Colorful and melodramatic, Brooklyn’s own Unknown Caller returns with “Sayonara.” Inspired by the new wave cadences of the 80s, and intellectual conversations made across Taipei, Seoul, Kyoto, and Tokyo, “Sayonara” is a melting pot of unique influences. Stitched together with a demanding melodrama, this tapestry of sounds is both familiar and far out. A careful algorithm of isolated, digital chimes work together to create a single framework of vibrant emotions. At the apex of bedroom pop, Unknown Caller’s vocals are distant, sequestered, yet distinctly encompassing. With a DNA of whispering theatrics, subtle vigor, and undeniable glamour, “Sayonara” is a charming venture of resonance. Paralleled with artwork from Taiwanese visual artist, Air Geometry, the single is an artistically sound conception. Tune in.
Australian label Mammal Sounds Records is on an upward trajectory of noteworthy success. Despite only having a few releases under their belt, each track is an epic unveiling of brilliant sounds and musical ideas. Their freshest release is a curtain call for the Australian jack of all trades, Abraham Tilbury. “Ocean” boasts a feature from Melbourne rapper Diemne- a fantastic collaboration that gives rise to a new age of hip-hop. While electronic music and hip-hop are often seen as polar genres, their diverging cadences are inherently dependent on each other. Like and yin and yang, Abraham Tilbury and Diemne combine Lo-Fi, electronic production with sultry verses and shadowy vocals. Smokey and riddled with an acute swagger, “Ocean” is a testament to the future of hip-hop. Slacken your senses and get deep with this easy joint- you’d be a lot cooler if you did. Listen on your favorite streaming platform here.
“Diemne, Jacob & myself had written a few songs together in the past, and this session ended up being one of those moments where our different talents just seemed to work together perfectly well, in this kind of seamless integration.” -Abraham Tilbury
July 6, 2018 marks the rise of a fresh new UK-based label, Absent Mind Records. The label’s debut release casts the Australian LUNA MAY, a striking flower child with a noticeably spooky aura. “Silly Boys” is a feminine anthem pollinated with strength and ease. LUNA’s female prowess dominates a smoked out beat that builds avenues of slackened sentiments and ancient philosophies. Confidently stitched together by the shaky hand of feminism, her temptation is palpable in “Silly Boys,” giving rise to a genderless sort of resilience. Lo-fi and bedroom ready, “Silly Boys” is succulent, drifting and lush, yet defined by moments of grit and backbone. A myriad of musical arsenals collide to create a sonic ebb and flow of emotions and allure. Righteously witchy, LUNA MAY is setting the standard for Absent Mind Records, watch this space for more from the UK label.
Good morning kids! It's been a delightful holiday here in the US - celebrating the birth of our nation. Now that the weekend is upon us, we American's are in full party mode ... lighting up our BBQs, drinking cheap beer, and looking for that one track to get the dance party started! I got one riiiight here with our next premiere - "Too Cool To Dance ft. ONIVA" by Swedish producers Tobtok & Ghassemi. Tobtok has been one of our besties for a minute, and with this new track he brings all that delicious dance pop flavor that delights our senses and makes that booty shake. With bouncy summer time beats and refreshing vocals, this one lets us know summer is in full force! You can catch Tobtok at a number of upcoming dates this summer listed below!
JULY 12 - Output -- New York
JULY 15 - The Standard -- Los Angeles
JULY 29 - Ushuaia -- Ibiza
AUG 03 - Love & Propaganda -- San Francisco
AUG 04 - No Vacency -- Portland
AUG 24 - Dalston Roof Park -- London
Master of vintage vibes and soulful swag, the one and only Tim Atlas is back with a new tune just as he prepares to embark on his All Talk! Summer Tour, and we’re excited to have the honor of premiering it for you today on this lovely New Music Friday.
