After appearing on some of the year’s biggest records like Disclosure‘s “Latch” and Naughty Boy’s “La La La,” Sam Smith seems poised to take the first steps towards establishing himself as a formidable force on his own. We’ve already heard the melancholic “Lay Me Down,” but “Safe With Me” truly represents the first leap forward for the Londoner. Unlike his first single, Smith’s latest effort is anything but safe, as the crooner spreads his buttery vocals over a vivid, R&B influenced backdrop provided by Two Inch Punch. Sam Smith’s magical voice has proven to be irresistible, and just like every other song he touches, this one requires repeat listening. His debut EP can’t come soon enough.
The Naked And Famous
Hearts Like Ours
As if taking three years to produce and release a new album wasn’t enough of a tease, the Auckland indie rockers intensified the anticipation from fans by posting an InstaVid to the preview of their new single “Hearts Like Ours”, just one day before the debut of the full song.
Expect to replay this number successively. Particularly if you’ve been intoxicated by Alisa Xayalith‘s siren tone, as we have in the past. Their hit track, “Punching in a Dream” left quite the impression, having been featured in the influential video, Kony 2012. And we are sanguine about the upcoming release of the new album, which bears a most enticing tracklisting. Don’t believe us? See for yourself.
In Rolling Waves, September 16. Pre-order it now.
The London by way of Montreal female house duo of Anastacia and Vivie-Ann, or Blond:ish
as they are known to the house music community, have already earned a warranted reputation as some of the globe’s hardest working live DJ’s with performances in what seems like a different country every weekend. A consistently busy pair, Blond:ish’s latest release their place as truly elite producers and an esteemed piece of the flourishing house movement. We had the chance to catch them live a few weeks back and holy cow can those girls throw down for three hours straight, but it is great to see Blond:ish flexing their production muscle for their fan base too.
Leading off Inward Visions is “No Place Like Gnome”. Pulsating bass helms the track with a lovely sampling of building and pretty synth play arranged in a way to induce lucid visions while busting a groove on a sweaty dance-floor. Following “No Place Like Gnome” is a change of pace in the extended play’s title track “Inward Vision”. A gritty four-to-the-floor bass is glossed up by a guitar sample, complete with all those creative re-appropriations of sounds that fans of theirs have come to know and expect.
Inward Vision while definitely a departure from what music fans have become to know as “EDM”, is a solid listen and a house EP for those looking for soul, danceability and a distinct groove. Check out both tracks above.
No Place Like Gnome
Inward Visions ft. Beyou
Forever Hours (clip) **Out Today on Beatport**
Summer is not over yet and Colorado producer Daytona will remind you of that with his newly released single “Forever Hours”. This is Daytona’s debut release with Multikill Recordings and it is easy to hear, this will be the first of many releases for this highly talented young producer. “Forever Hours” is a bit of dubstep with a futuristic electronic feel to it. The melody is a mix of electronic light and airy sounds followed by a stunning piano track before Daytona introduces drums and dub sounds that don’t take over the song, more, they add depth. Excited to have this type of music to listen to keep summer rolling strong.
Maybe you know the story of the legendary island Atlantis that, after a failed attempt to invade Athens, sank into the ocean in “a single day and night of misfortune”. Well, the Stockholm trio Postilijonen, decided to bring this island name back to the surface with their captivating song “Atlantis” off of their recently released album “Skyer”. The song takes the listener on a magical journey, where a saxophone and the vocals of Mia Boe, along with drums and electric melodies, paint a beautiful scene of music ecstasy. The sound is a bit old school, reminiscing of the 80’s, but just gives this song an original feel and a sound that has not been heard in a while and should be heard.
When we first came across Aylen, we knew the kid had talent. While some people may argue that it doesn’t take talent to make a great mashup, I can personally assure you that it does. In running Clayton’s Friday Party Playlist for over a year, and featuring numerous mashup artists, I’ve heard countless bad mashups. That’s never the case with Aylen though. In fact, his mashups have so much personality, you often forget you’re listening to someone else’s work.
I always loved when this Jersey based producer/Dj would drop something perfect for our party playlist, but today I’m even more excited as Aylen has dropped his first original electro house EP, consisting of two banging tunes. Seven days ago “Damage Control” and “Rapid Fire” hit the airwaves. The first of the two sports an industrial tone with rock style energetic synths that drive the beat into glitchy breakdowns. “Rapid Fire” is a little on the dancier side with chopped up vocal samples, and a big energetic melody.
Both are up as a free download for a “like” of his facebook page. Head over and grab yourself a copy.
Damage Control (Original Mix)
Rapid Fire (Original Mix)
For Rosie DJ mix
There’s just something about listening to an artist over and over again. Song after song. Sound after sound. You seem to gain a confidence that you know exactly what a live performance would be like. Then that moment arrives, when you open up the paper and see them at a venue in your home town. You go to the show and it’s not what you expected. It’s better than what you expected, and in so many ways.
This was the story for this writer when Little People came to Denver. Laurent Clerc aka Little People has one of those sounds that’s incredibly infectious. His downtempo hip hop infused beats carry gracefully over carefully orchestrated woodwind instruments creating a sound that is overwhelmingly atmospheric and experiential.
We had a chance to sit down with the ever so humble Laurent Clerc outside of Larimer Lounge and talked about music over an American Spirit.
TMN: Let’s start of by talking about how the tour is going so far.
LP: Yes, it’s going really well so far. I have been very lucky to jump on board with Emancipator for his west coast dates and he pulls in very big crowds, so I have got the chance to play in amazing spots and locations. We played san Francisco – 800 people, L.A. 1000 people. It’s going really well. Now I am at the end of my Colorado run, played a couple of dates in the mountains. Denver is going to be pretty well tonight, I am looking forward to that. I have played her before, it was my second gig in the us. I opened for Polish Ambassador so it’s nice to be back as the headliner.
TMN: How do US crowds compare to European crowds for you?
LP: My point of view is slightly skewed because bizarrely I’m actually a lot bigger in the US than in the UK (or Europe generally). I actually don’t play that much back in Europe. Crowds in the US are crazy, you get a really good response and with the last few years electronic music blowing up, it’s amazing to hit some random towns that know what I do.
TMN: Have you have a favorite city to date? Any favorite shows in specific?
LP: Playing Sasquatch was pretty amazing! That was crazy.
TMN: We are obviously huge fans of your work, but we just gotta drive this home. You tend to create musical scenarios that are drenched with emotion. What inspires you to produce a track, is it emotional base, is it technical?
LP: It is more technical, bizarrely enough. I started making music in the computer. I had my dad’s computer and I worked out sampling and he had one of those recorder programs that came free and I would do loops and stuff like that. I always had the technical kind of background. I also do IT on the side too so I am fairly technical. I like what I do and I am always trying to find new sounds to generate new sounds and I use something technical and something odd to create something, and then from there I hone it and make it a full track. It is really a technical part that comes first but I guess you can say my music “emotional charged” but I do like that kind of stuff. It definitely ties in later on in the process.