Furthest Thing (Drake) Cover
There has been an absolute onslaught of covers from Drake’s new album. Out of the ashes of his love lit lyrics we keep hearing countless interpretations of his tunes. His apparently shattered heart served up ample opportunities for everyone else to take their turn playing with his lyrics. And, as expected, we have a great banjo driven cover for you to enjoy today.
New York youngster Raveena Aurora teamed up with The Sifters to serve up a delightful cover of “Furthest Thing.” Between the twangy plucks of the banjo and Raveena’s silky vocals, we simply can’t get enough.
James Vincent McMorrow
Sometimes you hear a voice and it just gets stuck with you. There’s something about the tone, the vocalist’s pitch or even their presentation. Something about it just sticks. James Vincent McMorrow has one of those voices.
Letting the spotlight affix itself to McMorrow’s glorious tone and lyrics, “Cavalier” welcomes you in, gracefully floating over softly played keys. The first taste lasts for quite some time, building up in a manner that’s painfully exquisite. It’s not until two and half minutes in that we’re hit with an instrumental wave, bringing what was a soft and inviting folk tune into something larger than life. With cinematic cymbal crashes charging alongside of repeating lyrics, we find ourselves nodding and saying, “hell yes.”
Immediately following that “hell yes,” we belted out a “damn it,” when we remembered that the rest of his album, Post Tropical, isn’t out till January. Patience is a virtue, right?
In our lifetime, it’s inevitable we will be placed in many, many awkward and uncomfortable situations. It’s how we deal with that situation that really matters. For some of us, we’d rather crawl into a cave and avoid confrontation at all costs. For others, we take that shit head on. Cave dwellers take note. What more do we have to lose when we face that awkwardness like a Ninja? There is always a new day and one day, in the near or far future, we will probably look back and laugh. Hey…no pressure though…if you still feel like curling up into a ball until the moment passes, let the Indie Dojo be your security blanket. It’s the least we can do….
Shadowless (Prod. by STINT)
Where I Find You
Stressin’ on your last minute Halloween costumes yet? We’re pretty sure being a Ninja with a bad ass playlist in your back pocket is an awesome option….Just sayin…
Rainy Day Women
Aint It Time?
Long Way Down
One of our many favorite things to come out of the Golden State, Los Angeles’ Mansions on the Moon have been perfecting a gorgeous brand of downtempo, but incredibly inviting pop music since the release of their first mixtape Paradise Falls in 2011; and after 2012′s wonderful Lightyears EP which was produced by Pharrell Williams, we were ready for something ambitious from the continuously impressive four-piece. Thus, one year later, we have been exalted with their latest body of work: Full Moon. Totaling five tracks and only 19 minutes in length, Full Moon again peels back another layer of the band’s psyche while simultaneously setting the ceiling even higher on their ever abundant potential.
The extended play’s title track (a tune we shared last month, in case you missed it) opens with a clean, popping snare, backed by an echoey choir sample and poppy synth line all wrapped in Ted Wendler’s reverb treated vocals. “Full Moon” serves as a wonderful thesis statement for the album, flaunting a large sampling of their talents and production skill all in one pretty package. Further padding out the EP’s sounds is the anthemic indie tune (if there is such a thing) “It’s Not Too Late”. Again, Wendler’s intonations are center stage but the clever instrumentation from Ben Hazelgrove on keys and Lane Shaw’s honed in drumming add such a unique fullness to not just “It’s Not Too Late”, but to the album as a whole.
As singles “Radio”, “It’s Not Too Late” and “Full Moon” had been teased and released in the past few months leading to Full Moon’s official release, the real treat comes in the form on two previously unheard collaborative tracks, “More Than Nothing” featuring Frank + Derol lead vocalist Codi Caraco and “Heart of the Moment” with Zee Avi. Both tunes provide a departure from the still to be determined “Mansions on the Moon Sound” and lie on different ends of the spectrum. “More Than Nothing” functions as a slow-burning electro-pop ballad featuring that always lovely back-and-forth male-female vocal play with a subdued MIDI hook gently pounding away and a welcome lead piano fusing the entire movement together seamlessly; whereas “Heart of the Moment” takes us into an 80′s discotechque with some bouncy synth work and very pop appropriate vocals.
Playing into the group’s altruistic nature, Full Moon has been self-released as a “pay what you want” download on Bandcamp, so even if you have a dollar to throw down, it would no doubt be amazing to see such a talented and selfless group of artists get a little bit of monetary compensation for their amazing gift to the world. If your listening wades in the waters of indie-pop, alt-rock, hip-hop and even house their is a little something to be consumed within this set of five tracks, so go ahead and grab the full release.
More Than Nothing (ft. Codi)
Heart of the Moment (ft. Zee Avi)
Surprises. Some of us love them. Some of us hate them. But when tiny surprises come wrapped up in a sweet little playlist, its kinda hard not to come back for more. (Once a week. Every week. Every Tuesday Morning. Just in case you were wondering).
The Moth & The Flame
Denitia and Sene
Sonsick (Vacationer Remix)
We’ve been hooked on San Fermin’s meticulously crafted album for a while now. It’s a artfully composed piece of brain candy, which is why it’s been getting a significant spot in our rotation here at TMN HQ. Today though, we’re offering up Vacationer’s remix of the critically-acclaimed single ‘Sonsick’.
The track takes on a playful sound, infusing a danceable beat with oriental influences. While it is a dancier interpretation, Vacationer succeeds in not overly breaking down the original. The vocals are left in tact, which maintains that important connection we look for in a solid remix.