Singer-songwriter Manic After Midnite, or M.A.M for short, has a sound that can only be described as warm. You want to strip down to your tank top, take off your shoes, and kick back in front of a fan when you listen to it. And no, I’m not talking about in a “hot and steamy” kind of way but in a relaxing, inviting way. M.A.M.’s Soundcloud is mostly full of acoustic covers and a few original tracks that show off a more icy, celestial sound. But “The Chase,” her newest single, shows off a more fully evolved sound, one that belongs on radios, not sitting idly by in a Soundcloud playlist. With breathy soft vocals reminiscent of Janet Jackson’s Velvet Rope era, M.A.M. has captured a song that’s both familiar yet original. On Soundcloud the song is tagged as “planetary,” and to be honest, that explains it far better than I can.
|Recommended by Tiffany White||Friday, February 5th, 2016||No Comments »|
There’s those moments when you’re on Apple Music, Spotify, etc., and you look up one artist and a massive list of recommendations pop up; one of those recommendations on my list was Lianne La Havas. I didn’t think much of it so I just added her album into my music library so I could listen to it later, just like all the other random picks in my library. A few months later, while I scrolled through my selection of unheard music, her bright pink album cover drew me in and ever since that day, I’ve been hooked. With her melodic voice and sultry filled tunes, La Havas is making her way into the music world, one song at a time. Her music ranges from soft beats to melodic acoustics, making her a unique addition to anyone’s music library.
From her album Blood, which made it’s debut in 2015, my favorite has to be “Good Goodbye”. I have a soft spot for angst filled, simmered down songs and every time I’d hit shuffle on her album, about 90% of the time, it would be the first song to play. La Havas puts an ample amount of passion into her songs, much like this one, making us believe that she does understand how it feels to loose a lover and how painful it can be. Out of all the songs from the album, this song displays her raw vocal talent and lyrical ingenuity. The instruments used compliment the vibe of the song almost perfectly, making the song an addicting ballad.
|Recommended by Alecxis Rubic||Tuesday, January 19th, 2016||No Comments »|
It’s been nearly two years since Still Corners‘ Still Places, an album that should have propelled them into the indie pop landscape, a place currently dominated by Purity Ring and Grimes. But after the success of Still Places, Still Corners quietly disappeared. It wasn’t until I looked at an old mix I made two years ago that I remembered them and wondered if they had released anything recently. Color my surprise when I discovered that they did.
”Horses At Night” is Still Corners’ first single in two years, but their sound is just as recognizable as it was in 2013. Their glacial pop that glides with syrupy smoothness, thanks to the vocals, is my favorite thing about them. And with a current music landscape that’s over-saturated with twee pop, that’s no easy feat. Here’s hoping they don’t go on another two-year hiatus.
|Recommended by Tiffany White||Tuesday, January 12th, 2016||No Comments »|
The year’s 2004: a new comedy about two cops dressed as blonde heiresses had just been released and it was a sensation. White Chicks was, and still is, one of those movies that everyone randomly quotes because, coincidentally, whatever they had been talking always relates to something that happened in the movie. These are the things that make a movie a classic.
But what else made the movie so memorable and so insanely hilarious? If you asked me, I would’ve mentioned the many times “A Thousand Miles” was played and/or sung. I mean, when you think White Chicks and “A Thousand Miles,” can’t you just picture the head bobbing and pretend-piano-playing? Because I can.
Fast forward to 2015: dance music and revamps of old (and current) hits are what we hear almost every day. British songwriter, record producer, and remixer MNEK is one of those talented souls that just make our early 2000s hearts giddy again. At only 21 years of age, MNEK has worked with the UK’s biggest names; from Kylie Minogue to Clean Bandit to Rudimental. His talent and passion for music is evident in his mixes. For example, this refix of Vanessa Carlton’s world renowned hit “A Thousand Miles.” This remix takes the classic teen early 2000s hit and makes it into a song fit for 2015. The previous etherial piano tune is replaced by claps and insane beats and MNEK’s own vocals, plus a few bits from the late ’80s B-52s hit “Love Shack” in place of Carlton’s cool toned vocals.
|Recommended by Alecxis Rubic||Wednesday, January 6th, 2016||No Comments »|
There’s nothing like a good sounding alternative rock band, especially when new instruments are added into the mix. The Cordial Sins had me hooked from my first listen to their debut release DAZE, which came out in early November. Combining the sounds of lead singer Liz Fisher’s vocals with a violin and a keyboard, along with the classic rock pairing of guitar/bass/drums, the sounds mix together to form something wonderfully hypnotic.
I can’t help but put play “The Fall” repeatedly. The violin combines with the keys to create a haunting yet compelling sound that is weaved throughout Fisher’s voice, taking moments to pull you in and to surprise you. By the time it’s over, you realize just how addicting it really is.
The lyrics aren’t anywhere to find so far, but one interpretation I have is that the song is a story about fallen people who have left their music to be remembered. I could be wrong, but I like to think that the violin is the song of the fallen people and Fisher’s singing is a person interpreting it in the present. It creates a story in my head that isn’t told through words but through the composition.
Of course, to each his own: for any interpretation, just be sure to let the strings take you away.
|Recommended by Kieffer Wilson||Monday, December 7th, 2015||No Comments »|
For this week’s #TBT we’re not going that far back. After all, 2011 wasn’t that long ago. But Pink Playground’s debut album Destination Ecstasy came and went with little fan fare, which was unfortunate considering gems like “Never Was” and “Dark Bloom” was on there.
From Houston, Texas, the duo has a post-80s shoegaze sound that sounds as thick and nostalgic as you could imagine. Probably my favorite thing about “Never Was” is how proudly it hat tips the dreamy proto-rock bands of yore, creating an ethereal experience that you want to experience again and again. It’s a shame the duo hasn’t released an album since, but here’s hoping they have something lined up on the horizon.
|Recommended by Tiffany White||Thursday, December 3rd, 2015||No Comments »|
I’ll be honest, I originally only checked out The fin. because of a remix done by Petite Noir. However, the original track surprised me and was far better than Petite Noir’s choppy reinvention. From Japan, The fin. is an indie rock quartet that straddles that area of Euro-shoegaze and dream pop. The lead track off their upcoming EP of the same name, “Night Time,” is a song that proudly stands by its title. Written at night during band member’s Yuto Uchino long, lonely walk from the train station, the song is a chilly reminder of the quaintness of silence. It’s the kind of track that doesn’t entice you on first listen, but it gradually warms you up by the second and third. If you like this, remember to check out their full EP when it drops December 4.
|Recommended by Tiffany White||Wednesday, November 18th, 2015||No Comments »|