The classically trained pianist, electronic music producer and composer, Fabian Jeller used every modicum of his training and talent honing to mark his evolution towards a more viscerally stylistic, organic, and colourful tonal palette in his most seminal single to date, From Zero to Infinity.
The synthesis of classical instruments in the electronic soundscape embodies the vivaciousness of a full symphony orchestra to take you on a journey of vibrant transcendence via the arrangement of the synths and strings, which work in absolute synergy to ensure you sonically arrive at the destination the Italian virtuoso intended.
Blissful, rejuvenating, and deeply evocative in inexplicable equal measure, From Zero to Infinity captures the momentum of life, and all the stratospherically colossal twists and turns it leaves us with no option to traverse. As Bill Hicks once famously said, it’s just a ride. Jeller proved the intrinsic beauty in that ride. Strap yourselves in and surrender yourself to it.
From Zero to Infinity arrived on the airwaves on September 16; stream it on SoundCloud.
As calls to socially progressive arms go, they don’t come much more compelling than KURO’s latest single, Wake Up and Choose Violence. With the harsh industrial metal instrumentals amplifying the lyrical volition that unravels as a manifesto of poetic vengeance, the sonically jugernautical Glasgow outfit reached the pinnacle of the punk ethos.
The blast beats hammer down as heavily as we should be coming down on the alt-right provocateurs who revel in the contempt they breed and their subsequent notoriety as the synthesis of the heavily distorted guitars and synth lines visualise the disorientating dystopic dissonance of our depressing modern epoch.
By pointing out how we fought for rights only to neglect them when it matters the most, the adrenalizing razor-sharp rap metal vocals cogently foreshadow a further descent into extremism, marginalisation, and prejudice unless we follow the titular command. Resistance isn’t futile; it is fundamental.
“Wake Up and Choose Violence is a reactionary track written in response to the sheer amount of audacious counter-reformative movements and laws placed by right-wing identifying groups. In simpler terms, we’re sick of our right to protest being taken away, the lack of racism being tackled, bills for trans and queer rights being blocked and the growth of far-right ideologies being accepted.
It is about standing up to all that, finding your viewpoint and sticking to it, and standing up for those who don’t have a voice. The music video exhibits this in which we included people from many walks of life and gave them a platform to express their viewpoints and show why it’s time for a progressive change.”
Stream the official music video for Wake Up and Choose Violence on YouTube, add the track to your Spotify playlists, or purchase the single on Bandcamp.
With an intro which evokes ‘40s nostalgia via static-decorated radio samples of blues before breaking into a news broadcast running a narrative of WW2, the debut single, A Portrait in a Broken Mirror, from the enigma of an artist, Teo, certainly makes its mark.
After three minutes of reliving the atrocities of the Second World War, Teo cinematically brings in their harsh electronica sonic signature, which dominates the middle ground of happy hardcore and industrial in a similar vein to Otto Von Schirach’s monolithic sonic manifestos. Taking a break from the high-octane motifs, the single starts to traverse an eerie and ethereal atmosphere before the rancour comes back in full juggernautical swing.
Even though I’m usually all for uninhibited experimentalism, an 18-minute debut single, which pays little mind to listener accessibility, is hard to paint as one triumphant in its innovation.
A Portrait of a Broken Mirror hit the airwaves on September 6th; stream it on Spotify.
The indietronica icon in the making, Saynt Ego, strengthened the foundations that his legacy will undoubtedly rest upon with his double A-side single, Looking 4 U – Big Mad World.
While the vocals sing a bitter-sweet goodbye, the augmented-with-funk melodic lines pull you to transcendence and acceptance in Big Mad World. The chaos of the universe is efficaciously encapsulated in the hypersonic soundscape, and all the assurance you will need that you can overcome any obstacle on your healing journey lingers in the lyricism, which rings with melancholy standing alone. Within the anthemics of the indie dance-pop hit, the candour-fuelled verses are awakening poetry, which alludes to the tragedy of obsession with earthly escapism.
Penned after losing his best friend to suicide, Big Mad World tracks cosmic themes while being underpinned by the grief of knowing that the human experience can’t always be traversed with resilience alone.
Occupying a middle ground between Cigarettes After Sex and ABBA, Saynt Ego found plenty of room to assert his authenticity in the self-produced release, which was written by Will Retherford and the airwaves on September 8th.
Following the spiritually beguiling prelude of ethereal vocals and minimalist electronic melodicism, the transition into the high-octane installation of fierce feminine energy with body-slamming beats to boot you into rhythmic arrest is a broadsiding testament to the boundless ingenuity of the one and only NÍNIVE.
For her seminal single, Solo En Ti, NÍNIVE collaborated with the world-renowned music producer Enrique Gonzalez, who has worked with everyone from Metallica to Tina Turner to Nine Inch Nails; together, they sonically solidified the Ecuadorian alternative artist’s claim to the pop throne.
Put her on your radar and watch her ascend even further with her forthcoming album; the ingenuity that the LP will breathe was teased by the explosive alchemy within Solo En Ti. If Mitski swallowed an atom bomb, her avant-garde stylings still wouldn’t come close to this scintillating Tour De Force.
