Miami-based producer Charlie Crown is making steadfast gains in his early, yet promising career. Blending elements from a myriad of electronic sub-genres, the dynamic artist returns with “Brutal” featuring Kyle Reynolds. A slow, chromatic intro with echoing vocals brings the listener into an experience, not a song. At the first drop, a trap-esque melody is brushed with strokes of electro-pop that radiate through Reynolds’ charming vocal tenor. Multi-faceted yet entirely balanced, Charlie Crown strikes gold in his latest release. Volume up.
Only in 2018 can a mannequin have 20K Twitter followers and remix a future pop song into a dance floor rave-ready beat. Yes this is a blog post about a FRND remix done by a mannequin (“Charlotte” from the world of creepy YouTube phenomenon Poppy). Only in the age of Gen Z is it acceptable for computer-generated voice to be incorporated into music. I’m not talking about Styx singing about Mr. Roboto or Soulwax using a MicroKORG, Charlotte is all computer. Or is Poppy speaking for her through a computer? The mystery of the internet, my friends. All things considered, this remix does what most great remixes generally do: twists the original track on its head in a unique and refreshing way that makes you want to dance. Nice job, Charlotte. Not half bad for a mannequin.
Everyone’s favorite Koala-loving producer/artist FRND is back again with another deliciously glitchy and catchy pop banger. The title offering from his upcoming second EP, “Before U I Didn’t Exist” follows last month’s “Erase.” It’s what one might call an oddly humanist robotic glitch-pop opus, replete with FRND’s signature sugary vocal hooks, futuristic synths and emotional heart-on-his-sleeve lyrics. The production is so unique and crisp, and the catchiness of the underlying composition just makes this one addictive track. There’s even a RAD anime-style video accompanying the release which follows an odd pair of lovers as they embark on a post-apocalyptic adventure to escape Earth. I won’t spoil the ending, so you’ll have to watch it for yourself HERE. Keep your eyes on FRND because he may just be on the verge of blasting off.
Bright, artful, cinematic, and colored with musical influences from across a veritable swath of genres and eras, Dresage is an artist who isn’t afraid of exploration and taking bold risks with her compositions. The solo project moniker of singer/songwriter/producer Keeley Bumford—who also makes infectious pop music in the duo More Giraffes—Dresage is the outlet through which she marries her love of vocal stylings from jazz greats with the maturity of dark and moody, left-of-center indie/electronic pop.
“Gallery” is her newest single, and it shines as an upbeat indie pop track, with rhythmic motion reminiscent of artists like HAIM or Betty Who, but with melodies and production that don’t fit so neatly into any specific mold. One listen will give you a peek into the brightly-colored palette that is Bumford’s personal musical gallery, where she has collected all of her personal influences and put them on display, arranging them in such a way that seems familiar, but also entirely new.
Sometimes finding tracks that really catch your attention in the constant deluge of amazing music swirling around in the ether can be overwhelming. Then something zips by and pulls you into its orbit and captures you with its gravity. NYC-based singer, songwriter & producer Billy-On enlists rapper Jay Boogie to weave together “Ghost Limb”, an atmospheric genre bender that defies my attention deficit and just keeps me coming back for more.
Before dropping his first original track Billy-On embarked on the familiar path of remix releases to develop his sound. Safe to say, the work paid off and this music junkie cannot wait for future releases. Keep these gentlemen on your radar and you won’t be disappointed. Click here to stream or purchase “Ghost Limb’ for yourself, you won’t be disappointed!
A good artist friend of mine doesn’t like when songs are referred to as bops. He says it’s like getting your hair tousled by the internet. While I can see where he’s coming from, sometimes “bop” is just a perfect word to describe a song. It’s a catchy-ass pop song that gets you moving. This new one from Ben Phipps and Sam DeRosa, co-written by Oktavian and Steve Wilmot, is a bop!
The hooks within “Don’t Stop Now” are irresistible. Sam DeRosa glides into each note with a little sweet sass while Ben Phipps’ crisp beats and melodic stylings cement the track as contemporary pop masterpiece material. I especially like the bridge which, with Sam’s little laugh, big background claps and tambourine, is a welcome alternative to most pop bridges these days which tend to be a little blah. I’ll be putting “Don’t Stop Now” straight into rotation on my party playlists, and you should do the same.
We first introduced you to Cincinnati-based producer OTR last year with his awe-inspiring first original Already Gone (feat. Kelsie Rimmer) which has gone on to amass over 700k plays on Spotify. Official remixes he’s done for Petit Biscuit (“Sunset Lover”), Blondage (“Stoned”), and Mickey Valen (“Meet Me”) have all surpassed the 1M stream milestone. There’s no doubt this former aerospace engineer has found his calling with music production. His creations exhibit a compelling array of organic and electronic sonic elements arranged in a mathematical yet feels-inducing manner.
His latest opus “Bliss”, with little-known but very talented vocalist Ashley Leone, demonstrates further his ability to craft an intricate and colorful soundscape. Reminiscent of a Hailey Steinfeld x Zedd track with more lush ODESZA-esque production, “Bliss” is exactly as it’s title suggests. Gorgeous songwriting and production come together to create a song that you can’t help but want to listen to over and over.
After a breakout 2017 that saw Papa Ya garner over 2 million streams, and head out on a 30 date tour U.S., tour we knew it was only a matter of time before we were going to hear new music. Flash forward and we now know what's next in this growing catalogue of hyper fun tracks. When you first hit play you might think the first 10 seconds of "Tumbleweed" is a journey away from the pop leaning Papa Ya production. But as quickly as you think that, a hard kick and Nate Merchant's vocals swoop in shining some light on the situation. The vocal chorus fills in with guitars, and light synthwork building into a fun drop with a brilliant trumpet melody that leads the away above a bobbing bass line. The guys have a way of finding these one liner lyrics that just get stuck in your head, "I'm drunk in the lobby and I really don't care" - too infectious. Bravo boys welcome back, and cheers to a fun filled 2018.
The man the myth the growing legend that is Thoreau continues to put together brilliant tracks. His latest "Like We Used To" featuring Jeris is a driving thumper that is equal parts dance floor heater and emotional rollercoaster. Coming off a hot 2017 which brought him a Trap Nation premiere of "Illusion ft. Tina Decara" and a signing to Spotted Records, now we're gifted with this lovely record. Jeris' vocals decry a love that has fallen from the good days accompanied by Thoreau's instrumental full of dramatic drones and a pumping low end that keeps you bobbing from start to finish. This is a terrific new tune from this camp and a great way to start off a soon to be break out year.
Disclosure: Thoreau is managed by Beautiful Buzzz writer Lindsey Oh