Detroit based hip-hop goddess DeJ Loaf returns with soft edges and a warm-hearted willingness to compromise with the whimsical visual for “No Fear” her first single from her major label debut, Liberated, due out later this year. Our beautifully braided, Gucci-clad heroine finds sunshine in exploration and confession with “No Fear.”
Tinged with Gosh Pith electro-pop feels and hand-claps, we find Lady Loaf wistful and motivated to make the impossible possible with an undeniably upbeat determination. Exploring the tribulations of a relationship with someone who is always on the road, “No Fear” is a much needed burst of positivity. Loaf sings “I’m gonna love you with no fears/We can do this thing together/Close your eyes and take my hand/What we have is something special, baby, let’s just take our chance.” Though the mobile bed gives us Vanessa Carlton’s “A Thousand Miles” vibes and, well, the message is not entirely dissimilar either, DeJ Loaf finds her own sweetly unabashed love language. The video mixes fantastical animation and fantastical means of travel, suggesting summertime wanderlust and encouraging listeners to overcome their love-lorn obstacles.
In wake of what most consider one of the most turbulent years in recent memory, 2016 carried a heavy weight. From the death of idols, poets and American democracy, this year challenged our collective patience and sanity leaving no stone unturned. That being said, 2016 reared its resilient head by means of music, the ultimate rebellion. And Detroit? Well, my sweet little city on the rise broke new ground with a slew of releases that eased our troubles, cooled our fevers and incited a burning fire that not even 2016 could extinguish. Below are a few notable moments in Detroit’s music year and perhaps a telescopic view of the year to come.
Best album to cry, drive and reflect to: Anna Ash: Floodlights
Anna Ash’s sophomore record Floodlights is, without much deliberation, my favorite album of 2016. Having spent the better part of the year collapsing and mending Ash’s innate ability to give power and strength to her raw and exposed vulnerabilities paired with the sincere Midwestern, orchestral dashboard dust makes Floodlights a strikingly honest portrayal of (my) hearts fragile design.
Best album to start a new life on Mars to:
Zoos of Berlin: Instant Evening
Okay, so I lied. Zoos of Berlin’s masterfully produced and cosmic journey Instant Evening is in constant contention for my favorite release this year. What Instant Evening offers is a poignant and tireless orbit that explores the depths above and below without ignoring our enslavement to gravity. A dizzying leap into perceptions of time, Zoos of Berlin delivered this years soundtrack for your existential eclipse.
Best record to drop acid and make-out with a stranger to: Mountains and Rainbows: Particles
There is something pleasantly debaucherous about Mountains and Rainbows LP Particles. A loosely woven parade of psych-pop jams and zombie-beach-party rock that is intended for the night you’ll forget to remember. Unwashed, untamed and yet, politely tethered to a structure all their own, Mountains and Rainbows delivered a much needed dose of revelry.
Song most likely to be playing when you’re arrested for getting busy in a public restroom: Stef Chura: “Slow Motion”
Undoubtedly one of the most anticipated releases of 2017, Stef Chura’s specialized brand of tortured kitsch kept 2016 afloat. Chura’s first single “Slow Motion” from her upcoming record Messes, is a hazily languid, hickey-necked crisis that begs to get caught (and to be kept awake by thoughts of the “what the fuck am I doing? variety.)
Artist most likely to score a foreign sci-fi film: Humons
Eclectic and texturized dream house artist Humons busted through a few atmospheres with his debut EP Spectra. A multi-dimensional, electro-pop collision course of cosmos and other worldly feels, Humons arrangements channel the extraterrestrial and the extraordinary complete with danceable, sensuous beats that any human or alien could get down to.
Song most suited for a girl-gang rebellion/club takeover: Bevlove: “Do What I say”
A word of warning and a call to arms, “Do What I Say” from badass hip-pop game changer Bevlove, was the girl gang anthem we all needed in 2016. Laced with tenderness but swollen with commanding and demanding pussy power, “DWIS” was the most radio-ready song out of Detroit this year, channeling the likes of RiRi and Queen Bey, our Lady Love delivered one hell of a punch (and maybe even a groin stomp or two.)
