No one has ever known, or will ever know what to expect from TOKiMONSTA.
But what has come to be anticipated from TOKi (born Jennifer Lee) output in the years surrounding her climb to notoriety has been continuously impressive, pronounced, even epic. Although she grew up in the humble suburb of Los Angeles known as Torrance, California, TOKiMONSTA’s ability to morph and manipulate her sound surpasses need for modesty.
Whether she’s journeying into house music with ZHU, hip-hop with Anderson .Paak, or venturing alone into soul, funk, or any number of other genres, her level of quality has reached universal reverence. Her latest solo production entitled “Love That Never” is no different.
This track demonstrates Lee’s affinity for restraint, using space and silence like the powerful tools that they are to emphasize the high points. With the cold winter months approaching, she seemed to want to provide a relaxing soundtrack for staying in as precarious weather coats the outside world. Yet the warm, overall feel of the track creates a sense of hope and subtle excitement for when the sun comes out again.
While deadmau5 is most widely known and appreciated for his legendary progressive sounds in hits like “Strobe” and “Ghosts N Stuff,” it’s no secret that the producer possesses a strong command of other genres. His techno-leaning side project testpilot is evidence of this. Therefore, while his new single does not “FALL” completely in line with the styles of his historical discography, one cannot be surprised that it is still of the highest of quality, and is sure to excite his dedicated fanbase.
“FALL,” released via the mau5’s own mau5trap label, is a seven minute journey through the grittier side of electronica. Overflowing with afterhours energy, it’s en route to becoming the producer’s next anthem as he rinses it through his upcoming tour date. “FALL” is a fitting sequel to deadmau5’s recent originals “SATRN” and “COASTED,” and it will be interesting to see what the mastermind has lined up next. Catch him on his remaining Cube v3 tour dates here.
Grimes, Canada’s queen of elaborate concept projects and sonic thought experiments, has materialized for another unearthly release, the two-sided “So Heavy I Fell Through the Earth.” The multi-talented icon of all things eternally odd has delivered two renditions of the song, a radio-intended cut, or Algorithm Mix, as well as an extended Art Mix. She’s also set a date, February 21, 2020, for her forthcoming LP, Miss_Anthropocene, which she’s said will lean heavily on climate change-adjacent themes, from the perspective of… wait for it, a misanthropic demon. The 10-track album is expected to be a stark departure from its 2015 predecessor, Art Angels, which was riddled with frothy, often disjointed pop singles and to which Grimes now refers as “a piece of crap,” and a “stain” on her life.
The song’s cosmically odd appeal harkens back to her Visions era. The ethereal downtempo production wistfully jaunts beneath Grimes’ signature moody, high-pitched croons. It’s the second single from the impending album, preceded by the equally astral and thematically weighty “Violence,” produced by smoldering mau5trap talent, i_o.
“So Heavy” arrives alongside an environmentally despondent visualizer: a foreboding portrait of Earth some years from now, scorching and uninhabitable, from the vantage point of outer space, where Grimes is engaged in a sword fight with a dragon. Armored literally and aurally, Grimes is a valiant envoy to usher us all towards our fiery ends.
Earlier this year, dance veteran ARTY spoke with Dancing Astronaut and conceded that he has “so much new music that 2019 won’t be long enough to release it all.” Since then, he’s kept true to his word, and now he’s back with his newest release, titled “Sunshine,” out now on Armada Music.
The vocals on “Sunshine” steal the show, extending ARTY’s track record preference for strong, captivating vocals that serve to compliment his kicking progressive backdrops. The producer’s most recent release, “Save Me Tonight,” followed a similar format, and could go on to be one of his most notable hits to date. DA linked up with ARTY again ahead of “Sunshine,” to dive into the record’s complexion.
“I think this is one of few times when I tried to combine so many genres in one song. And not just for the sake of doing it, but to tell the story properly, with the right sounds, and constant changing of flow throughout entire track,” says ARTY.
He manages to infuse a variety of electronic music genres into one single cut, ultimately keeping the listener guessing the entire time. ARTY has perfected a method for crafting feel-good electronic products and “Sunshine” is certainly no exception.
