Electronica artist and producer J. Anthony Gomez has made their debut with their absorbingly mesmeric soundscape “Hypnagogia”
For those not in the know, Hypnagogia is the trippy part between wakefulness and sleep where you’re not quite in control of your consciousness and hallucinations can manifest.
J. Anthony Gomez paid a fitting ode to the mental state with the almost tribal explorative loops which meandered with no mind to traditional time signatures. Instead, they weaved through the ambiently multi-layered atmospheric soundscape arresting your pulses until the track succinctly fades to quiescent resolving close.
We will definitely be paying attention to future releases from J. Anthony Gomez, their ability to deftly craft hypnotic electronic textures.
You can check out J. Anthony Gomez’s single Hypnagogia for yourselves by heading over to SoundCloud. Probably wouldn’t recommend listening to the mind-altering mix while driving.
There are very few Dreamwave soundscapes which boast the same vice-like captivating grip as the standout single “Elegy” from Holy Boy (AKA Helene Alexandra Jæger).
There’s a slight nuanced touch of Art Pop within Elegy. Yet, the distinction in the soundscape is only matched by how accessible the gently striking single is. With everyone from David Lynch to Joy Division influencing the LA-based artist’s sound, you can rest assured that you’ll delve into an ethereally cathartic soundscape with Elegy.
With a highly anticipated debut album due to drop in 2020, there’s never been any better time to join the hype of Holy Boy’s monochrome mesmeric tones. Any fans of Portishead definitely won’t want to hang around in putting this artist on their radar
You can check out Holy Boy’s latest single Elegy by heading over to Spotify now.
Stay up to date with news of the release via Facebook.
If you like your Trap on the softer side, you’ll strike gold with the mellow transcendent vibes which up and coming Hip Hop artist Trooley offers through his mixes.
After making their debut in 2019 with the single “Fake Smile”, he’s proven himself to be a prolific production machine on a mission to soak the airwaves with smooth fluid mixes. Each of their tracks comes with a perceptible ability to ease you into a zen-like state, yet the best introduction to his style is the recently released mix “Slimey” produced by Black Mayo.
The textures in the instrumentals may be light, airy, and ambient, but with an immersive infusion of bass and their softly energetic Rap bars, his tracks find the perfect balance between catharsis and conviction.
You can check out Trooley’s tracks for yourselves by heading over to SoundCloud now.
RnB Hip Hop artist T’Via has followed on from the success with her debut single with the equally as harmonically sweet track “10”. She’s already made plenty of waves with her unique brand of “lullaby-Esque RnB”. But something tells me that she has only just started on her quest to dominate the airwaves with her sultry yet soothing tones.
The prelude to the single kicks off with an instantaneous melodic guitar hook which draws you into the concordantly dreamy mix from the first few notes. The equally as mellifluous verses and the earworm choruses allow you to stay hooked in the deep grooves of T’Via’s authentically polished sound. Even the harsh lashings off bass which were infused into 10 couldn’t take away the sublime serenity of listening to T’Via’s vocals.
You can check out T’Via’s single 10 for yourselves by heading over to Spotify now.
If Ego Tripping intended to offer a full-body sensory experience with their latest Dreamwave single “Pleasure Rift” they definitely succeeded.
There’s plenty of ambience to be enveloped by. There’s also the infusion of cutting atmospheric tones which will go down a treat with fans of 80s Post Punk such as The Chameleons and Echo and the Bunnymen.
For seven serene minutes, you’ll get to follow the progressive nature of the single which offers a fully rounded tonal palette and vocals which border on hypnotic. The vocals rest above the reverb-soaked instrumentals just enough for the lyrics to resonate. But there’s plenty of synergy between the winding melodicism and the tantalising lucid whispers.
Pleasure Rift was the first single to be released from Ego Tripping’s debut album which is due to be released on January 17th. I’ve got a feeling you won’t want to miss the rest of it.
You can experience the catharsis of Pleasure Rift for yourselves by heading over to SoundCloud now.