Video most likely to feature yours truly: Gosh Pith: “Scoop”
Our beloved Josh x Josh trip-hop duo Gosh Pith were busy boys this year. They toured, recored, released and churned out several videos for their EP Gold Chain all of which embody their sexy poetry and big heart lifestyle. And yeah. Okay. This is a shameless plug of sorts but being a love interest in a music video has been a life long goal of mine (well, I think it started with Mariah Carey’s “Heartbreaker” but whatever.) So when GP (I get to call them that now that I’m on the inside) asked me to star in the video for “Scoop”, a catchy, love lorn groove about the girl that got away (and then slept with someone else at her heartbroken ex’s house party. SAVAGE!) I immediately said yes and actually brushed my hair for the occasion. Full of cameo’s by Detroit’s many intermingled squads, this video is a fun look back on the year that was as brutal as, well, a breakup but as hopeful as a new spark.
It’s been a while since we’ve checked in with our favorite cosmic trip-hop duo Gosh Pith, who have spent the past few months touring sporadically while teasing tracks from their forthcoming record. Most recently, Josh Freed and Josh Smith dropped “True Blue,” a love song at its core inspired by getting pulled over by a state trooper after a gig. What Gosh Pith is getting a stronger grip on these days is the power of duality. Clashing bass serves as both an opportunity for an impassioned bump and grind and also viscerally alludes to wavesrelentlessly beating the shoreline. The lyrics are relatable in their indecisiveness; running to and from, pulling away and in. Relating the fear of the law with romantic entanglements, it’s easy to picture yourself escaping the swirl of red and blue lights on foot, dipping through highway brush and hopping fence lines with the same endangered fire you might escape to/from the arms of the one who’s got you feeling all types of crazy.
The lyrics are relatable in their indecisiveness; running to and from, pulling away and in. Relating the fear of the law with romantic entanglements, it’s easy to picture yourself escaping the swirl of red and blue lights on foot, dipping through highway brush and hopping fence lines with the same endangered fire you might escape to/from the arms of the one who’s got you feeling all types of crazy. There is a, dare I say, Bieber-esque moment with the harmony surrounding the chorus that is pleasantly poppy and roots the track to the duo’s hidden, soft-spoken accessibility. If “True Blue” is any indication of what we can expect from their next album, it’s apparent that Gosh Pith is still pulling us into their beautiful world where the waters run deep and being trapped means another chance to break free.
Detroit has always been the dark horse holy ground for musical exploration and long-term contribution to music at large. Assemble Sound, a collective of collaborative artists as well as a full-fledged recording studio nestled in a historic church in Detroit’s Corktown district, is redefining the music community and blowing the glass ceiling off of possibilities for local artists.
In the spirit of collaboration, Assemble forged an idea that would allow artists to experiment with each other’s sound as well as find a home for whatever mashup is born from that session. The Sunday Song Series (which stipulates that the song must be a collaboration and go through the peer review process and, of course, must be recorded at Assemble Sound). It’s an “all-hands-on-deck” situation at Assemble, but not because there aren’t enough hands to start with. Rather, an extension on Assemble’s philosophy which is deeply rooted in exploration of creative freedom while still focusing on the formalities of how to succeed in the industry. At the end of summer, Assemble will release a 12-track album of all the Sunday Song Series and as summer comes to a close, we are gifted song 11 from the series which is a collaboration between Nydge (producer and soundsmith Nigel Van Hemmye) and Joshua (one half of trip-hop duo Gosh Pith) titled “Lemme Know.”
A trippy love ballad that begs for another chance and bounces around like teenagers flirting at the mall, “Lemme Know” is a playful plea and a totally danceable account of an impending heartbreak. The shimmying synths and periodic chimes give a montage feel; from first kiss, to meeting the fam, to growing disinterest to a bold “take-me-back” 80s John Cusack worthy gesture. The song is quick but satiated; Joshua’s verses are sleepily distressed until the chorus builds to a hopeful plan to “keep this love alive” where his vocals climax. The production is radio ready and could easily squeeze a female vocalist to duet the cat and mouse fluctuation of who loves who and how hard. But the track is effective with Joshua’s singular bright side desperation as Nigel’s fashion show runway mixtape vibe clashes to form pop purity at its funnest.
