Music – Page 2 – Audiofemme

VIDEO OF THE WEEK: Ben Talmi “Play”

Lyric videos aren’t always the most captivating or memorable, but Ben Talmi’s video for “Play” is one that’ll entertain and impress. On top of that, it’s an overall fun, catchy song that’ll be sure to get stuck in your head.

The video follows an artist creating the same image over and over: a series of straight lines meeting at a central point. It gives viewers the feeling of looking at a sun setting or rising on a horizon, creating depth and dimension to the flat surface. Throughout the video, these lines flicker and waver alongside the upbeat music, disappearing or multiplying in accordance with the tempos. While this happens, the words also seem to play with the music, twisting and turning as the vocals increase and decrease in pitch.

“Play” plays with your mind and engages you in the way we wish more lyric videos would.

TRACK REVIEW: Capital Cities “Vowels”

It has been far, far too long since there’s been a new Capital Cities song to jam out to, but thankfully we don’t have to go by deprived any longer.

Their latest single “Vowels” is not one to disappoint. It holds true to what we’ve come to expect from Capital Cities already: plenty of synths, a beat worthy of boogieing down to, and some spine-tingling brass breakdowns. Let this new track be the jump-start to get your week started, the pick-me-up you need at the middle of the week, and the anthem to your weekend.

TRACK REVIEW: Blinders “Hero”

Need a bit of a midweek pick-me-up? “Hero” by Blinders is exactly what you need to make the week feel like it’s halfway over rather than just beginning.

The track kicks off with a burst of energy and vocals that practically beg you to get up and start dancing. Its entrancing synth beats and mix of surreal vocals will transport you directly to the weekend, where you can spend your time dancing to your heart’s content. While traveling Asia and Europe, Binders mixed this unique single. It ended up taking almost a year and experimentation with five different vocals to find exactly what he was looking for with this piece. And we think he got it just right.

This is Binders’ fourth release off Protocol Recordings, and he’ll be performing in Amsterdam in mid-October.

TRACK REVIEW: Gunslinger “All of Your Life”

Light up your day with the electrifying new single, “All of Your Life,” from Gunslinger.

This anthemic house track has everything you look for in an electronic piece: tons of synths, bass drops that get your heart racing, and upbeat jams that make you feel like you’re on a musical journey. In addition to personal inspiration, Gunslinger also utilized the Infected Mushroom “I Wish” plugin as an aid in producing this single. If you’re bummed about missing them at Burning Man last year, keep an eye out because you might be able to catch them at an upcoming show.

TRACK REVIEW: Jesse Mac Cormack “Repeat”

With his minimalist style and entrancing rhythms, Jesse Mac Cormack is putting out music that’ll have you grooving in no time. His single “Repeat” from his latest EP After the Glow is a shining example of that.

The track is full of gruff vocals, jangly guitar riffs, and rhythmic progressions that get your heart rate going and might just make you dance in your seat without realizing you’re doing so. It’s a great song to have along for a road trip or when you’re making an adventurous decision.

Check out “Relief” below, and head over to his SoundCloud to stream the rest of After the Glow.

ARTIST INTERVIEW: Cool Company

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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VIDEO OF THE WEEK: Infinity Shred “Choir VI”

At first, you might think the video for Infinity Shred’s single “Choir VI” is a video game demo or a preview of an upcoming trippy movie. It pulls you in with its fascinating 3-D graphics and captures your entire attention, to the point that you won’t even realize that it’s been three minutes since you began watching it. The entire track tells a story of wonderment and intrigue, as you follow an adventurous skateboarder into a church in the woods where he has an ethereal experience as he warps and twists and floats away after skating around a bit. The song features chills-inducing drums by Clara Warnaar and entrancing synths, all of which work together to create this piece full of nostalgia and innocence. It’s the first single off Infinity Shred’s upcoming full-length Long Distance, which is due out on October 14.

VIDEO REVIEW: Kids of the Apocalypse “Better Life”

There isn’t enough thought put into what happens to the children once the apocalypse hits (step up your game, The Walking Dead), but Kids of the Apocalypse took the idea and ran with it, particularly in the video for their single “Better Life.” There’s symbolism for a world run by capitalism, it addresses love in an apocalyptic way, oh, and it also features astounding Gorillaz-esque graphics. It’s a chill rap song full of melodies and gloom with the cartoons to match that mood, the brain child of producer/musician Stefan Storm and animator Ernest Desumbila.

