The Japanese House - Saw You In a Dream

Dreamy stuff from Amber Bain, the solo artist behind the moniker “The Japanese House” (no relation to Beach House). After a string of EPs between 2015 and 2016, the U.K. artist introduced “Saw You In a Dream” as the first single of 2017, following up her end of the year release. While creating a separation between her work and personal identity, Amber brings a lot of introspection to her music - recounting experiences of love and loss, basing projects on various relationships. “Saw You In a Dream” recalls a close friend of younger years who’s passed not too long ago. The sadness and longing is felt through sullen verses, but that’s combated with a pleasant chorus centered around the beauty her subconscious brings in dreams of her friend, which “is enough” although not “the same”. It’s a beautiful memorial, bringing light to something otherwise dark through word and sound. Further, the track is a great showcase of the talent that is The Japanese House, and being backed by co-producers George Daniel and Matt Healy (The 1975), she’s poised to create some excitement in the electronic pop world. Enjoy the experimental sounds of "Saw You In a Dream" below.

Phoenix - J-Boy

Phoenix is back! I’m remembering days of high school, claiming the French indie-pop band as my undisputed favorite group. Maybe that has changed due to their four year period without an album, but “J-Boy” is a very exciting preview to an upcoming project. Over the years, it seems as if the band’s music has been increasingly pressurised - full of quick-hitting pop anthems made to keep up with a pace of demand that’s almost suffocating. Phoenix kept the futuristic electro-synths, but did away with the chaos that began with “1901” and took over their 2013 release of Bankrupt. This track is much more grounded - not a full return to early, reserved love sounds of a decade ago, but something steady nonetheless. It’s a radiant love song that takes you on a distant getaway, as Phoenix often can do. The recently announced Ti Amo is set to drop on June 9th, and I’m excited by this opportunity to revisit the goodness that is Phoenix and keep an eye out for their new work. Check out “J-Boy” below.

BANKS - Crowded Places

BANKS back with more of my favorite: the alluring intimacy that is so timeless. You listen to BANKS when you want a good cry… that’s just how it works. Through simple, delicate lyrics and tactful production, she’s long been a pro at capturing the deeper side of emotion, giving glimpses into her own life experiences however sad they are. The narrative of “Crowded Places” is familiar: the complications that touring brings to the world of falling in love. It seems as though BANK’S lovers struggle with that reality and she navigates it no better. “‘Cause I’ve been scared of crowded places” fills each chorus with an indescribable weight, alluding to something so taboo - the actuality of social anxiety. Not many artists leave themselves so vulnerable, expressing societally undesirable mental states, and that’s a part of what makes BANKS so special. She’s a true Goddess, as her debut album speaks, and her music is more than just sadness - it’s empowerment through ownership of the countless emotions she experiences - a feat that does the world justice. “Crowded Places” is beautifully produced (thank you, Tim Anderson and Jack Antonoff) and makes you want to sing along. Hopefully it's a sign of more to come in 2017 from her talented self. Listen below.

ICYMI: Amir Obe - WISH YOU WELL

One thing I love about rap is the grind that comes with it, and apparently Amir Obe is on it “25 hours every day.” Realism aside, it’s an exaggeration to appreciate - rapping is such an impatient art, with so many working to break into the game, make a name, and build a consistent fan base. This track exemplifies that, sending a warning message to the competition (“know your place”), all the while respecting each individual’s hustle with best wishes. I’m not sure if Obe’s established himself as enough of a rap authority to “wish a nigga would” and invite others to test him, but that’s one of the mainstays of rapping: the allusion of being untouchable. And with “WISH YOU WELL” highlighting his recent EP, praise from Drizzy, and previous work with PartyNextDoor, there’s some solid promise surrounding him. Check out the single below; it’s a light banger with much of the ever-popular rapping/singing muddiness.

tbt: St. South - Cadence

Bringing it back to about a year ago when St. South dropped this delight single. Olivia Gavranich makes the kind of music you feel you can come out of anything to, and this is just one of many examples. “Cadence” is a careful curation of all the joys: soft, uplifting vocals, upbeat tempo, and timely work on the sax by Ella Wisniewski. A bundle of complexity, “Cadence” makes unclear whether or not the artist is, in fact, happy as the sound suggests. Lyrically, the track battles negativity with a push and pull between introspective doubt and leaning on one’s own understanding, with loaded lyrics like “balancing defeat, but a lesson in less will bear the right to impress” providing the aforementioned ambiguity. While the presence of happiness is unclear, the experience of listening simply feels like something’s blooming, and that’s more than fun. Feel the power and enjoy the vibes with a springtime throwback.