Listen to the collaboration below and click here if you want to know what’s happening at Assemble.
My favorite gush worthy trip-hop duo, Gosh Pith, returned this week with another treat from their upcoming EP, Gold Chain, due out February 26. Directed by Shane Ford and chock-full of my friends, acquaintances, and fellow kindred city spirits, “K9” is described as “a story about a young love triangle in the heart of the Detroit underground.” The video is dizzying, enchanting, and perfectly encapsulates the hazy romanticism of Detroit’s landscape.
Shot through the eyes of explorative youth who are tempted with growing up too fast, “K9” is met with a thoughtful innocence and sweetness that speaks to that nostalgic space of feeling small in a big world and the desire to be taken seriously. Each scene explores familiar rites of passage. From stealing a gold bottled beverage and gold chain candy bar from the convenience store, to becoming blood brothers and sisters on the steps of an abandoned house, to sneaking into an after hours club where they yield a gun for fun and turn down the offer to snort lines of gold glitter. As the viewer, you never fear for these kids and you don’t criticize their judgment because what “K9” does best is connect us to the restless teenager buried within our jaded adult skin.
More like a film than a video, Gosh Pith found a poetic way to capture ennui, peer pressure while still remaining “cool,” which seems to be the shared goal of our three, baby faced actors. The repeated hook, “We just don’t know nothin’ baby” is simple and telling of the human condition (and the teenage one, respectively) and reads more like a movie script line than a lyric, making “K9″ an unexpectedly evolved and evocative experience.
If you’ve seen the cover of this month’s TIME Magazine or have recently tuned into any national media outlet, you know that Detroit’s sister city, Flint, is in crisis. Due to corrupt government, dangerous mismanagement, and incompetence, thousands of Flint residences have been poisoned by lead through the water system.
Long story short, Flint was getting its water from Detroit until 2011 when Gov. Rick Snyder, due to economic disparity, decided that Flint would begin receiving water from the Flint river, despite the water’s highly corrosive makeup and the cities aging, weathered pipeline. The water itself is not poisoned with lead, but is so corrosive that it is stripping the lead pipes. Last fall, auto manufacturers refused the usage of Flint water as it was corroding the auto parts, yet it continued to pump into every household, poisoning an entire city. Despite the President issuing a state of emergency and the allocation of 80 million dollars in FEMA relief funds to assist Flint in its recovery, the damage is irreversible.
I know what you’re thinking. What does this have to do with music? Well, nothing, really. Other than the fact that I feel that I bear the shared responsibility of social consciousness as an artist and fellow human taking up space on this floating ball in space. I couldn’t help but search for some convoluted way to draw attention to this issue, while also finding personal solace through the only outlet that I knew. I’ve curated a playlist of “water songs” by Michigan artists with the hope of a healthy resolve for the millions of people around the world who do not have access to safe drinking water, which now include the thousands of children and families of Flint, Michigan. Let these tracks wash over you and extinguish any unwanted fires.
Eddie Logix and Blair French are BLKSHRK. Released last year, Jellyfish on Cassette is an ocean of temperamental pulsations. The project fuses programmed sampled, live takes and improvisation all of which swell. “Arm Floaties (Night Swim)” gives gives the aural allusion of treading deep water.
This alternate take of “Tidal” from 800beloved‘s dreamy sophomore record, Everything Purple, is a trembling and sedated beachside lullaby. Lynch’s breathy vocals paired with the distant and upbeat pop distortions forms the sensation of having a sun stained memory you wish you could return to.
A standout track off of their 2013 album Wormfood, “Water” is drowsy and pleasantly complacent, much like falling asleep in a filled-to-the-rim bathtub. It’s a smug track about the things we normally don’t have the guts to confess about the disinterest in meaningful love and sex. It’s the type of song that demands hydration; a sonic hangover.
Before they dropped the Nascar kitsch, JRJR released Patterns. “Dark Water” is reminiscent of The Shins with hints of Jon Brion, making it both sugary and brooding. The Beach Boys-esque harmonizing and piano crescendo mask the heaviness of the repeated imagery of drowning which makes this bubbly pop track ironic and bittersweet.
