Give Me A Minute exists at a place where electronica meets indie, where underground dance meets mainstream pop, where the cultish meets the commercial. It is a place where the best and most rewarding music experiments happen and SONA is right at the heart of it. The vocals could almost be a slow, charting R&B pop song and as great as her voice is, wandering between haunting and sultry, ethereal and sassy, it is what is going on behind it that really takes your breath away.
A slow clubland groove is layered up with pulsing waves of futuristic electronica, skittering percussion and a wonderful dynamic built through dynamic switches, break downs and crescendos. It is difficult to know where this fits in to the existing musical canon, but you can say that about all the best music. One half of the song screams chart success, the other just wants to be loved by only the most discerning musical tastemakers. That’s going to confuse the A&R teams who will inevitably come calling.
Brianna Kinsley should be the name on everyone’s lips after she brought out her Electro Indie Pop Rock debut track. Her haunting vocals soar over her first ever single release Storm is Rising, dominating this minimalistic electro soundtrack by pouring her heart and soul into the mix. The arrangement of the composition is irresolutely complex, it’s a cacophony of ominous drumrolls and strong piano chords as an ode to her rock & metal influences.
The transgression throughout her debut track is staggering when the chorus hits you truly do feel like you’re in the eye of a storm as you’re swept along by the lyrics which convey pure, unscaled truths.
For anyone with a penchant for melancholic vibes you’re in for a treat, curtesy of the stunningly talented singer songwriter from Washington. It’s so damn refreshing to hear an artist that actually puts life into a track through the lyrics and doesn’t just bust out words because they sound good, as the track fades out it’s evident that there’s a mountain of truth to unfold through Brianna Kinsley’s next releases.
I have a feeling this won’t be the last we hear from Brianna Kinsley.
Her debut track Storm is Rising is now available to listen via Spotify:
Everyone needs a song like Unfinished Business by M.R.J in the soundtracks to their lives. Euphoric, funk dabbled, electro indie pop beats finished with the quintessence of an infectiously upbeat styling, who could beat it? Not many, that’s why stumbling across the gems that make up M.R.J’s track list was a pretty special moment. The contemporary Pop scene is a minefield at best, you never know what mixed bag of overproduced atrocities is waiting for you on the other side of the play button. So I’d like to thank M.R.J in restoring my faith in the Pop scene with this uniquely refreshing style. If you’re a fan of acts such as Alex Cameron & Jack Ladder, you’re going to love M.R.J.
Yet Unfinished Business incorporates the right amount of trepidation in his tracks to make sure you feel the full immersive explosion which accompanies the synthesised chorus.
Whilst the undeniable history of Pop is implored with the styling of M.R.J’s track, it’s clear that he sets his own standard and tone when it comes to his music.
The London based Pop artist always has new tracks in the mix, however in the mean time why not pop across where you can sample his latest hit Unfinished Business?
The best music paints pictures, acts like a virtual and instantaneous set builder for a theatre act or suggests a scene from a film yet to be made. If this is the case then Resolution conjures a playground of dystopian hi-jinks, of night times on the decaying streets, of subversion and protest, of industrial wastelands and underground nightclubs, of shadows and neon, light and shade taken to it’s extremes. It is the collision point of the sound of brutal industrial machinations and transient, clinical digital languages, the distant humming of the modern world and the poetry of decay. It is a distant, disembodied opera, which echoes from our technology reflecting the detachment and unease of the world around us.
It is easy to see where they come from, where some of their references lie, but the ability to shape those influences into new statements about the world they find themselves in and comment on where it may be heading is all you can ask of them.
At eight and a half minutes, Nej!las’ dark and creeping instrumental feels more like a soundtrack than a song, it broods and bruises and feels otherworldly or at least futuristic. Not all music needs to be friendly, resolved or positive and if you like music which puts you on edge, makes you think and takes you to other worlds, then this is as great and terrible as it gets.
Kuzo is possibly the freshest act on the Electro Pop scene today. The LA based duo are currently hitting up the underground with their euphoric minimalist beats & pensive lyrical style. Their latest track Mirage follows a seamless progression that you’d be all too happy to listen to as you drive into the sunset. The vibrant beats have a transcendent quality behind them, with poignant lyrical layers for your mind to unravel as you get lost in the music. It’s the perfect mix of downtempo and trance to create music that will motivate even the most melancholic of people to dance. Fans of LCD Sound System, M83, and London Grammar are highly recommended to check out this track.