Sit back and watch this fascinating video—it’ll disturb you a bit, but it’ll also definitely resonate in a way that’ll have you wanting to watch it over and over again.

VIDEO REVIEW: Ex Reyes “Bad Timing”

Beautiful cinematography, chill vibes, and impressive Mardi Gras costumes and makeup are to be found in Ex Reyes’ recent video for his single “Bad Timing”—meaning, it’s a video worth watching. It gives a dark spin to the otherwise celebratory NOLA holiday, with standoffs and groups of people chucking guns into a burning police car as Ex Reyes hangs out in the periphery the entire time. Oh, and there is a lion mascot and baton twirlers that probably dance better than most people you know, too.

Mikey Hart, aka Ex Reyes, showcases his smooth falsetto vocals in this relaxed out single alongside crashing cymbals and an entrancing saxophone breakdown. It’ll have you wanting to hang with the cool kids (pretty much every single person in this video) while also inspiring you to head to New Orleans ASAP to see these festivities for yourself (as if you need further encouragement, though).

You can catch Ex Reyes on tour through October this year with How to Dress Well. Watch “Bad Timing” below.

VIDEO REVIEW: NENA “Genau Jetzt”

NENA, who you may know from her world famous single, “99 Luftballons,” has recently come out with a new video for her latest song “Genau Jetzt” (“Right Now”).

The video showcases different people, both by themselves and interacting with loved ones. With NENA’s powerful vocals over the video, you don’t need to speak German to feel impacted by this pop anthem. It’s a track where you can go from feeling empowered and inspired to dancing around the room completely lost in the music.

NENA will be embarking on her first U.S. tour starting in September where she’ll hit San Francisco, Los Angeles, and New York City. If you’re looking to experience this German pop legend and hear “Genau Jetzt” live, then this is probably exactly what you’ve been waiting for.

TRACK REVIEW: All Boy/All Girl “Pastels”

With a seven-piece band, sometimes a voice or instrument can get lost in the mix. But with All Boy/All Girl, that’s absolutely not the case. Particularly with their latest single “Pastels.”

The track features shimmery vocals from Danielle Lovier over a backdrop of various acoustic instruments (cello, bass, viola, and ukulele). Each shines through in a unique way, creating a dreamy melody that’ll make you want to close your eyes and sway. “Pastels” has an ethereal spirit, from the layered vocals to the wispy notes that seamlessly flow through your ears; it’s the sort of track that makes you want and need to see what a live performance entails. It’s the first single released from their upcoming full-length Slagroom, and it’s got us excited for more.

TRACK OF THE WEEK: Cool Company “Slice of Paradise”

Cool Company is bringing us a bit of smooth jazzy hip-hop in their new single “Slice of Paradise.”

This Bushwick-based duo is full of genre-mashing hits that make you want to move around a dance floor. Their new track holds elements of sexy, passion-packed soul music with raw hip-hop breakdowns, a juxtaposition that’s both unique and completely entrancing. If you’re looking for a song to chill out to after a long week, this should be your go-to—it’ll get you humming and relaxed in no time. They’re planning to release a full-length in September, so keep a tab on these cool fellas.

TRACK REVIEW: Zula “Basketball”

Feel like taking a musical voyage? Zula has got you covered with their psych pop jam “Basketball.”

While figuring out exactly what their genre is (experimental? psych pop? synthpop?) might not be entirely possible, it’s fun to get lost in their sound. It’s the sort of music that swirls around in your headspace, leaving you temporarily lost in the music—it’s the perfect place to forget about your daily worries and just relax. Their rhythms are intricate, their synths are plentiful, and their vocals are entrancing. This Brooklyn group is one you want to get familiar with, especially before the release of their full-length Grasshopper on August 26.

TRACK REVIEW: Sleigh Bells “Hyper Dark”

The second the spiraling music of Sleigh Bells starts and the distant “Uh-oh’s” sound, it’s apparent that “Hyper Dark” is a more than appropriate name for this new release. It’s a whole new sound from their past work, which is more upbeat and in-your-face, but it’s definitely a side of Sleigh Bells that we’ve been craving without even realizing it.

“Hyper Dark” is a slower piece that feels like it’s working toward something huge from the get-go. It gets in your head and builds you up until you’re sitting up straighter in your chair, waiting on the edge of your seat for the action. And when it doesn’t quite come, you realize that was never the point of the track anyway. Then you listen to it again, because you can’t and don’t want to shake a quality track.

