toronto based Eeshii The Free releases his Afro-fusion summer single “My Chargie Got Charges”.
Funky basslines and syncopated percussion lay the foundation for Eeshii’s smooth and sultry vocal tones. In an impeccably graded video surrounded by beautiful women, we see Eeshii subtly perform to the camera as the women take centre stage.
Speaking on the track, Eeshii The Free says: “My Chargie Got Charges” is a groovy new age Afro-Fusion sound dedicated to women that refuse to live under society’s norms and miss out on the freedom that comes with not belonging. It’s a true new-age female anthem.”
Born Hisham Abunuea, Eeshii The Free is an indie Sudanese immigrant now based in Toronto. Initiating an eclectic spectrum of Afro Fusion melodies that intertwine with influences from reggae and Hip-Hop, Eeshii The Free has built a name for himself through his introspective lyrics encapsulating his journey as an African Immigrant in the West. Being exposed to a number of different cultures growing up, the artist’s worldly views continue to translate into his unique musical style.
Florence Arman (UK) today launches the official video for her incredibly honest yet emotional, self-reflective alt-pop single “Stupid Heart.” Heart-on-the-sleeve to its very core and playful lyrics now has an incredibly funny video.
Give the song a play immediately;
And playlisting can be done – here
Speaking about the song, Florence said “Stupid Heart’ is the first song I wrote about family stuff. Being the youngest in my family I think I’ve inherited a bit of baggage, which is normal I think and totally fine, but then again I still want to be able to write very dramatic songs about it.”
Florence’s debut EP ”Out Of The Blue” out last year was supported on BBC Radio 1, The Line of Best Fit, Clash, COLORS, and Dork Magazine. She has since begun touring extensively in 2022 including pitstops at The Great Escape, Eurosonic, and more recently at Mad Coo. She also toured with Dadi Freyr. She is also confirmed for Reeperbahn and Lollapalooza, both in Germany. Florence will also support indie superstars Milky Chance on their European tour dates in October. All upcoming dates are listed below;
Sept 25 – Lollapalooza (Berlin)
Oct 7 – Les Docks – Lausanne, Switzerland *
Born in the buckle of the Bible Belt — Mobile, Alabama native OMB Peezy has had his fair share of hardships. However, rather than fall victim to faux parables, OMB Peezy created his own lane to hip-hop stardom by talking about the only thing that matters—the truth. Yet, like any great prophet, Peezy used these struggles to guide him. When he was 12, his mother picked up and moved their life across the country to Sacramento, California. Instead of hiding his pain, he stayed connected to his Alabama roots and let the trauma fuel his music. In fact, it was that traumatic move and introspective approach to his music that would lead him to catch the attention of one of hip-hop’s legends, E-40, and ink his first record deal. When asked what led to his initial connection with E-40, Peezy highlights that it was his ability to dig deep into himself lyrically so that his rhymes humanize those who think like him. “He liked how I was telling my story. How I was narrating my life,” Peezy said in regard to E-40. “Anyone can talk about killing. He liked that I would talk about what led me to do those bad things.”
American singer-songwriter and actress Alison Sudol will release her autobiographical and intimate new album, ‘Still Come The Night’, on September 30th via Kartel Music Group. Pre-Order ‘Still Come The Night’ Here.
There are songwriters who write constantly, plucking at their guitars in every spare moment, turning every overheard conversation, experience, thought and feeling into songs as a daily practice. Then there are the songwriters who wait until something seismic and life-changing happens, before disappearing to inject their entire soul into their work. The America-born, London-based singer-songwriter, musician, actress and video director Alison Sudol is from the latter camp. This was especially the case with Alison’s exquisite new album ‘Still Come the Night’.
On Valentine’s Day 2020, Alison found out that she was pregnant. Five weeks later, she was jamming as much toilet paper, canned goods and prenatal vitamins as she could fit into a rental car, leaving just enough room for her partner and their dog. Filming on Fantastic Beasts had been indefinitely suspended, the tour with Goldfrapp that was meant to start in a matter of days postponed, and for some reason she couldn’t taste or smell anything. The mood in London was strange, tense. No one knew how long this thing would last, or what the risks were if you were pregnant. Friends with a farm had told them to come stay. There was a cottage there for them. There wasn’t any wifi, but there was fresh air, a fireplace. They could stay as long as they liked.
They stopped to get more supplies on the way. The giant Tesco shelves were empty, bewildered people roaming the aisles at 8pm trying to work out what they could live on for the foreseeable, the energy apocalyptic. But they arrived to calm, quiet, stars at the farm. Soon after, London went into lockdown. Days later, they lost the baby. “I have always struggled with processing big emotions,” says Alison. “I have met grief with resistance at best, pushing down feelings, cutting the pain off as much as I could. But this I couldn’t fight. It was too big, too physical, too overwhelming. It was a tidal wave and it demanded that I feel it. There was nowhere to hide”.
The days, weeks and months that followed are chronicled in songs from Alison’s fourth full-length album, ‘Still Come the Night’. “I needed to do something with all the grief pouring out or I would drown in it. Needed to name it, to give it a shape to hold onto. I found a little shitty guitar that belonged to my friends’ son and started writing”.
acclaimed blues, roots-rock, and country revival trio GA-20 are thrilled to release “Dry Run” which premiered earlier this week via Bluegrass Situation. “Dry Run follows the release of “Easy on the Eyes” from the band’s third studio album Crackdown, due out September 9 via Karma Chief Records / Colemine Records. In their new collection of songs, GA-20 channel a throwback blues sound with a facelift fit for modern day ears — complete with gritty and melodic tunes that the jukeboxes of 2022 will most certainly be spinning.
“‘Dry Run’ is a “tear in my beer” country blues story of being strung along and ghosted by a girl that Pat was sweet on. When he eventually ran into her a while later and figured it all out.” Pat says he wrote the melody in his head on the drive home, feeling like a sucker. “This girl I thought was really into me was just practicing her flirting,” he tells audiences, and they always laugh and nod. We had all been listening to a lot of country tunes at the time and that Jimmy Reed and Lazy Lester influence slipped in.”