One of my favorite Detroit duos, Gosh Pith, channel a sleepy Animal Collective/Vampire Weekend vibe with a track off their 2015 EP, Window. “Waves” challenges the listener to let go, internalizing the symbolic properties of water via a gentle, lapping synth pop track.
The Gories: “Goin’ To The River”
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The Gories formed back in 1986 and were fearless in welding 60’s garage rock with hyper rhythm blues. “Goin’ To The River” from I Know You Fine, but How You Doin’ released in 1990, is defiant and demands rowdiness. This track by The Gories is a perfect example of their lasting and often overlooked influence.
What I consider to be the most under appreciated album in Iggy Pop’s catalogue and one of the most important contributions to post-punk, New Values is full of songs as jutting as this one. “Endless Sea” is particularly provocative. The synth breakdown along with seductive, temperate vocals are the perfect pairing for giving the drugged sensation of literal endlessness.
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The Dead Weather may be my favorite collaboration from the diverse repertoire of Detroit’s golden child, Jack White. White along with Alison Mosshart (of The Kills) make for a sexually hypnotic rock experience. “Will There Be Enough Water” is a smokey, blues infused anti-apology that is as thirsty as it is satiated.
The folkiest track on the playlist, “Waterfall” off of Fred Thomas’ Kuma is moody and textured like a messier, sleep deprived Elvis Perkins. The song begs “Come on everyone/it’s time to go see the waterfall” an uplifting chorus partnered with moaning string arrangements keeps “Waterfall” in the heartache category.
This track off of Don’t Wait by experimental pop duo Valley Hush could easily be a secret video game level trudging through sparkling, underwater sludge where Lana Del Rey meets St. Vincent. It’s more sensational than literal, but the ominous gurgling noise is animatedly visual.
If you would like to learn how you can help the residents of Flint, Michigan, click here.
I first met Gosh Pith during their soundcheck last month at the Royal Oak Music Theatre while opening for JR JR. I remember walking across the stage and making a snap judgment on their appearance, assuming I knew what they were going to sound like (something I am guilty of time to time). I had almost made it to the stairs leading to the green room when Josh Smith released his voice into the empty theatre without music to back him. It was soulful. It was sincere. It was sensual. It was completely unexpected. “Did that sound alright?” Paralyzed with the realization that I was wrong (and happily so), the other half of the self-described “cosmic trap” duo, Josh Freed, interjected his sultry, carbonated, synth beats which moved me from my frozen stance of disbelief. Smith joined in, and I was suddenly, without wavering doubt, a Gosh Pith fan.
Last week Gosh Pith released “Gold Chain,” the first single on their independently released EP due out next year. The EP could rival The Weeknd, The Neighborhood, and likely any literal weekend or neighborhood. Freed and Smith seamlessly weave indie pop with alternative R&B with a tenderness and clarity that you’d only anticipate from seasoned multi-genre artists. “Gold Chain” is a balancing act, and Gosh Pith commits to handling the track’s softness and its expletive fervor with equal care.
“Gold Chain” shares a common thread with Gosh Pith’s overall catalogue: thoughtful and tapered production. Every element is purposeful and polished with enough room to breathe. When fusing electronic beats with guitar parts and poppy, melancholic vocals, it would be an easy out to over produce or to cram convoluted, excessive texturing into the track’s tight two minutes. The use of restraint is impressive, and allows the duo to shine in their respective lights bound by their synchronistic veil of tone, mood, and sincerity.
The most intriguing element of “Gold Chain” is also my only hangup, but because I’m so intrigued it’s more of a curiosity than criticism. The abrupt ending infuriated me at first. One second I was swaying my hips in my office chair feeling compelled to text my boyfriend something sexy and sappy (something I think Gosh Pith intended to promote) and then suddenly the song dead ends with a dreamy reverb guitar strum. I felt sort of abandoned. Upon a second and third listen I realized my anger was with wanting more. Not because they didn’t give enough, but because the story felt real enough to care. I eagerly await the second act, wondering if they’ll pick up from where they left off.
It’s been a while since we’ve checked in with our favorite cosmic trip-hop duo 
