Some mornings are almost unbearable without the lo-fi hums of certain tunes filling the void between one’s thoughts and misplaced apathy. Brooklyn project dead boy gives me just that with his two available songs (so far). On “im yr dog,” the calming tape aesthetic lingers comfortably, and the production becomes an unquestioned testimony to each element as Richie Woods sings through the perspective of a dog: “I can’t help if I bark, I can’t help with your art / I’m your dog to the end.”
Hundred Waters is a band that surely needs no introduction within our community. Last year, many saw the band during their multiple tours, but toward the end, their Florida roots led them to Miami for the winter to finish recording their sophomore album.
“Down From the Rafters” is said album’s first taste, and my initial impression is that the new track’s sentiments are similar to the softer side of their self-titled debut. The composition explores negative space in sound, and Hundred Waters add a few new elements including an accompanying string arrangement that opens up the song. The rest of the album may be a shroud of mystery, but fortunately, “Down From the Rafters” gives us some sense of what’s to come.
Over the past few decades, no other anime film director has been more influential than Hayao Miyazaki. Everything the visionary has accomplished up to this point still lives up to every ounce of its international acclaim. Last September the renown animator announced his retirement much more seriously than his previous five retirement attempts.
As a homage to the extraordinary collection of works Miyazaki has been a part of, Boston’s Go Yama recently put together a tribute album featuring samples from the scores of some of Miyazaki’s most beloved films. Prior to the album’s completion though, Go Yama had his laptop stolen and the release was delayed in the process. Fortunately, much of the album was recovered from phones and email conversations since then.
Below you’ll find a new cut from the release that visits sounds from Kiki’s Delivery Service. For the release’s full tracklist and pre-order info, keep an eye out on Darker than Wax’s Bandcamp page.
Glimpses From The Spirit Plane: A Tribute To Hayao Miyazaki is out February 28th via Singapore’s Darker than Wax.
This cover may be considered old at this point. In fact, it was released at some point in 2013, so its blog days are surely numbered by now. But upload date aside, I still felt compelled enough to share this because of the captivating original production behind Aaliyah‘s most memorable lyrics to date. It’s also a track that flew under the radar, in addition to Evv‘s previous cover of Outkast‘s “Vibrate.”
To me, covers are inherently meant to feel different from the start, while also bridging their familiarity via the lyrics. Evv accomplishes all of that and more on this track. And even though the artist has yet to release a completely original single on his own, the production behind his two available tracks alone makes him worth keeping up with for future uploads.
Certain producers have a knack for re-imagining rap verses with an entirely different tone of production. Recently, Los Angeles producer Memory Cards uploaded a mix that infuses an awe-inspiring ambient melody behind a few different 2 Chainz verses including the one from B.o.B.‘s “HeadBand.”
Most hip-hop heads I know wouldn’t look twice at this track in order to get their 2 Chainz fix because they know the rapper can throw down a harder verse. Yet the dreamy combination of elements mix together in unexpected ways. The feeling of elevation is accentuated by the Eureka Seven artwork that accompanies the release.
Memory Cards’ upcoming beat tape, Dreamcast Aways Collection, will be out February 14th.
Certain songs seem to carry lost fragments of events and memories from the past, and that feeling immediately becomes uneasy to shake. It’s truly troubling when lingering moments turn out to have bitter stories tied to them, but it’s almost worse when such moments are tough to even trace.
In the case of “Kill Screen,” the new single from Shadow Shadow, it feels like the opening sequence to a movie that you might have walked in on halfway through. You might be fumbling through the dark theater before finding a seat, but once the song settles in, those moments soon become a refreshing reminder to continue carrying each and every fragment in stride.
“Kill Screen” is off of Shadow Shadow’s forthcoming album RIVIERA, out March 4th.
The Tallahassee/Orlando-based duo SALES have made strides with a soft and low-key approach to pop songwriting. Most recently, “Toto” and “Ez” lead pacifying tones over alleviating minimal production. The programmed drum tracks behind the complimentary dose of guitars has always been breathtakingly fitting, and this past weekend I was able to gather a much better sense of the duo’s process as they played, what was communally perceived as, their first ever live show.
Throughout the entire night, I was excited to see how SALES was gearing up to prepare for their set, which SALES’ Jordan Shih hinted wouldn’t be very long, considering most of their songs usually clock in at under three minutes in length. Following a guitar-tuning delay, it was soon clear how well each of their songs would translate into performance. None more so than the duo’s latest single, “Chinese New Year.” The song essentially grasps themes of moving on, as SALES’ Lauren Morgan sings “It’s time for us to make a change, it’s time for our Chinese new year.” The track’s second half also becomes a reminder of the closing seconds of “Renee,” wherein its cycling vocals transcend atop yet another endlessly catchy riff. The new single is streaming below, and you can also head over to the band’s Facebook page for a free download code.
It’s been a little over two years since Beat Culture gave us his first collection of songs known as Tokyo Dreamer, giving him a lot to think about with his new direction of sound. Sunik Kim soon sought after collaborations and his first single since his last release, “Drifter,” featured vocals from Brooklyn’s Psychic Twin.
The seven-inch for the release is officially out today through B3SCI/ Kaya Kaya Records. The track grasps an evoking sentiment that’s carried by the intermittent cadence of the song’s production and the woven vocals from Kid A. If these new songs are truly a sign of things to come, Beat Culture’s next full-length will likely be the complete experience.
Et Aliae has only been publicly sharing tunes for about four months. Among her emoji-artworked tracks, “Like U Do” best blends her seemingly effortless styles. Its trap-reminiscent beat and basketball court screech are an oddly polarizing backdrop to her vowel-shifted vocals. Yet, listening to her other tracks, most notably, “Waiting,” it’s clear that each element is carefully meant to fall into place, and Et Aliae is only just beginning to discover her sound.