Clocking in at just under three minutes, “Counterfeit” is a short and sweet slice of classic Tim Atlas grooviness. Replete with a sassy bass line, plenty of cowbell, sexy synths, and cheeky gang vocals for good measure—it’s a bouncy toe tapper that’ll have you moving without even realizing it. Tim’s soft and subdued vocals glide above the 80’s rock drums, nostalgic synths and jazzy guitar and bass licks. Like most of Atlas’ music, it transports you back to an earlier era while maintaining an air of contemporary electro-funk of which the likes of Chromeo or Cherub would likely be fans.
Speaking about the track, Tim said:
"We're all guilty of indulging in something when we know we shouldn’t. But we do it anyway because we’re human and we often choose that feeling over what actually makes sense."
Catch Tim Atlas on tour in a city near you
JUN 17 Bottom Of the Hill - San Francisco, CA
JUN 20 The Peppermint Club - Los Angeles, CA
JUN 21 Beat Kitchen - Chicago, IL
JUN 23 The Barbary - Philadelphia, PA
JUN 27 Rockwood Music Hall - New York, NY
JUN 29 Middle East - Cambridge, MA
Hailing from the live music capital of the world, Austin Texas’ Far & Few returns drifting with the same wind that blew them into a slew of successes with their latest release, “Ghost.” Having received notoriety from Alison Wonderland, NEST HQ, Diplo & Friends, and Triple J Radio- Far & Few is capitalizing on their recent admiration with a subtle, poised swagger. The southern duo manipulates sounds that extend far beyond Texas electronic production- striking chords by the likes of electro-R&B, indie-electronic, and a distinct resonance unique enough to call their own. “Ghost” is a take on Stwo’s classic single, “Haunted.” Remaining a deep sense of respect for the original, Far & Few rewired “Haunted” into a looming, sensually-electro framework that exists at the apex of indie production. Unapologetically themselves, Far & Few is fossilizing their legacy one single at time- watch this space.
Sensual, smooth, and properly in sync- New York producer Element and Boston’s R&B genius, Khamari have teamed up to release their sultry, intellectual single, “You.” Taking the East Coast by storm, the duet shares a sense of respect and admiration for one another's respective craft. Having already been homies, the partnership comes to fruition by the likes of buttery production, rolling drum cadences, and a controlled ebb and flow of synth. Carefully layered and curated, “You,” is the sound of electro-r&b at its apex. Khamari’s crisp, palpable hymns cascade with ease atop a genre-blending horizon of sexy, synthesized sounds. Navigate your Tuesday with this cool track from two brilliant collaborators.
It's another Monday full of rad music .... and today's premiere is the perfect way to start things off on the right foot! Kwon is one of our favorite rising stars, and he just handed us a delicious remix of "Tonight ft. Chelsea Cutler" by Manila Killa & Kidswaste. This LA producer has created chill vibes layering light souring synthy melodies with dreamy vocals and future pop beats - I'm totally feeling this one! I see big things in the future for Kwon, keep your eyes and ears on this one!
Artistic, inspired, and seductively allusive, Brazil’s fearless electronic producer Marcioz is back with a brooding remix of Björk’s 2001 single, “Sun in My Mouth.” Rewiring the digital princess is no easy feat, but Marcioz’ inventive aesthetic frames him as the prototype curtain call for flipping Björk. Sensually spooky, Marcioz stays true to the legendary songstress while simultaneously tattooing his algorithmic, electro-production onto her fairytale-esque aura. A vast, microcosmic world of its own is built around calculated instrumentation and true artistry in this flip. Both rustic and futuristic, Marcioz’ signature vision is coming to fruition with ease and innovation- watch this space.
"When I first heard Sun in My Mouth, I immediately thought about adding my style into the piece. I first heard it when I was walking and hearing Vesperatine (which would later become my favorite album). I only heard the beginning of it, because I only wanted to hear it fully once I finished working on my version of the composition. I personally really liked the ending result and thought it was a good way to make a subtle comeback to electronic music composition, but without taking an obvious path towards any genre." - Marcioz