Pekoe Cat is multi-instrumentalist/producer Kyle Woolven and self-proclaimed as the artist you've never heard of. Woolven is part of the non-existent indie scene in Belleville, Ontario. His new single "A Maze" is a psychedelic trip through his many musical influences and a peek into his warped melodic mind. Pekoe's goals: create, progress, and one day reach 40 Twitter followers.
Hill's new album, Give It a Rest, is scheduled for release in 2018. The the title track was picked up for exclusive rotation on KCRW in Los Angeles almost immediately following its completion, where she was invited to make her American debut in the fall of 2015. She has since been signed to an American EDM Label (Ultra Music) as a topline writer, and completed a large body of work. The new video/single for her song ‘On Camera’ was directed by Caitlin Cronenberg.
"Working with Caitlin felt effortless. The creative approach was fluid and allowed for deviation from the original treatment, which made the whole process feel more authentic and fulfilling. Analog stop-motion - especially with Caitlin's eye for absolutely stunning still frames - is the perfect "subtle nod" to the lyric. The song is about bdsm, essentially. From the perspective of the submissive - it's about power being willfully surrendered. It was written over a trap beat but with all the experimental soul elements as an overlay."
Chicago-based Floral Couches, the project of Cody Gray, released his new album Electric Fever in August. One of the album's highlights, “Ketamine Dreaming” is a nice display of Floral Couches’ late-night atmospheric development and knack for emerging, twinkling hooks — present here just past the one-minute mark, with twangy guitars entering the fold shortly thereafter.
Floral Couches' debut album came in 2016, with Not Quite Your Type. "I recorded all of it in a Logan Square bedroom over the course of a 16-month span and it was just a totally weird pop album. The cohesiveness was nonexistent but it was really just me experimenting with my own sound."
From there, Cody decided to pursue a more electronic-minded sound. Shortly, he had three songs written with synths and buzzsaw basses, and put them in a folder called "Electric Fever". That name stuck, and after a year Cody had his second album, Electric Fever. "I never had any plans to play live shows since i dealt with bad performance anxiety in the past and just didn't have any friends in Chicago to perform with. When I met my best friend Conor we just worked out how the hell two people could perform this stuff live and we've been performing for about five months."
Both tracks (as well as every other Floral Couches track) were recorded and mixed using only instruments and VSTs in Logic, including the guitars. "I was broke when I first started recording under Floral Couches and decided I was going to fully exhaust Logic of everything I could do with it before I purchased new equipment or instruments," Cody explains. "About half of Electric Fever actually has some serious track bleed on the vocal takes because while I was recording "Now You've Done It", my headphones broke and I couldn't afford to get another pair for a while. I was going to redo the vocals, but I liked the washed-out sound that it had produced and decided to keep them as is. "
Per Cody, "Ketamine Dreaming" is the only really sad song on the album. "A week before Christmas 2016 our dog passed away unexpectedly and I just totally lost it. I emailed my boss that I wasn't going to be going into work for a while and nobody saw me for about two weeks. When I was in high school and college I was dealing with peak depression and anxiety and I was absolutely coping by drinking myself stupid. I stopped drinking for the most part after college... During that two weeks of intense grieving I basically kept myself sustained on beer and cheese (I'm a Wisconsin boy at heart). It was the first time since I had graduated college that I was trying to just escape from what was happening in my life. I wrote the lyrics to capture that escapism mentality... "I don't need to feel pleasure/ and anything's better than this" was exactly what I had going through my head."
Airships on the Water is an instrumental post rock band from Fayetteville, AR, USA, formed by multi-instrumentalist Russel Hensley. Hensley, who plays drums for the math rock band Take Shapes, started the project as a way to experiment with and expand on a backlog of keyboard riffs and drum parts he had written.
Drawing inspiration from the infectious hooks of El Ten Eleven, the emotional power of Explosions in the Sky, and the rhythmic complexity of Japanese post rockers Toe, Hensley started writing and overdubbing new parts to flesh out the sound of his existing arrangements. He carefully layered beautiful keyboard melodies, bass guitar hooks, intricate drum patterns, and rich synth textures onto these skeletal arrangements, shaping them into catchy instrumental post rock songs. Bit by bit, a chilled out sound with subtle math rock influences emerged, and Beneath a Thousand Branches was born.
"Leave Behind" is the first single out of Sarah Cripps' new record.
"During the making of this album, I was going through a turbulent transition in my life. I was struggling with the perception of who I thought I was supposed to be, and who I truly am. It left me feeling pretty dark at times. It was making this record that helped me decide I would embrace the darkness and the weirdness. I pulled myself out of the perfect box I thought I had to fit into. I found a way to create my own narrative and not subscribe to the one that is often forced on young women. Although ‘Leave Behind’ is a reflection of losing myself and some of my lowest moments, ultimately, it’s the turning point that gave me the guts to just embrace the weirdness."
These Are Truly The Last Days is a musical project with a driven experimental twist. Their music blurs the lines between various genres, including ambient, electronica, glitch hop, and more. The project’s self-titled studio effort features 11 studio tracks.
Crafting a concept album is an incredibly difficult task. Tying together a cohesive narrative across a record’s worth of songs isn’t just daunting, it’s an endeavour that even some of the industry’s finest have failed to do memorably. This task, however, becomes notably more difficult when you’re dealing in the abstract via instrumental soundscapes. That is what Chronotope Project, the moniker of composer Jeffrey Ericson Allen, attempts to do with his latest project, ‘Ovum.’