It’s almost impossible not to be moved by the duo’s impeccable first class sound infused with their striking sleek and sultry image. Electro fans are insatiable for their sound which they have finetuned since their earlier debut hits. With mirage they’ve undoubtedly made their anthem, it’s ridiculously catchy, and comes with the demand that you don’t just listen to the track once.
Check out Kuzo’s latest hit Mirage via the SoundCloud link below:
Amber Peri’s voice may be one of the industry’s best kept secrets. Her voice in all its complexity begins delicate and airy on her single, “HER,” then in fiery red demands your attention while affectionately reminding you, “I’m no her, I’m me tell me who you see.” She achieves all the ambiance of a grown but sexy anthem of independence in this vocally charged track. The slow-burning track stares down the notion that love has to be reciprocated, while reminding would be suitors; the past is the past. It’s the perfect mixture of vulnerability with assertiveness.
When Amber’s voice echoes melodic tones throughout the track it’s as if she’s acknowledging love while simultaneously agreeing it’s okay to heal. Her voice is captivating over a perfectly melodic instrumental. The soundtrack coupled with Amber’s beautiful voice creates a masterpiece of sound; it encapsulates a beautiful spectrum of experiences with remarkable concision. A solid track.
Aino Elina’s type of music is exceptionally beautiful and unique to her to start with. Aino delivered nothing short of class in this song. This music genre is like those therapeutic song that’s rooted in the celestial archive of the electro pop sound.
There was total voice control throughout the duration of this song. With an amazing pitch and vocal power, Aino further made it clear that she’s really the star to watch out for in the music industry. I wish I understood the language she sang the song in, but nonetheless I absolutely enjoyed the music from start to its finish.
This song naturally came with that surreal power of its own. When you listen to the instrument and beat of the song at start you would think it’s Garry Jones rendition of Mad World. If you enjoy listening to New age music then this song might just be the next favourite song on your playlist irrespective of the fact that she sang her song not in English language.
Generally, I really would like to see what Aino next song will sound like because I can’t really say if she’s more of a new age or electro pop singer yet.
This is a nice song and y’all I trust you guys will agree with with on this that this song is just perfectly produced.
Mollywhopp is a strange musical beast but then looking at the back catalogue of The Indycas, they are strange musical creators who seem to revel in and excel at making such mercurial music. Sitting somewhere between futuristic film score, ambient electro, otherworldly symphony and the sound of a computer learning to write music when know one is looking, it is indeed a beguiling experience.
There is a pent up energy running through the track, the feeling that any moment now something dramatic will happen to diffuse and resolve the whole thing as it relentlessly weaves strange alien sounds through classical sweeps and brooding cellos through boisterous beats. Non other than Alfred Hitchcock said that the difference between action and suspense is whether the bomb you saw under the table in act one goes off or not. Which one Mollywhoop turns out to be I will leave up to you the listener.
The days of storytelling may be a lost art, lyricism, and genuine songwriting may be all but extinct these days; and while we sit and scratch our heads over today’s music we have to ponder of what or who exactly is up next? Enter Etches’ and their single “Human Façade,” a strumatic instrumental with very little instrumentation but a very strong bassline. A pivotal story of sexual exploitation and the effects of being viscerally reactive versus proactive.
It’s a good track, actually it’s a great track with a somewhat skeletal bass that slowly rises to a climatic progression. The lead singer is impassioned and embodies a sound of true artistry; couple that with the musical score they have managed to create – and this may be one of the best culminations of simplistic sounds and musical elements I’ve heard in a long time. Their sound is progressive rock, psychedelic harmonies, and electro/pop bass lines and to be honest they remind me of a modern day, Tears for Fears. Their sound is infectious and can’t wait to hear more of the musical ear-gasm that for now we know as Etches.
Before gothic music took a strange turn into the dystopian, cyber-punk sub-genre of metal that it became, it was something very different. As the punk barriers where kicked down, what came charging through was not a horde of year zero guitar slingers but clubland kids in strange make-up, clutching broken keyboards which they rewired to their creative will. And so in the bright dawn of the post-punk era this strange new breed made strange new music built of keys and drum machines and driven by dance beats rather than big guitars.
In many ways Broken X’s Never Abiding feels like one possible pathway from that scene which was never fully explored. That generic gene splicing of dark thoughts and vibrant beats, futuristic visions and primal urges, the myriad possibilities of a gleaming future mixed with the creeping doom of the past that juxtaposition of technology and drive and its dark musical underbelly. Broken X capture all this elegantly and on the strength of this mercurial and exploratory track, checking out their latest ep, Zombies of The Night is, as they say, a no brainer.