There’s definitely more to Phil Beaudreau than we can cram into a single song release, but we’re going to do our best. This enigmatic singer/songwriter is most definitely a crooner. One listen through “Fly” will have you whisked away to yesteryear, carried along the backs of a delicate section of strings, and a subtle, muted soundscape. Ultimately, this arrangement lets us focus on the glorious vocal progression, which artfully displays the beautiful tone and range from Mr. Beaudreau.
Other songs carry a more synth-pop vibe, however, they always focus strongly on vocals, and we can’t really blame anyone for that approach. None the less, the production style varies from song to song, always keeping the listener guessing.
Aside from the interesting arrangement of genres to back those soothing vocals, we know very little about this mysterious Angelino. In all honesty, we’re ok with that. We simply enjoy what we have, which happens to be some really impressive music.
Today we’re showcasing his latest tune, an homage to all those Nintendo nerds (myself included.) In an experimental 8-bit soundscape, Beaudreau gives us a hauntingly engaging tune, aptly named “Another Castle.” Take one listen, then delve into the rest of his work by clicking here.
We are seriously running out of gift buying time. The clock is tick, tick, ticking it’s way out of hands. If you find yourself out of money, out of time, out of patience or a combination of all three, you’ve come to the right place. The Indie Dojo’s got the remedies. Broke? No worries, cause we’re free. Running out of time? Not a problem, we’ve already put it together for you. Lacking patience? It’s ok. We hear music has a sort of soothing quality to it. Magical, right? So take a deep breath and forget about all that other crap, ’cause as always, the ninjas’ got you.
Dont Wait (Feat. St. South)
Sons And Daughters (feat. Liz Lawrence)
Child (Prod. by Golden Vessel)
Happy (PHARRELL WILLIAMS COVER)
Cross That Line
Sun City- Paralyse (Samuel Proffitt Remix)
Since his debut back in July Samuel Proffitt, has strategically taken himself off the music radar so he can spend more time figuring out the direction in which he wants to take his sound. After “Sladky” hit the internet, people were struck with emotion-evoking frequencies that helped tell Samuel’s story in a much more melodic way. We here at TMN instantly wanted to experience more of Samuel Proffitt’s unique music because, again, it resonated something entirely new with us.
After a long 4 months of silence, Samuel Proffitt is back and this time with a remix of Sun City’s, “Paralyse”. The Australian artists really took off this year with this song, so Samuel decided to turn this uplifting, dreamy track into a much more smooth, harmonic wonder. Filled with intricate percussive elements, delicate builds, and elongated synths, Samuel Proffitt creates a symphony of ethereal vibes that make us feel at peace. This is easily one of the most atmospheric remixes we have heard in a very long time. If this is the type of vibe we should expect from him, then we can’t wait to see what he has in store for us in the next year. So let this one chill your bones and move your soul, ninjas, because you’re about to transcend into a universal realm full of celestial bliss.
Through The Wire (Kanye West Cover)
After spending a good majority of 2013 at the top of the Hype Machine charts, FYFE has remained relatively quiet throughout 2014, as he gears up for the release of his debut album, Control. With a release date in hand now, the British sensation has decided to celebrate by releasing a quirky cover of Kanye West‘s “Through The Wire.” Anytime someone decides to cover Kanye it makes for a risky proposition, but in this case the College Dropout classic is an especially curious choice considering FYFE is not a rapper himself. We know better than to doubt the crafty musician though, and it’s safe to say he’s delivered one of the more creative takes on a Kanye track we’ve ever heard. FYFE’s interpretation is sparse, yet placating–characteristic of many of his previous singles–and he manages to build a record that has its own identity, while still paying tribute to the original with mixed-in vocals from Yeezy himself.
The young talent had this to say about his inspirations behind the track:
Through The Wire has been stuck in my head for most of the last 10 years. The fact that Kanye West had a track on his last album named I Am A God added a certain amount of pressure to the process, but once I got over the image of him peering over my shoulder whilst I made the cover it came along quite quickly. To Kanye West purists- I’m sorry. To everyone else – I hope you enjoy it.
Stream the track above, and make sure to pre-order
your copy of Control
before it hits shelves on March 9th.
Running away from Christmas jingles? We feel ya. They started bombarding us with that crap the day after Halloween. TOO SOON. Just too soon. It’s cool though. You can ninja your way right out of the tinsel and jingle bells with a good ol’ Indie Dojo. Happy Indiedays!
The Walking Who
Salmon Arms (Acoustic)
9 (feat. SZA)
The talented Willow Smith is set to take over the industry with the release of her upcoming 3 EP. Only 14 years of age, the music star child shows her new found passion in alternative R&B. Of the three songs in the EP, “9″ stands out as the track that best represents Willow’s current direction of her music. Her sharp and powerful vocals flow perfectly alongside SZA’s magical voice to help create a dreamy touch to the hollowed instrumental. It’s a memorable and wonderful track.
With an ever-growing fan base, Willow Smith is climbing up the ladder in the neo-soul/alternative R&B scene. As she continues to catch everyone by surprise with her new music, it is safe to say that sky is the limit for Ms. Smith. We are excited to see what else she has in store for us.
San Francisco producer Charlie Yin, aka Giraffage, paints a radiant, colorful picture through his music. As a true student of R&B (seriously, he remixed The-Dream‘s Love/Hate album in its entirety), he has crafted an experimental electronic sound with the perfect sensibility towards the hits of the 2000s. His latest EP, No Reason, has a notable depth and cohesion that feels playful and supremely soothing, yet fully dance-floor ready. With its lush melodies and sonic plot twists, the project awakens an encompassing range of emotions and senses making for more than just an auditory experience. In a way, the music feels like a physical place with its ability to transport the listener to a whole new dimension–something we all need some times.
We were lucky enough to pick Charlie’s brain with a few questions about his new project, musical inspirations and dream collaborations among other topics. Enjoy this fun conversation and stream his phenomenal EP below. No Reason is out now via the always on-point Fool’s Gold Records and is available for purchase via iTunes. Giraffage is also in the midst of an international tour–check his upcoming dates here.
TMN: When did you first start making music? And was there a particular album, song or artist who really inspired you at that time?
Giraffage: I started making music near the beginning of high school. At the time, I was really into pop-punk and technical math rock stuff.
TMN: One of your original monikers was Robot Science. Do you see that as an alter-ego (like Caribou v. Daphni) or was that just the original iteration of Giraffage?
Giraffage: I saw that as a learning experience more than an alter-ego, a lot of songs were just so unpolished and poorly mixed. However it did help me learn the ins and outs of releasing songs to an audience. Robot Science still has a special place in my heart.
TMN: The prevalence of soul & 90s-early 2000s R&B in the current electronic music landscape across sub-genres is hard to ignore. Both more broadly and for yourself, what is it about those eras of music that you think has brought them back to the forefront?
Giraffage: I think a lot of big producers nowadays were growing up listening to that era of 2000s r&b. As a result, the influence definitely carried through. For me personally, even though I love pop music nowadays, I think pop music back then had a lot more catchy hooks and overall more clever songwriting and technicality to it. People are starting to appreciate musicianship and that kind of stuff more than ever these days.