Tag: full-length

ALBUM REVIEW: Cool Company “Slice of Paradise”

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You may recognize Cool Company from a few of the recent reviews we’ve done on them. We featured their single “Slice of Paradise” and chatted with them for a brief interview on their inspirations and upcoming work, and now we’re here to showcase the release of their full-length album Slice of Paradise.

Cool Company is a hip-hop/R&B duo made up of two fellas based in Bushwick, Brooklyn: Yannick Hughes (Cool Yan) and Matt Fishman (Fat Matt). The pair met back in 2006 during a choir class and have been making chill, laid-back jams together since 2012. At first, it was just friends making music together, but that relationship quickly expanded to a more serious musical adventure, which led to the May 2013 debut of their self-titled full-length.

After their first LP dropped, Cool Company went on to release their popular single “Call You Back” in November 2014. It was a piece that catapulted the band into a new direction: It led to a publishing deal with CDF Records in Switzerland and Italy, and it was also a showcase of Fat Matt’s producing skills, as the single was released with a remix produced in-house by Matt.

In 2015, the duo released their poppy EP Summer Daze, and some remixes from pieces on the EP soon followed in 2016. However, the band was relatively dormant until June 2016, until they released their first single from Slice of Paradise, “Why You Gotta Make Me Do It.”

Slice of Paradise itself is a deviation from the more poppy side of what the band had been putting out so far, and it instead focuses on laid-back tracks that meld together in a seamless blend and is sprinkled throughout with multiple interludes. It almost feels like you’re listening to one long song; the album overall is cohesive and smooth, perfect to listen to on a relaxing afternoon.

It begins with “When Did We Get so High?,” which is the musical equivalent to that feeling you get when you open a new book and know within the first page that you’re going to have a hard time putting it down. It drags you in with gospel-esque singing and smooth rapping, then transitions into the next track, “Ride or Die” without missing a beat. This second track brings a more upbeat, fun energy to it, complete with expert producing. “Faded” goes a step further to kick it into a more energetic gear; it’s tantalizing and dream-like, moving through your mind in a blur –before you realize it, the track is over, and you’re moving onto the next one. After that follows the titular track, which is sexy and glamorous, making it the perfect centerpiece of the album.

After the first interlude, “Hopeless,” the album moves onto “Tuck You In.” It’s a sweet yet savory track that’ll make you want to get down in more than one sense. “End of the Night” is full of titillating keys and vibrant synths, and “Stare and Smile” takes the production to another level. “Habit” is an eccentric yet relaxed track that’ll fully immerse you into the album (if that hasn’t already happened, anyway).

Following yet another interlude, “Headphones,” is the enjoyable and much-awaited “Why You Gotta Make Me Do It.” It’s full of switchbacks that make your head spin, but in the best way possible–it’s an exciting track to keep on repeat. From there, we reach the final interlude, “$50,” and close the album out with “Life.” As its name suggests, it vivacious and stunning; it’s a great way to end a piece that has most definitely provided its listeners with ample material to groove on.

Slice of Paradise overall is a fun, chilled out album that, at times, will make you want to dance and then switch in one seamless motion to wanting to Netflix and chill. It’s seamless production, never-ending supply of synths, and fresh raps make it an album to digest as soon as you have the time to devout to it.

ALBUM REVIEW: Regina Spektor “Remember Us to Life”

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It’s been some time since our eardrums have been graced by new music from Regina Spektor. At long last, the Russian-born New York-bred songstress has released a new full-length, Remember Us to Life, and while it isn’t a total deviation from her past works, it was also incredibly much-needed.

The album kicks off with her leading single from the piece, “Bleeding Heart.” It sees Spektor flexing her usual impressive vocal range, as well as an overall upbeat and high-spirited aura. It tinkles around in your head and ends on a more aggressive note, promising coming music that you’ll be captivated by. “Older and Taller” and “Grand Hotel” take more sentimental tones, which is completely expected with Spektor–a mix of high and low energies interspersed with intimacy and vulnerability.

From there, the album takes a turn toward the quirky and ethereal with “Small Bill$,” and just as quickly switchbacks to contemplative and personal with “The Light.” The back and forth continues as “Tornadoland” is full of energetic keys while “Obsolete” takes more of a solemn approach.