Get caught up in Sleigh Bells’ new whirlwind of a song “Hyper Dark” as you patiently await the release of their upcoming fourth album.

VIDEO REVIEW: Phantogram “You Don’t Get Me High Anymore”

Phantogram’s latest video for “You Don’t Get Me High Anymore” is an empowering blast that’ll have you ready to cut that lingering crush out of your life for good, while leaving you deeply unnerved. The video is dark, a bit disconcerting at times, and full of bondage. Like we said, it’s empowering as hell, and it’s also going to send more than a few chills down your spine.

Frontwoman Sarah Barthel leads the charge (and wears the bondage), her vocals packing a punch while also coming across as incredibly tantalizing. The video and song are enough to put you on the edge of your seat and get your heart racing, but it’s a feeling you’ll want to keep chasing. In fact, the rush from the video is so addicting that it’s almost ironic given the title. Keep an eye out for their upcoming album Three, which is expected to drop on October 7, and then get your fix and watch the video for “You Don’t Get Me High Anymore” again.

TRACK REVIEW: Chasing Lovely “Always and Never Enough”

Chasing Lovely have released a live version of their track “Always and Never Enough,” and it’s definitely enough to pull on your heartstrings and make you feel some pretty serious emotions.

Hailing from Nashville, sister duo Chloe and Taylor are able to weave a vivid tale with their voices and light acoustic guitar that’ll give you goosebumps. This folky pair advocate working toward positive change, and their music is a fantastic reflection of that. “Always and Never Enough” is an introspective peak into how they process the positive yet tragic elements of the human element and everyday existence.

Sit back in a comfortable chair, turn on “Always and Never Enough,” and listen to Chasing Lovely as they offer you a new perspective (which seems particularly necessary as of late).

TRACK REVIEW: Lié “Failed Visions”

The world isn’t feeling too positive lately, so a grungy garage rock song feels like just the thing we need to get these emotions out. It’s the sort of track where you can choose to head bang and shout your heart out, or just sit and soak in it, letting it fill you up and expand inside. We have just the right song for these types of moods and circumstances: Lié’s “Failed Visions.”

This trio of Vancouver badasses are cooking up some deliciously grungy post-punk music. Their debut album, Consent, provided social commentary about rape culture as told from the perspective of these three rockin’ ladies. It’s pretty damn relevant to some recent events, and great to hear the voices of strong women speaking their truth and not backing down from some of the more infuriating parts of our system.

“Failed Visions” is a single from their upcoming sophomore album Truth or Consequences, out August 12. Check out their single and let these tunes fill you up rather than rage, disappointment, and the slew of other negative feelings many of us are holding onto lately.

VIDEO REVIEW: Ryan Egan “Finest Hour”

Ryan Egan’s new video for his single “Finest Hour” showcases some groovy dance moves, hypnotizing falsetto vocals, and an overall air of mystery.

The video sees Egan decked out in a white turtleneck showing off simple yet perfected dance moves. Once the chorus hits, some shadowy background figures shimmy out from behind him and bust into their own more fluid moves. It’s the perfect contrast between black vs. white, light vs. shadow, simplistic vs. ornate. And Egan’s airy falsetto only reinforces the video as a mysterious yet enticing piece.

The New York songwriter will be playing a show at Rough Trade on June 16 with Coast Modern. Make sure you check out the video below before catching him in person!

ARTIST INTERVIEW & EP REVIEW: VÉRITÉ’s “Living”

Brooklyn-based songstress VÉRITÉ creates empowering, emotion-packed music that has a tinge of surrealism, which can best be seen through her latest EP, Living.

The EP kicks off with “Constant Crush,” starting out slowly then steadily building up, both as a song and as a perfect intro to the album. It features Kelsey Byrne’s hauntingly beautiful vocals over an almost dark and foreboding backing. From there it moves onto single “Underdressed,” which tells a vulnerable story shielded by poppy synths and a danceable beat. “Rest” is a perfect midpoint for the EP and is where it changes from a typical synthpop album to one that holds a more eclectic sound. It’s easy to see that Byrne takes inspiration from other genres, like R&B, and weaves that into her tracks “Rest,” “Gesture,” and “Living.” From the beginning of the album to the end, it changes from upbeat singles to a collective piece of varying sounds, showing that Byrne’s isn’t willing to be confined to just one genre.

