The tenderness in Yohuna‘s new single “Apart” lends an immediate comfort to everything the singer/songwriter has built from in her past releases. The timetable between the few releases has definitely kept many yearning for more tunes, and while Yohuna has been seen performing several unreleased songs in her live set, she hasn’t had an official release outside of 2011′s Revery. Of course, that release was very important in my introduction to the ever-growing community known as FMLY. But other than the couple tracks included within the Clubhouse Split with Emily Reo, MoonLasso, and Brown Bread, Johanne Swanson has been mostly behind the scenes working on new material. Fortunately, her new track—originally released on a zine compilation tape from The Le Sigh—is an indication that another release from the Eau Claire native is imminent in 2014.
Seven releases in, and so far record label PC Music seems like the London equivalent to AMDISCS. Except on this end, PC Music has the heavier pop emphasis of the two. At least, that is one of the label’s foreground ambitions, and the latest single from Hannah Diamond is a great introduction to PC Music’s catalog.
Of course, they also offer plenty of house cuts to tie in the rest of the UK community. The combination is a similar blend to the kind of things AMDISCS became widely known for. The artwork even shares the same uncanny internet feel. One of the few things that breaks the connection is the clean vocals on Hannah Diamond’s “Pink and Blue.” What might not be clear on the first listen is how well the track’s production actually suits the vocals. Just before the two minute mark is when the production really settles in within the song and the hook that opens with “Hey why don’t you hit me up” just might be the best moment throughout the entire single.
Prior to the past few months, Abhi & Dijon was a project put on pause for the summer. The two had released a few early demos before officially dropping their debut single “Horses” out of an Ellicott City basement in Maryland. Up to this point, there has been a steady underground appreciation for the project, with YouTube channel Majestic even posting the demo “work.pool.bed.”
Since then, the project has seen its fair share of dedication through a growing list of demos. Both Dijon Duenas and Abhi Raju have continued to hone their songwriting skills each step of the way. It’s clear when listening for the first time where they draw their influences from: D’angelo and Jai Paul, among many others. Abhi & Dijon’s newest material even highlights their refocused approach towards songwriting but is still mostly centered around themes of romantic angst. The two have been holding onto “They” for a while, but now with the final touches and mastering of Warren Hildebrand, it’s finally ready to see the light of day. Listen to the new single below.
Continuing to embrace ambient scores, Ricky Eat Acid fleshes out the concept of loss throughout his upcoming album, titled Three Love Songs. On NFOP, Sam Ray explains how the loose narrative came together and later singles out “Inside your house; it will swallow us too” as one of the three shifts the album takes its listener through. There are a lot of feelings bottled up in each of Three Love Song’s currently available tracks, and the latest doesn’t lose sight of the themes already in place. After all, each song is meant to stand on its own, just as each score has its own accompanying scene.
Three Love Songs will be released on January 21st via Orchid Tapes.
Posthoumous Release foreshadowed the end of Coma Cinema as a project, but it would not be Matthew (Lee) Cothran‘s final release as a musician. Towards the end of Coma Cinema’s run, Cothran formed a new project called Elvis Depressedly, drawing from the same themes as his original project. The recording aesthetics have always been the same, yet the production continued to grow stronger within short compositions built around tighter riffs.
Recently, Cothran uploaded a four-track EP under his full name, but the collection feels more like an epilogue to Coma Cinema than anything else. For starters, the album cover is likely from the same photo album chosen for Stoned Alone‘s artwork. More notably, the whole concept for failure was co-written with Justin Blackburn, who was previously involved in the title-track to Coma Cinema’s final release.
Listen to “failure,” the title-track from Cothran’s new EP below:
SALES‘ first single “renee” has garnered a lot of attention since its release this past summer. Soon after it was out, Felix Cartal even included the track on a Diplo & Friends mix for BBC Radio 1. Since then, they’ve uploaded a few new tracks to give us more of the soft presence that originally pulled us in. The minimal production continues to remind us that this bright Orlando duo has plenty to contribute. They’re currently working on more material following the release of their first single, but for now, listen to “ez” for another glimpse into their charming aesthetic.
Spend any amount of time on SoundCloud and you’ll know Aaliyah remixes come and go by the minute. Clicking play will always be a tempting decision and as soon as I heard Ale$ had an Aaliyah remix, I knew every second would be well worth it. After all, Ale$ (Alex Song) is the same young producer that released “White Leaf” a month ago and “Wishes” several days later. This mix also really comes into its own with the Timbaland intro as an inverted element to the original. It’s as if Ale$’s new production were how it was originally meant to sound.
Last we heard from Ricky Eat Acid, Sam Ray dispelled his latest house ambitions with “In my dreams we’re almost touching.” The song is featured along Three Love Songs‘ mostly ambient nature, but the rest of the album won’t be available until its January 21st release via Orchid Tapes. Fortunately, Ray has several other projects to tie us over until then and, most recently, a brand new non-album track further showcasing the producer’s growing ambient presence as a composer.
My growing appreciation for beat music really took off this past summer. The Fogpak #6 compilation was likely my proper introduction to an endless network of beat music, but the real obsession began several months later when I started hoarding SoundCloud tabs every night during the summer. Axion 117‘s page was one of many tabs I kept open. I refreshed one night to find a collaboration track with Axion 117, joining Go Yama and Doc Mastermind on the brilliant “朝” (japanese for “morning”). Later I learned that it was Go Yama on the jazz guitar at the end of the song. From the Ghibli sample flips to the Aaliyah remixes, I couldn’t decide what I liked most about this producer, but it’s been every bit as exciting each time a new song of his shows up on my feed.
Most recently, “Glimpse From All Angles” highlighted the compositional production Go Yama is capable of, and there really aren’t too many tracks as tightly organized as this one. While the producer continues to draw inspiration through remixes and much more collaborative work, I anticipate Go Yama’s next beat tape even more after hearing this new song.