Clearly, her strong musical background has served her well. NÍNIVE began her musical education at a young age at the National Conservatory of Quito and furthered her vocal studies at the College of Music at Universidad San Francisco de Quito (a Berklee Global Partner). She also holds a Masters of Music in Songwriting from Bath Spa University.
Solo En Ti will break ground on the airwaves on September 15; stream it on SoundCloud.
The Australian alt-electronica augmenter Timothy and the Apocalypse took his sound to new celestial heights with the release of his latest single, Nirvana; the merit of it is almost enough to dissipate the synonymousness between Kurt Cobain and the track title.
With the opening vocals resounding with a spiritually ceremonial timbre across the lush layers of reverb, the artist and producer set the bar transcendently high from the intro, and still managed to rise above it with the shoegazey dream-pop guitars which bring introduce the solid backbeat that affixes a strong gravitational pull to the ever-ascending melodic lines.
Midway through the track comes a euphoric uplift, which defies all expectations of Timothy and the Apocalypse. Since 2021, he’s held dominion over the ambient trip-hop scene and dominated the associated playlists. With Nirvana, he broke new ground by progressing his new release into a track that could fill a floor and rhythmically drive it into fervour. Amalgams of IDM and deep house don’t come much more electrifying than this.
Stream Nirvana and the THOLEMOD Remix, which hit the airwaves on September 8th via Spotify.
Thankfully, the title of Jay Hofman’s latest single, I Can’t Sing, isn’t a disclaimer for the dire vocal performance that will defile your ears as soon as you hit play. Instead, the self-deprecatingly sweet funked-up indie electro-pop hit shares a dilemma that every non-muso diehard romantic will have been stung by, the compulsion to write and sing a love song despite a discernible lack of musical talent.
Maybe ironically, maybe entirely purposefully, the Polish singer-songwriter who is currently residing in the UK crafted the kind of love song that everyone who is lucky enough to be head over heels will want to put on a playlist for the objects of their desire. By switching between rap-style spoken word verses and auto-tuned harmonies in the chorus, even if there was weight to the claim that Hofman can’t sing, it would never have soured the soundscape that is as electrifying as a Daft Punk hit.
I Can’t Sing debuted on September 8th; fall in love with it via Spotify.
After affixing her attention and endlessly multifaceted creativity to subversive art forms from a young age, theNYC-born visual trailblazer Indiana Roma Voss has been raising the aesthetic profile of Amsterdam as a stylist, concept developer, and art developer and enriching the nightclub scene with her nightclub performance group, Nightclub Disaster.
In 2016, she won the Elle Styling Award for her fashion concept which saw the convergence of the underground techno and punk scenes, and in 2023 she made her debut as a music video director by allowing Westwood-esque Haute Couture to meet the queerness of the NYC Club Kid scene, in elevated decadent style.
Known for her editorial Avant-Garde work, Voss exceeded all expectation with her music video for the danceable new wave post-punk outfit Baby’s Berserk. The mise en scene in the video for the entrancingly atmospheric indietronica earworm, Accessories, is a melting pot of the dark, seedy and glam nature of Amsterdam’s club scene, with references to the obscure cult classic film Gummo, thrown in for cultural measure.
Whether her video debut is the start of her illustrious career as a video director or she takes her innovatory eye for experimental art in another direction, Indiana Roma Voss is undoubtedly a name that will remain integral to the international art and fashion world.
The official music video premiered on September 4th; stream it on YouTube.
After gaining a background in classical music and a conservatoire degree in orchestral percussion production, the Bristol, UK-based producer, composer, and mixing and mastering engineer Harry Bone started to take a more experimental and lo-fi approach to his sound after discovering that almost anything can serve a musical purpose.
His 2023 ambient album, Ambi, featuring the odyssey voyage of a single, Journey, is a cathartic exhibition of his freshly rendered explorative talents. The reverb-lavish keys weave cinematic melodies while still delivering a chill synthy lo-fi smorgasbord of nostalgic alleviation.
The single was constructed to depict the journey from naval-gazing self-pity towards gratitude and positive affirmative action. By euphonically visualising a trip through the woods while allowing elements of nature to coalesce with memories that still evoke positive emotion, Bone succeeded in crafting a consoling score that will set your imagination alight.
If you’re always on the hunt for soundscapes that facilitate tranquil mental repose, don’t hang around waiting to discover the quiescent gems in Harry Bone’s discography.
For his latest single, Reach You, the independent Czech music producer, DJ, and songwriter Goshok teamed up with Otto Palmborg to reach the pinnacle of electronica fervour.
Ironically, we couldn’t get his last single, On My Mind, off ours; if Reach You is anything to go by, his talents in infusing his momentous Kygo-inspired tracks with visceral emotions have become superlatively honed. Once you hit play, you’ll be immersed in a bitter-sweet hit that errs on the side of affectionate rapture. If you know how it feels to be caught in the middle of a relationship that forces you to explore the pleasure-pain parallel, the resonance in Reach You will be phenomenal.
By pulling in elements from across the EDM spectrum to enliven his tropical house edge and augment his pop hooks until they’re ensnaringly sharp, Goshok created a hit that could facilitate his dream to become the first producer from Czechia to feature on the line-ups at Tomorrowland, Coachella, and Balaton Sound.
Reach You hit the airwaves on August 25; stream it on Spotify.