The single"CU Again" is the title track on Adrian Underhill's album that was produced by Kindness (Solange, Robyn, Blood Orange). The 10 songs on ‘CU Again’ are the culmination of many years of sonic exploration. Having grown up in Vancouver before moving to Montreal and then Toronto, Adrian spent time in rock bands and making lo-fi recordings on his own, before moving towards a 70s songwriter vibe infused with a more modern production style & sound. The LP is set to be released later this year.
Adrian's thoughts on the song:
"One thing I really like about this song is that it is left open ended who the song is being sung for. It’s about the universal feeling of missing someone and that could be a platonic or romantic relationship. To me, the song invites you as the listener to also become the singer of the song, the protagonist, to sing along if you have ever felt the feeling of missing somebody that means a lot to you."
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."
Iskwe has always gravitated towards darker, deep-cut, bottom-heavy sounds, it’s what resonates with her creativity - politically charged lyrics, dark soulful R&B rhythms, electronic flourishes, and trip hop breakbeats. This is captured fully on her new single Soldier . The single comes from her new album The Fight Within, out October 13 2017.
"It's impossible to know what shape our planet will be in several generations down the road. What I do know is that we need to do better. Soldier is for all the protectors of our land, our water and our future generations. While my music is undoubtedly a source of deep, personal strength for me, it is also a form of protest––protest against the continued hardships of the North American Indigenous community, protest against flippant legislature failing to protect our lands and waterways, and protest against fallout women face when speaking out on issues within the music industry. I speak my mind about my culture and gender. I’ve never been timid or shy about addressing those sorts of topics in my music because that’s not my spirit - I was raised to be loud about the things I believe in! I intend to honor my heritage and stand steadfast in my viewpoints while creating music that rings true to myself as an artist."
"Countless Ways" is a song of loss, a performance where the empty RSVP seats in a concert hall are lovers lost to memory. “Don’t pick up when I call” is that one-sided ending we all know too well. “Like you somehow appear” as a ghost, a phantom limb, that empty expectation of an impossible return as if from the dead.
The song divides into two major parts. In the first, the narrator goes from a dark longing to attempting acceptance: “I hope that you’re well” -- but your photos “can and do tell me that you’re longing”. By that halftime switch in the middle. we are cast far away as if in the audience ourselves being told to sing along.
"Sing it to the empty seats / When we sing they’re not gone."
Here he seems to come to full terms with the loss, the changes after a relationship are internalized and mutual. The song would conclude. but instead it pretty much starts over, but this time the duration is shorter, paralleling the process of acceptance.
In the age of social media we have “countless ways” to miss someone, to drive ourselves into the past with repetition and longing. Loss has never been harder, more public, more ruminative..
Brooklyn-based Trevor Gittelman has always had a revivalist sensibility, starting by singing for a classic/alt-rock cover band at 14 favoring music by Zeppelin, Radiohead and Muse. He had a knack for imitation but developed a more personal tenor style through college. His music production studies began during chronic illness in high school and college, the time he would spend alone recovering was also spent learning about sound design, arrangement and composition. Studying music composition and working with film scores he developed minimalist electronic music and dense psychedelic/hard rock in his home studio.
Gittelman gathered an ensemble around the solo project Van Vega in early 2014 and won Hofstra University’s battle of the bands. This performance with Phony Ppl and X Ambassadors gained the band a following, but inner band conflict caused the group to split. Van Vega has reformed in its third incarnation today but the vast solo productions accumulated over that long hiatus is now being released and performed as the one man show known as Trevor Forrest.
Gittelman's performances range from minimal acoustic to maximalist laptop productions. He uses a TC Helicon Voicelive 3 to achieve harmonies live and uses looping to create dense arrangements. His performances are intimate, psychedelic, and wide-ranging in style.
Wake Child began with a couple of friends playing music. Danny Silberstein and Terrell Hines were helping Austin Max rehearse for a class performance he had the following day. All three attended the prestigious Berklee College of Music.
Danny, a singer-songwriter in the Laurel Canyon mold, had just released a solo EP titled Static Noise and Other Miscellaneous Sounds. He wanted to collaborate with Austin Max, a Tennessee native. Austin is the rare guitar virtuoso who plays off-the-cuff, never totally content with a written or unwritten riff. They had invited Terrell Hines to help them practice for Austin’s class performance the next day. Terrell is a former gospel drummer with a core of technical knowledge that expands as he plays, into the realm of his stylistic influences: psychedelic jazz and modern trap.
Austin and Danny started to play their song’s intro, lightly strumming their guitars. When it came time for Terrell to jump in, he played a sixteenth-triplet trap rhythm, providing a propulsive backbeat and transforming the song. Austin kept playing, but Danny couldn’t keep up, laughing in amazement and putting down his guitar. He was blown away by the feeling and the sound of the band dynamic he could already vividly envision.
It took a few months to convince the others, but Danny knew right away; this was a band and this band would be named Wake Child. As a trio, Wake Child synthesizes the hometowns of California, Georgia and Tennessee into a melting pot of Psych/R&B brilliance.
The track was recorded live in the remains of an old Masonic Temple in Boston, MA. The temple's mystical aura helped the band infuse "Hangup Blues" with a sense of isolation and magic, as the song's outro explodes in a psychedelic mist of lovelorn confusion.
Ali Murray is an ethereal folk songwriter/musician from the cold isle of Lewis in the north of Scotland. He writes dark atmospheric folk music with lush sweeping dreamy soundscapes and Celtic-twinged instrumentation. His new album LAND OF EVERGONE strikes a balance that is intimate and soaring, peaceful and haunting, sad and quietly joyful, delicately reverberating with Murray's dreamy voice and guitar playing.
Orellana is a neo-classical/post-rock collective hailing from Bristol, UK. Their new album “52”, released in late December, brought in the new year with it’s explosive and intricate sound. The project’s music transcends genre definitions in order to focus on a broad, diverse concept that is more emotional than tangible. This particular release is full of rich and diverse arrangements, but it is also a powerful exercise in minimalism, one that showcases the strength of very few notes placed in the right spots. The simplicity of the arrangement is actually one of the strongest aspects of this entire release: there’s a palpable stillness created by the long, drone notes in the background, which almost makes you feel like the world is happening in slow motion. When the chords and notes change, it feels quite monumental due to the beautiful contrast between the stillness of the background textures and the expressive sound of the guitar-based melodies.