There aren’t many Hip Hop artists who can leave me enamoured by a prelude. But discernibly, Yung Catboii isn’t an average Hip Hop artist.
Their latest single “LUV ADDICT” is tender, intimate, and thanks to the Indie melodic spacey vibe, it’s bordering on hypnotic.
Archetypal song structures were discarded as Yung Catboii went all-in on the experimentalism for this wavily romantic downtempo offering of urban alchemy produced by FRAXILLE. The end of LUV ADDICT comes without warning – just a sudden disconnect from the concordantly polished mesmerism which you’ve been fed in the two minutes previous. I can’t help but feel that such a harsh ending is typical of the love affairs which inspired Yung Catboii’s Rap bars.
You can check out the official music video to LUV ADDICT for yourselves via YouTube.
Hip Hop artist & producer Scott Creek teamed up with Malik for their latest lucid Trap release “Rackies”. Consider it a playlist essential if you’re always on the hunt for chilled vibes which have been orchestrated and produced with ample amounts of concordance.
With plenty of Dreamwave elements weaved into the mix, it unfolds as a trippily cathartic soundscape, but there’s plenty of bass propping up the softer delicate notes. The lyrics may be fairly abstract and light, yet Scott Creek still ensured that there was plenty of sticky-sweet soul in Rackies. It’s a flawless mix with pitch-perfect production and it gives us plenty of excitement over what’s to come from the up and coming artist.
You can check out Scott Creek’s latest single via SoundCloud.
Tara Baswani & Nico Rosenberg released their latest single ‘2026’ on April 23rd, 2018. There was just one thing that didn’t make sense about the track, how such an ethereally compelling soundscape can go unnoticed. It’s not that I haven’t already lost faith in the music buying population but while I was listening to 2026 the gravity of the disparity truly hit me.
With a more haunting mix than Massive Attack could have ever orchestrated, the soundscapes meander through swathes of transcendental sound, uplifting you with every bow of the violin in this truly conceptual composition. Whilst 2026 could be labelled as Neo Classical Dreamwave Shoegaze there are no words that could avidly depict the lucid synergy that the two artists created through sultry echoed vocals and synthy electronica. The resonance of the sound is enough to turn your stomach into lead, whilst it is not uncommon with violin strings to have that effect on me, I’ve never drank in the wavering so deeply as I did when listening to 2026.
You can check out Tara Baswani & Nico Rosenberg’s track 2026 for yourselves YouTube now.
Melbourne two-piece Zone Out have emerged with a second taste of their forthcoming LP ‘Transience’.
New single ‘Breakdown’ employs much the same approach that saw their debut release ‘Inside’ so well received (and already rubbing shoulders on-stage with the likes of Homeshake, Sonny & the Sunsets and Lost Animal, despite their relatively recent conception).
Masterfully blending elements of new-wave, dream-pop and electronica, ‘Breakdown’ basks in it’s own rich, broody soundscape, bringing to mind ‘80s synth-pop syndicate Berlin.
Originally forming in 2012, the Melbourne-based ex-shoegazers dispersed in 2014 following a string of critically acclaimed independent releases.
2015 has seen one-half of the band’s original lineup in Ashley Bundang (Totally Mild, Sui Zhen, Ciggie Witch) and Dove Bailey (Scotdrakula) re-assemble with a new direction, though very much the same manifesto.
Despite boasting a brighter, more pop-inflected sound, Zone Out are no less fittingly titled. The new-look outfit released their debut 7” single ‘Inside’ late last year, chanelling ʻdream-popʼ at its slow-burning best – fragile in nature, yet full-bodied in sound. Each strum of the guitar and croon of the voice simply drips with reverb and bursts with charm.
Bundang’s lilting vocals paired with Bailey’s jangly guitar-interplay on ‘So Bright’ recall Teen Dream era Beach House , whilst a syncopated beat and swirling synth pad draw stronger comparisons to their more electronica-influenced neighbours, Yumi Zouma .