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.
Elohim recently delivered a new single titled “TV,” exhibiting once again the sincerity and depth of her unbridled ability to express. One might expect a track that starts off with the phrasing, “I’m depressed as fuck,” would have difficulty steadying listeners, but the composition and sweetly somber vocals etch themselves across the consciousness.
The electro-pop track is well-fleshed out and has an abundance of layers and transitions. Like changing channels, she evokes mental images of a glitchy heaven. Elohim harmonizes with a chorus in one round of the hook and sings, “I keep the TV on to tune out the sound/my mind’s way too loud/my mind is way too loud.” This message creates a feeling of interconnectedness through individual anxiety, and for the moment, reconciles it.
“TV” is the first track from an upcoming project that Elohim has been quite vocal about on social media. She has gone far to be direct in her message and even posted a well-written explanation of her lyrical use of “spaghetti legs” from the track on Instagram.
Elohim shares her strength through her songwriting and in doing so enables her fans to cope in a hyperactive often disjointed society. She creates a space where admitting to these sometimes senseless habits is okay and connects people. Elohim paradoxically and fluidly uses the great unifier—music—to connect people through their disconnect. Truly an inspiriting concept delicately wrapped for a troubled yet idealistic generation.
For now, fans whet their appetites with the album’s first delicious morsel. “Feel Love” is an instant classic, pairing evocative and soaring vocals from Rosie Doonan with Feed Me’s crisp and crackling instrumentation. The producer’s take hearkens back to his earlier progressive-tinged tracks like “Relocation,” with a dash of wistful indie pop melancholy mastered in past hits like “Love Is All I Got.” It’s a brilliant first volley from Gooch’s return, and fans shouldn’t bother reading too much into “Feel Love” as a clue of his LP’s sonic character–with Feed Me on deck, it’s a good bet to expect the unexpected.
David Guetta is no stranger to crafting EDM-country fusion hits, and the dance star is back for another round with “Better When You’re Gone” featuring Brooks and Loote.
Guetta’s latest single possesses an undeniably folky feel, despite neither the producer nor vocalist coming from the hyper-insular world of country music radio. “Better When You’re Gone” is the second collaboration from Brooks and Guetta, who previously struck gold alongside Martin Garrix with “Like I Do.” Their latest effort figures be another chart-topper, touting the full anatomy of a future dance hit.
Pop-perfect vocals courtesy of Loote bubble up slowly and soon reach a belt-worthy singalong fitting equally in car stereos or a main stage set. Soon the vocal hook is pierced by signature Guetta saw synths, dialing up the energy before landing into an anthemic festival drop. The breakdown sees the vocals return to bring the crowd back down to earth, before one last drop blasts off again into the Guetta-sphere.
Khalid‘s latest single “Talk,” has officially hit the Beats 1 Radio airwaves. The brand new Disclosure-produced collaboration is a soulful rendition that evokes feelings of stillness. Veteran radio host Zane Lowe spoke with Khalid in regards to the song’s meaning, ahead of the track’s debut.
Khalid eloquently explained that “Talk” is set in the honeymoon stage of a relationship. The track itself calmly reflects on the importance of awareness and the communication one must engage in to move forward as the intensity of love settles in. With a voice so unique that it simply cannot be mimicked, Khalid croons, “Can’t we just talk? Talk about where we’re going/Before we get lost/Let me out fast/Can’t get what we want without knowing.” Disclosure’s production backdrop serves up the dreamy yet steady beat for Khalid’s words and emotion to swim through. Khalid said, “It’s one of my favorite songs I have ever been a part of.”
“Talk” is the lead single off Khalid’s upcoming sophomore album, which the El Paso sensation announced would be released before his upcoming performance at Coachella.
J. Cole has released his first track of 2019. In typical Cole fashion, fans were bombarded with the announcement of “MIDDLE CHILD” with a seemingly out of nowhere clearing of his Instagram feed, replaced with posts promoting his new song. Produced by T-Minus, the track follows the release of the North Carolina rapper’s highly anticipated album K.O.D. in 2018.
“MIDDLE CHILD” addresses common themes that have arisen throughout J. Cole’s career, including his quitting the rap game (which, through this single’s exercise it becomes clear he’s not quite ready to stop rapping just yet). Cole also explores impressively beautiful metaphors—a trait that has become integral in his brand—this time, comparing his own rap career to being an awkward middle child between two generations of rhymers. The new track is Cole’s first solo single since 2013. While it’s unclear if “MIDDLE CHILD” is a signal for more music down the line from the famously platinum-with-no-features rapper, if this was in fact the first single from a larger project, this would be the beginning of J. Cole’s first traditional album roll out since Born Sinner.