If you’re looking for a new sound and a reinvention from Spektor, then you might find yourself disappointed. However, if you’re looking for good vibe-y music and the talents of Regina Spektor that we’ve all come to know and love, then you’ll be head over heels for Remember Us to Life.

ARTIST INTERVIEW: Cool Company

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Brooklyn-based duo Cool Company are releasing addictive, smooth, jazzy hip-hop tunes that’ll make your toes tap and your head sway. It’s the sort of music you want to be the soundtrack to your life, filling you with confidence and chill as hell vibes as you go through your everyday routine. Although we weren’t able to make our busy New York schedules align perfectly for a sit-down interview, I was still able to chat with Cool Company about how they got together, their musical influences, and their plans for the future.

AudioFemme: How did you meet and start making music together?

Yannick: We met way back in my junior year of high school. We were sat next to each other in choir, and then we both went on to make it into the honors choir the next year. We didn’t start making music together for another four to five years, though.

Matt: I had got into producing rap beats, but I didn’t really know any rappers, so me and my friends would get high and write joke raps. We kept inviting Yan to join—finally he did, and to be honest, it wasn’t that special at first haha. But we kept making stuff together, and he kept getting better and better exponentially faster than anyone else I had worked with, so soon enough we decided to give it a serious shot.

Do you have more in-depth backgrounds in music?

Y: I was always singing and dancing around the house as a kid, so my mom made me join church youth choir. I wasn’t that into it at the time, but I guess it all worked out because it eventually led to this.

M: I started playing trombone in fifth grade because I thought it was funny how the slide went in and out and you could poke people with it. I picked up the guitar a few years later when I got into music, then piano, then bass. I’m known to pick up a ukulele from time to time, and I love playing with various percussion instruments, which incorporate into my production a lot. Next on the list is the flute.

I also sang in choir, where I met Yan.  I went on to study classical composition in college, which has influenced my production a lot, even for the pop/hip-hop songs.

What was the inspiration behind your upcoming full-length?

Y: We wanted to make something really upbeat and fun while still having some substance and thoughtfulness. I’d say the project was inspired a lot by the ups and downs of a Brooklyn summer. Life.

M: Each song is basically a journal entry for both of us. Whatever was stimulating us at the time led us to create what we created. So since we both see the world in a particular way as individuals, this album really gives you a taste of our personalities. In the time since our last album, we’ve created maybe 50 or so songs. We had to say goodbye (for now) to a few good ones, but I think we picked the strongest and most cohesive combination.

Do you have any favorite songs off it?

Y: They’re all my babies, but if I had to choose right now I’d say “Slice of Paradise,” “Faded,” and “Life.” “Life” is really one of the more dynamic songs we’ve written. It really takes you on a journey.

“Slice of Paradise” is one of those where, as soon as we had the first cut, I hit up our manager ASAP because I knew we had a major song there.

M: It’s hard to say because they were all my favorites when I made them, but mine right now are “Slice of Paradise,” “Life,” and “End of the Night.”

Who are some other musicians you draw inspiration from?

Y: I grew up hearing a lot of MoTown from my parents, and I can never seem to shake the influence that has on my songwriting. More recently I listen to Frank Ocean, Chance, Kanye, The Weeknd and this artist named Kamau whose latest EP has become one of my all-time favorites. Outkast is a classic influence. They pushed the boundaries for sure.

We pride ourselves in writing catchy songs and hooks that are uniquely distinct from a lot out there right now. Fresh ideas that still have that pop/commercial sensibility, but are new and avant-garde in a way and just chill AF. There are a million recycled ideas out there, but it was and is the greats that push the boundaries of music and genre.

M: My earliest influences were Stevie Wonder’s “Songs in the Key of Life,” The Beatles, and this compilation album “Pure Funk” that I made my dad buy me when I saw the ad on TV as a kid. Then 2000-era pop radio, lots of Neptunes and Timbaland produced stuff, though I didn’t know the producers at the time. It was Nirvana and alternative rock that actually got me into making music, though I don’t listen to or make that stuff anymore. More recently I’ve drawn influences from hip-hop, R&B, jazz, classical, afro-beat/highlife, pop, and electronic music. I don’t use all these influences in one song, but it helps to have lots of different techniques up your sleeve so you don’t just sound like a copy of another band.