I was able to sit down and chat with Kelsey for a bit about her new EP as well as her musical influences.

Nicole for AudioFemme: You recently released your EP Living. What were your inspirations behind it?

VÉRITÉ: It’s strange in the writing process because you don’t think that much during it. I think it came together more in the editing process where I was taking moments and hyper-analyzing them and blowing them up. There weren’t any specific inspirations, and it was more me wanting to push myself and elevate myself.

I do a similar thing when writing. Like when I’m editing, it all comes together and seems to make more sense then.

Yes, exactly.

What sort of headspace were you in when you were coming up with the EP? I know you said you didn’t have any specific inspirations or a “Eureka!” moment, but was there anything that led you to these songs?

This was really the first time in my life that I had time to write. It’s an odd struggle to have—the luxury of time. It’s difficult, and there was a lot of anxiety and hyper-analyzing. I was really neurotic about it.

What is your favorite song off the EP?

They’re all my babies. I want to give five different answers. When I wrote Living, it was a good moment for me in life. I wasn’t hiding behind anything, and it really shows when I perform. I love them all.

I had a feeling that was the case! Is there anything you wanted fans to get out of your new EP?

My goal is to have people feel anything. I don’t care what they feel—hopefully it’s not violent anger—but any sort of emotions. I don’t want them to feel nothing.

Do you think your sound has evolved since starting out and the release of your EP?

I hope so. I think that with this EP especially I wanted to move away from “electro-pop.” It’s easy to get lost in the alt pop world. I wanted to really push it sonically. “Gesture” was more laid-back, “Living” is a downtempo R&B style. I was trying to really push it more.

What does your musical history look like? And what brought you to writing and performing?

Performing was always in my nature. I’ve been playing little shows since I was eight or nine when my dad was my band. I lived in a small town in upstate New York, and it was a conducive environment for that. I began writing more at 16 and 17. I developed this probably more into how I want to be interpreted. It’s been a slow process.

If you could collaborate with anyone—living, dead, whatever—who would that be?

Oh shit. Loaded question. Just, so many. I feel like lately my number one is James Blake. I feel like I’m supposed to say The Beatles or something, but based on what I’m listening to right now, I’d have to go with him.

Tell me about your plans for upcoming shows and releases.

Right now it’s just mainly finishing my current tour. Chicago last night was incredible, and I’m going from Minneapolis to Seattle to LA. I’m holding off on doing any festivals this summer and am focusing more on an album. I’m slowly plotting for future plans.

TRACK REVIEW: Slow Club “Ancient Rolling Sea”

English duo Slow Club are back with a new folksy single, and it’s exactly the sort of song you needed to improve your week.

Slow Club are experts at creating music that helps you slow down and get a little introspective, offering the pause that we tend to be oh-so hesitant to take. And “Ancient Rolling Sea” is no different in that sense. It starts off with a rustic, twangy feel and advances into a classic chilled out Slow Club tune. It primarily sees entrancing vocals from frontman Charles Watson alongside a heavy bassline that’ll reverberate within your core.

They’re currently touring through the UK, and we’re hopeful for an upcoming U.S. tour. For now, get your sway on to “Ancient Rolling Sea” below.

VIDEO REVIEW: Von Sell “I Insist”

Von Sell’s official video for the track “I Insist” can best be described as strangely beautiful—and yes, that is absolutely a compliment.

The video follows a man who appears to be living in an abandoned building as he attempts to write, trying to please his companion, a stone-faced mannequin. As a seasoned explorer of abandoned buildings, so much of me envies this man’s lifestyle while being simultaneously terrified by it. And that’s a feeling the entire video radiates: It gives you chills, but in a good way.

The man takes breaks from writing to dance around his abandoned building home in a simple choreography that aligns perfectly with the synthy sounds of Von Sell. Each breakdown shows the man dancing it out, seemingly waiting for inspiration to strike. And it does, only once he breaks apart his mannequin friend and throws him piece by piece out the window. With that, the song really picks up its ethereal pace and both video and song become more trippy.

After discarding the mannequin, the man really gets into the zone and is able to finally relax—and can you actually blame him? I don’t think many people would be able to write well with an unblinking face always lurking in the shadows, appearing mysteriously in doorways and just…watching.

Check out Von Sell’s video for “I Insist” above, and keep an eye out for an upcoming tour!

