Introducing: Greighwolfe

 

Greighwolfe‘s track Physical opens on a very 80s Drive note- straight up Kavinsky.  It’s the stuff of plush, electric, action movie intros, a trope which today carries a certain air of cheesiness, but which Greghwholfe reappropriates as sexual.  When the intro segues into the verse, and a minimal 80s electronic R&B synth takes over, it’s chill worthy.  Then comes his voice- a sensual tenor, R&B embodied, with a dynamism as exciting as the track itself.  Props to Greighwolfe for creating something epic yet sexy & modern yet retro.

Flyte – We Are The Rain

Flyte  is a London based quartet playing with funk and Pop Rock, a la Talking Heads (or a more modern iteration would be Miniature Tigers).  They released their debut EP last September to acclaim and followed with sold out shows, garnering the kinds of accolades that major bands inspired at their beginnings.  Flyte had sparked in The Guardian’s Paul Lester the sense of wonder that is born when something fantastic is discovered, and promises longevity.  The quality of Flyte’s music comes from nuanced and historically informed songwriting, playful and satisfying guitar lines, and a lead singer for the ages.  They’ve returned with a new song and video, We Are The Rain, whose video is a playful 80s green screen game.  It looks both unprofessional and raw, as well as completely stylized and well thought out.  It matches the songs spright and billowing guitars and synths with stop motioned shots and floating nerds, and it matches the enveloping harmonies with digital era tack that is so hilariously bad it’s great.

Check out the track on Soundcloud below.

SLK – ‘Be’

While SLK‘s first single was intriguing and well made, it’s with follow up Be that she solidifies her right to be in the eyes of the music mongering few, before the sound amassing culture gobbles up a new and flavorful morsel.  While Ride winds along potholed pavement and eerily romantic landscapes, Be takes off, accompanied by bobbing heads and gyrating crotches.With fantastic production from Embody tailoring this second release, a picture begins to form of the artist who stands before us (and the potential EP we can expect).  This is a woman whose handsome style exhales through her evocatively deep vocals, who separates herself from the pack not only through the sheer quality of her music but also her own veritable persona.

Introducing: Kiesza

Kiesza is already earning all the right press, with an especially encouraging share from Pitchfork among many others.  Everything about her debut track Hideaway is pulling influence from 90s dance.  The singing (this girl can howl) which is reminiscent of 1993 mega-hit Show Me Love, and the unapologetically indulgent and dance worthy production both push against the boundaries built by acts like Disclosure in which dance and electro-pop cross and marry.  It also fills the niche that Azealia Banks rapping-over-90s-dance may have begun to fill, had she ever released any proper LP.  Either way, put me on a dance floor and blast this track.  I’ll probably be stomping and wailing.

Introducing: Mattheu

Mattheu is an electronic soul artist based in Manhattan and pulsating with the trappings of a solid debut.  His latest track Sanguine is romantic, dark, and beautiful, all the while swirling over embossed bass, that’s later stripped with turpentine back to it’s R&B roots.  It’s sick’ning.  And tbh I’m excited that NYC is finally catching up with its British counterpart in terms of electronic soul and R&B.  That city is churning them out like they’re the new spam- meanwhile here is surfacing a new gem, who should be treated as such.  Anxiously awaiting Mattheu’s debut EP Virgin which should be arriving soon.

Introducing: Hawkon

Hawkon‘s look and sound are synonymous- a dreamy filter over prints and washed out florals, interrupted only by glitchy, digital noise and interference.  It adds a surprisingly harsh edge to the mostly immersively dreamy music.  As though the listener floats through the sounds, he builds a chorus around swelling synths and rich vocals, and occasionally decides to jarr you back to a digital reality.  Amidst the beauty of the sliding synths, a click or tack will remind you that Hawkon is meditating on every pulse, each beat change, and every embellishment.  The result is a surprisingly fantastic electro-dream pop track in the vein of Until The Ribbon Breaks or Crowd Shy.

Kwabs: Wrong or Right

London based Kwabs is on fucking fire.  When he released the SOHN produced track Last Stand a few months ago it became strikingly evident that he is on the forefront of what’s hot in electronic soul/R&B.  With his new track Wrong or Right Kwabs is stepping up his game.  Catchy synths simmer over trilling high hats and glowing arpeggios while supporting incessantly catchy choruses, an amazing voice, and soulful lyricism.  This is money.

Metronomy: I’m Aquarius

Metronomy hasn’t put out a proper album since the acclaimed The English Riviera (one of my favorite records). He’s finally back with the first cut from his upcoming album and it’s so perfectly Joe.  You’ve got the staple qualities- doo woppy vocals, minimal beats, surprising pop melodies, and a lyrically awakened darkness.  It’s a great track.

Banks Premiers “This Is What It Feels Like” Video

Wow.  Banks is devastatingly beautiful in the video for This Is What It Feels Like.  We’ve all been aware of her for some time now, what with her ever relevant RnB influenced gloomy electro-pop and marketable image, but it feels like this is her breakout hit.  The beat is sick’ning, and the chorus inevitably on repeat in your brain.  Check out her video here:

Context Isn’t Everything

After successfully reinventing themselves and establishing a new and unified sound, Vondelpark (Lewis Rainsbury, Alex Bailey, and Matt Law) release their debut LP Seabed. That being considered, It’s not surprising that Rainsbury would call this record a coming of age album, and post-pubescence has never sounded so tactfully (and maturely) sensual.