(via Rose Tiger)
French artist Wendy Killmann has a new EP, Top To Bottom, out next week under his Rose Tiger name. A romantically vicious image, the music also uses beautiful synths and new-wave inspired pop to create aggressive, sometimes frantic sounds. And there are dinosaurs.
To hear all his music, check out his SoundCloud.
“ROSE TIGER is the brainchild of French artist Wendy Killmann, a young man who dreams of a parallel world where humans coexist with dinosaurs and whose musical taste is inspired by 80s British new-wave (Tears For Fears, Depeche Mode), 90s video games (Final Fantasy VII, Pokémon Blue) and favourite Manga theme music from his childhood (Dragon Ball Z, Gundam Wing).
His first EP/Comic titled « From Top To Bottom » will be released November 17th along with an 8-page comic book by famous Instagram artist Sibylline Meynet. A video for the song Submarine (Where Have You Been?) will be released on the same day as the EP.”
Brand New finally released a new album this year, one that’s very dark and just feels heavy, so I’ve become nostalgic for Your Favorite Weapon-era emo pop-punk that’s upbeat and full of great riffs and passionate singing. Panama’s FIM fills that void for me. Every track on the excellent new Memorias EP is a winner, each song enjoyable on its own and filled with several singalong moments that all good catchy punk songs need. Bonus points for the shark album cover. Also, check them out via Instagram and YouTube.
(via Nadah El Shazly)
Think of anything that sounds as strange and avant-beautiful as Egypt’s Nadah El Shazly. The closest I get is early Björk, though she hasn’t made anything sounding this urgent in years. Portishead too, but there’s more color in Shazly’s voice and Miles Davis-like cut-and-paste instrumentation. Maybe it’s what this photograph sounds like. All are true to me, and I believe Nadah El Shazly is one of my new favorite Egyptian musicians.
“Starting out singing Misfits covers in a local punk band, then moving onto producing her own electronic tracks and making a name for herself in Cairo’s underground scene, Nadah El Shazly’s backstory is not that unusual. Her debut album on the other hand, is an entirely unexpected story.
Two years in the making, Ahwar (Arabic for marshlands) is an otherworldly record, not unlike an abstract mythological story-tale. Opening with the mangled and filtered vocals of the album’s lead track Afqid Adh-Dhakira (I Lose Memory) like an alien dream, the drones of a bowed double bass lead us into a drum groove that lays the groundwork for El Shazly’s sultry and captivating presence, singing: “(I am) coming, from a time far away. Going, escaping. Alone in the wilderness”.
The Arabic prose lingers over interjections of slap-back delayed guitar twangs and an avant-garde arrangement of dissonant winds, horns and seemingly random drum fills, ending with an eerie soundscape that wouldn’t feel out of place in a Giallo classic. A daring and potent statement that sets the foundations over which the rest of the album can unravel.
Composed, written and produced by El Shazly herself in collaboration with The Dwarfs of East Agouza’s Maurice Louca and Sam Shalabi on co-composition and arrangement duties, the album was crafted across two continents, between Canada and Egypt, and features the crème of Montreal’s contemporary-classical and improvised music scene, most of whom are members of Shalabi’s own Land of Kush ensemble.
In between El Shazly’s five original tracks, we are treated to an abstract cover version of Sayyid Darwish’s classic Ana ‘Ishiqt (I Once Loved). El Shazly’s haunting vocal floats over broken Kalimba and Harp arpeggios which slowly intertwine with a free, bowed double bass improv to nestle within the breaks between Younes Al-Qadhi’s early 20th century verses of love and betrayal.
More than that, it is difficult to really describe, but imagine the worlds of Nico, Björk and Annette Peacock with the Arabic language as their mother tongue, re-approached through acoustic avant-jazz harmony and re-constructed with a dash of Kamilya Jubran’s modern styling of Arabic maqam and you may be somewhere close.”
(via Ma-Te Lin)
This Ma-Te Lin song is so delicate I’m afraid it’s going to break in my hands. What a gorgeous song. Lead singer Asha whispers in Mandarin and English over a simple composition over someone she wishes to come home. She sounds sad but grateful to know such a person. His or her return would still be bittersweet, but at least a good memory. The group’s last full album came out in 2015, so hopefully “Please Come Home” is a sign towards the next release.
“The artists of electronica music from Taipei known as Ma-Te Lin was formed in 2012.Their sound is soft, yet complex, profound, yet delicate.”
(via Silk Cinema)
When someone describes your music as “Sade in Space,” you listen. It’s not a perfect analogy (no one but Sade can sound like Sade in space), but it’s great for us how close London duo Silk Cinema gets with its latest single “Disappear.” Music to feel lonesome and beautiful to and to live for tonight. Looking for trouble but already found beauty. Reminds me too of Rhye’s mysterious grooves. Beat-driven music you can enjoy in a club and also in a car. Would love to hear more new music soon.
Check out a more upbeat band remix of “Disappear” here.
(via Marley Muerto)
I’m a little late to Ecuador’s Marley Muerto, but I’m glad I got here. A towering yellow suited man with a disco skull writes sad songs for the clubs. The music, especially “Dorado Salmón Violeta (feat. Frances Possieri),” also sounds good in the morning-after light after a night of bad or even meh decisions. My favorite release of his so far is 2012’sPararmar; Not quite freak folk, and in 2017 this can qualify for legitimate mainstream pop music, but it’s definitely a far-out take on traditional Latin songwriting. The weirder, the better. And what a great website.
#747 #7forSeven #writing #reading #linkinbio #drawing #cartoon #ghost #halloween #october #november #offseason #baseball #worldseries (at New York, New York)