News broke yesterday that Madeon would be dropping a highly anticipated single today. A website “goodfaith.world” was posted to his Instagram and everyone went crazy awaiting the drop at what everyone presumed would be released to the world at the time announced. Madeon New Single This morning when we visited the website, we were gifted
As the summer approaches and we watch more sunsets, our minds tend to wander into our vault of memories from past summer experiences. ‘Memories’ is the newest creation from CRÈME, the captivating genre-defying project from Jersey City native Trixie Reiss, responsible for the creation of the instrumental, songwriting, and vocals. A pulsing low end and
Gramatik teased a collaboration with Tom Morello in the spring of 2018, featuring Post Malone. Now a year later that track is out, except, instead of the rap-pop superstar the track features southern blues aficionado Gary Clark Jr.; and the result is nothing to turn one’s nose up at.
“Can’t Stop The Bleeding” is a wedding of masters and lovers of music. The track is a genuine Rock n’ Roll-EDM love child. Gramatik’s familiarity with producing bass-heavy backdrops for guitar riffs shines through. Morello, on the other side of this genre-bending track, is no stranger to head banging and rail riding and “Can’t Stop The Bleeding” allows the listener to do just that. While the union struts heavily underway, Clark Jr. provides a voice for the track that is guiding, soulful, and a very distinct type of loud. His words provide something for listeners to harmonize with and internalize. The guitar riffs and rhythm throughout the track blend and bleed together like brothers in arms, atop a groove that only comes from years of true experience.
In the summer of 2013, Avicii was preparing to release his debut LP, True. The album’s lead single, “Wake Me Up” featuring soul vocalist Aloe Blacc, would eventually go on to become a chart-topping crossover anthem that would ultimately serve as the resounding snapshot for that entire year in pop music. Now, more than half a decade later, as the lead single for Avicii’s anxiously anticipated posthumous album TIM is finally ready to be heard, history may repeat itself, this time with the Aloe Blacc-assisted “SOS.” Though, whereas the atmosphere around “Wake Me Up” was triumphant and empowering, Avicii’s first posthumous release lands with an unmistakable air of melancholy and heartache. Avicii is gone—and with the first listen to his latest material, it’s clear that fact is still a profoundly painful swallow for everyone.
“SOS” finds Blacc’s stirring, heartfelt delivery gliding over Avicii’s instantly recognizable foundation. The tune’s uplifting melody and soulful lyrics come together in a poignantly complementary blend, making for an emotional lead single between two respected collaborators—one still here, and the other only in sound. Hear Avicii’s “SOS” below.
The genius behind Tame Impala (namely Kevin Parker) has always been glaring. The band’s sound is a dichotomy—completely original, yet familiar and reverberative. Parker’s idiosyncratic talents have graced collaborations with ZHU, Travis Scott, Lady Gaga, and more since the release of the last Tame Impala album Currents, which landed back in 2015. Despite the favors of flavors and flows Parker was able to gift through these collaborations, fans have been audibly yearning for a fresh Tame album for years. Parker unveiled the aptly titled “Patience,” at midnight March 22.
The cosmic and grounding sound of pure unadulterated Tame Impala proves to be alive and well in “Patience.” Over a intricately crafted (bordering on a perfect) arrangement, Kevin Parker’s vocals speak directly to the listener, neck deep in groove. Conga drums add a level of acoustic grounding while layers upon layers of experimental synths act as steps into the heavens. The conversation carries on over steady rhythms and cerebral lyrics. Kevin Parker sings, “I should be flying straight / don’t be late / ‘Cause time waits for no one / I should be flying straight / Don’t be late / ‘Cause time takes from everyone.”
Between the technical phonetic arrangement, the absolutely original flow, and the thought-provoking lyrics, it’s impossible to deny the authenticity of the track; and more so, not be excited about the upcoming album. Tame Impala is back, or rather again, they’re here.
Tame Impala are scheduled to headline the second night of Coachella to kick off their 2019 tour which will hit all over the US, Europe, and Scandinavia. They’ll also be playing at Lollapalooza in August, and debuting on SNL March 30.
Winter seems to be on its way out. The coals of fireplaces have cooled, windows have opened, the wind is now welcomed. In tune with this feeling, Jai Wolf‘s latest track, “This Song Reminds Me Of You,” has been released.
“This Song Reminds Me Of You” features synths that traverse smoothly over any landscape, over every horizon. A chorus of hums and vibrato of guitar create a feeling of absolute possibility.
“I started this song at an airport at 5 a.m.,” the producer said in a press release. “I was about to head out on a bus tour and felt really excited, so I wanted the song to capture that exact feeling.”
The result is an upbeat fluid and sweet sounding track that evokes inspiration to explore. The track is the fourth release from Jai Wolf’s upcoming and debut studio album, The Cure To Loneliness, set to release April 5 on Mom + Pop Music.