Do you have any funny behind-the-scenes band stories you like to share?

Y: When we were working on “Lighten Up,” one of the songs on the upcoming release, Matt kept trying to get me to sing with a lighter, smoother, more relaxed tone. He ended up having me lie down in bed, then position the mic over my face. I fall asleep really easily, so I kept taking little naps while we worked, but I ended up getting the relaxed tone he wanted. I kind of wish we could do that for every song.

M: Back when we worked on the first album, I recorded little farting sounds with my hands, then bet Yannick I could fit it into a song. He declined to take me up on the bet, but I did it anyway—the synths on “Yourself” are modified hand farts. There was also a song I incorporated burping into, but that one didn’t make the cut.

What plans do you have for the future?

Y: We’ve got a couple videos in the works. A beautiful one for “Slice of Paradise,” which we look forward to releasing very soon. Plus a full-length album in the coming weeks of September. And of course, we’re always making new music. We continue to write and write and have a nice little stockpile of music.

M: We’re also teaching our live band the new songs, maybe putting together a small tour. Or a big one if you ask nicely.

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ALBUM REVIEW: Winterpills “Love Songs”

Winterpills "Love Songs"

Winterpills "Love Songs"

Winterpills just released their latest full-length, Love Songs, which is aptly named because it’s a collection of songs that you’ll be absolutely in love with. The whole album is everything we’ve come to expect and appreciate from Winterpills, meaning that it’s perfect for relaxing to as well as for hosting private singing/dance parties.

The album starts out with the slow yet entrancing “Incunabala” where you’ll find yourself completely captivated by the plucky guitar chords. From there, we’re met with the substantially more upbeat “Celia Johnson.” The track sees singers Flora Reed and Philip Price matching one another’s vocals perfectly while accompanied with some slick keys and cheerful guitar riffs.

By the album’s midpoint, you reach “The Swimmers and the Drowned,” which works well to shake up the piece’s vibe. It’s the type of track where you’re the heavy bassline grabs your attention immediately. You’ll find yourself listening intently to the lyrics as soon as Price and Reed chime in together so you can figure out the story they’re trying to tell. “Bringing Down the Body Count” sees Reed leading the vocals on this slow and somber track, full of heavy guitar chords and tinkling keys. From there, it only makes sense to close out Love Songs with “Diary, Reconstructed” and “It Will All Come Back to You.” The two ballad-esque tracks feature Price’s raw and vulnerable vocals alongside tender keys, brass, and guitar.

Winterpills as a whole is full of passion and has certainly figured out the recipe for working perfectly with one another. “Love Songs” is just a testament to these facts.

Key Tracks: “Celia Johnson,” “Freeze Your Light,” “A New England Deluge,” “Bringing Down the Body County”

Listen to “We’ll Bring You Down” off their album Central Chambers below:

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ALBUM REVIEW: HÆLOS “Full Circle”

HAELOS

HAELOS

There’s something inherently chill and laid-back about HÆLOS, which becomes immediately obvious upon clicking play on their latest full-length, Full Circle. It starts off with an ominous intro track that leads you into an enchanting whirlwind in the form of the song “Pray,” transporting you through realms that seemingly span the course of years. James Sandom and Jessica Lord’s voices swirl together in ethereal tones, complementing one another in all the right ways while floating along on perfectly matched synths from track to track.

The titular track meets you almost in the middle of the album, and unsurprisingly, it feels like the epitome of the album’s intention: otherworldly yet transformative. From there you reach “Oracle” at the album’s mid-point, which feels like a big turning point in the piece. It’s refreshing and rejuvenating, holding a promise of enticing music to come that practically carries you through the rest of the album. Full Circle closes out with “Cloud Nine” and “Pale,” two tracks that are packed full of emotion and leave you with the hope for more from HÆLOS.

Full Circle flows seamlessly, and by the end, you truly feel as if you’ve come full circle in a musical sense. It’s an aural blessing, one which you won’t be able to get enough of. The album will be out tomorrow, March 18 through Matador Records.

Key Tracks: “Pray,” “Oracle,” “Cloud Nine”

Listen to “Separate Lives” below:

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