LIVE REVIEW: Eskimeaux @ ONCE Ballroom

Eskimeaux‘s show alongside Free Cake For Every Creature, Claire Cottrill, and Lady Pills on Thursday, May 12 was about 50 percent concert, 50 percent social gathering, and 100 percent what you would expect to find in Somerville, Massachusetts. The venue itself is a site worth visiting: Its upstairs restaurant has arcade machines and tables you might expect to find at your grandma’s birthday party, and its downstairs performance venue will make you feel like you’re in your friend’s basement.

True to the name of the last opener, there was free cake for everyone (with “free cake” written in icing), and people sat on the floor to eat it. The beard-to-face ratio and Birkenstock-to-foot ratio in the audience were off the charts even for a town known as the Boston area’s hipster central. The four acts were all similar in a few ways: They consisted entirely of or at least were fronted by women, and their visual and musical aesthetic were a bit twee but a bit rough around the edges.

The first act to take the stage, Lady Pills, was one of the best. With lo-fi, grungy instrumentals, vocals reminiscent of The Cranberries, and sardonic yet sweet lyrics like “everyone’s so stupid. I just want to make out with you,” the band projects an image that’s simultaneously cuddly and sassy. Next, soloist Claire Cottrill filled the room with a softer and simpler sound, conjuring a childlike purity in songs like “Bubble Gum” with the refrain, “I swallowed the bubble gum.”

Then, Free Cake For Every Creature brought the energy back up. Lead singer Katie Bennett took a playful tone a bit reminiscent of The Moldy Peaches in songs like “For You,” with the lyrics: “for you, I’d write a shitty poem on the wall of a dressing room at JC Penny,” and almost whispered her way through songs like the sentimental “First Storm of the Summer,” which evoked the sound of raindrops on a roof.

The main act, Eskimeaux, is the solo project of singer-songwriter and producer Gabrielle Smith. Unlike the other, more garage-like sounds in the lineup, Smith’s voice and accompanying instrumentals were crisp. Folk tunes like “I’ll Admit I’m scared” conjured The Finches, especially since Smith’s voice is a lot like Carolyn Pennypacker Riggs’s, but she sounded more like Mirah in higher-paced, danceable numbers like “Broken Neck,” for which her bandmates and the audience sang along. My only criticism of their act is that each song seemed to end a bit too soon and abruptly.

The evening’s bookends — Lady Pills and Eskimeaux — were the highlights, while Free Cake For Every Creature and Claire Cottrill were less infectious fillers. Across the board, though, all four acts projected a contagious excitement, perhaps because they were celebrating the release of both Eskimeaux’s latest album Year of the Rabbit and Free Cake for Every Creature’s Talking Quietly of Anything With You on April 15. It felt like the crowd was not just the audience in a show but also a group of supporters sharing in a celebration, and it felt like something special to be one of them.

TRACK OF THE WEEK: LA VIEW “Flashlight”

Is there a better way to start your weekend than with an incredibly danceable track? We’d like to present you with LA VIEW’s “Flashlight” for your eager consideration.

“Flashlight” is a collaboration between Finland-born, London-based songstress Venior and the two Berlin-based brothers that make up LA VIEW. The duo has been working since February to release a new track each month, with “Flashlight” ringing in as their third single, a great place to become introduced to their music. The track features upbeat, entrancing vocals layered over some expert producing. It’s full of quirky synths and the lulling vocals from Venior pulling you in, making you crave more.

LA VIEW is a worth keeping a tab on, and hopefully the rest of the year will yield more creative pieces from them. In the meantime, get down this weekend to “Flashlight” below.

TRACK REVIEW: Jocelyn Mackenzie “Kids”

For those still reeling from the breakup of Pearl and the Beard last June, we completely empathize with you. But alas—there is a light on the other side, and it’s here in the form of Jocelyn Mackenzie breaking out as a solo act! Her first single, “Kids,” is an upbeat pop dream where Mackenzie leads us through a breathy tale of a romance that begins in childhood. Unsurprisingly, the track brings to mind characteristics of her former band, but it’s also completely unique to Mackenzie’s new breakout style. “Kids” holds plenty of synthy goodness and spine-tingling vocals, making for a song that’ll kick your week off on a very positive note.

Take a listen to “Kids” below, and try to catch this Brooklyn songstress on her first tour, which begins at the end of April.

Tag: Music