Girlpool - It Gets More Blue

Pre-summer blues here. Girlpool blesses us with another single off their upcoming album, Powerplant, and I'm really appreciating their revamped sound. With the addition of drums and an intensified chorus, Cleo and Harmony bring forth a fuller, harder punk rock feel - one that replaces a primarily acoustic sound in their previous work. That hard rock sound gives the band an alternative route to expressing love's cruelty, a route  it's touched While the characteristic of emptiness was successful in their earlier work, I strongly enjoy the effort at something more upbeat and engaging, especially as it relates to the emotion of the track. The young duo has been expressing lovers' pain since earlier releases like "Cherry Picking" and "Chinatown", both coming off the previous album, Before The World Was Big. Yet, none of their earlier efforts capture a lover's cruelty quite like "It Gets More Blue". How often do we see a person's heartache belittled to 'it could be worse...'? That's the sentiment behind this track - someone waiting for a relationship to get better while they work so hard to please the other. "You'll build him a tower; he'll burn you a bridge." It's not a line to be overlooked - the giving to a selfish person while oneself is left out to dry. "It Gets More Blue" is groovy, and I love it. If you love it, too, look out for Girlpool's upcoming album, Powerplant, dropping May 12th.

Njomza - sad for you

The first time I saw the name “Njomza” was whilst reading The Divine Feminine’s tracklist and coming across “PLANET GOD DAMN (FEAT. NJOMZA)”. That track quickly became one of my favorite tracks of Mac’s project, mainly due to this woman’s smooth vocals playing over the sexy R&B beat in place. She’s since signed with Mac Miller’s REMember label and followed with an April release of her first studio project, sad for you. The lead single, sharing the EP’s title, is a quick indicator of the talent at hand; the German-born artist has a voice that fits right into contemporary R&B with the likes of Kehlani. Airy, atmospheric vocals accompany a beautifully trancy beat to tell a story of a broken relationship, and a longing for a real love. Sad for you is a painfully emotional album; I’m sharing it’s entirety because with her talent and affiliation with Warner Bros. and REMember Music, she’s likely an artist who’s here to stay.

Frank Ocean - Biking (Featuring Jay-Z & Tyler, The Creator)

Everybody’s got a metaphor for life these days. Is a biCYCLE the perfect one? Probably not, but Frank does it very well on this track - using the simple notion of a bike’s wheels turning in the manner that the world turns, continuing with little room for a “brake”. Pressure is one of the things Frank Ocean’s alluded to several times in his work, and he really leans into his doubts and uncertainties on “Biking”. He references adderall use and a huge concern with marriage - “thinking maybe someone is not something to own” - on his way to crying out “got me fucked up; got a million dollar bike” through the outro. His flow switch-ups (there are hints of trap elements throughout) and desperate vocals are well complimented by a solemn Jay-Z introduction and a Tyler verse that balances the track with a sense of sureness. All the while, each artist embraces life through biking, most notably, Frank, alluding to life’s ups and downs: “I’m bikin’ uphill and it’s burning my quads… I’m bikin’ downhill and it sound like a fishing rod”. It’s inspirational, and most importantly, “Biking” is such an easy song to listen to. Enjoy below.

Allan Kingdom - Down for Me

Allan Kingdom dropped an album this month, and it’s pretty good. During my first run-through of LINES, I felt similarly to the first time I listened to A.Chal’s Welcome to Gazi: “this is different, and there’s something waaaaaavy about it” (word to Max B). Is he rapping? Is he singing? ...it’s a bit of both, the kind of thing that the likes of The Weeknd, Bryson Tiller, and Tory Lanez have made increasingly popular. Allan finds a suitable balance through the album, especially on “Down for Me”; with verses that highlight both his wonderful voice, as well as his propensity for smooth flows and some bars, he captures a valuable combination of talents in an effortless fashion. Give a listen, and check out the incredibly unconventional LINES.

tbt: Local Natives - Mt. Washington

In light of my recent discovery of the band’s recent album release, #tbt to Local Natives’ Hummingbird - specifically heartfelt single, “Mt. Washington”. It’s such a simple track: a steady strumming pattern, a swiftly passing first verse and hook, an extended second verse, and some hook repeats (with a little vocal variation) to close it out. But despite the song’s simplicity, it does so much to incite emotion in a listener. The band's tact for buildups makes this track the album’s undisputed standout - the vocals intensify through its duration and truly take you away, and each pause makes way for an instrumental, melodic addition. “Mt. Washington” is worthy of being put on repeat. It’s a sad song for the lovers (Taylor Rice’s “I don’t have to see you right now” heavily captures that pain), but is just a beautiful song to also enjoy in happiness.

ICYMI: Tokyo Police Club - PCH

Highlighting more indie rokkers today: the timeless band, Tokyo Police Club. From MySpace days of listening to every indie or punk band imaginable, to off-college summers driving and singing with my beloved sister, to sitting, late-night, with a bottle of wine, imagining and re-imagining my life... there's rarely been an inappropriate time to lose myself in this band's sound.

While some may disagree, "PCH" is refreshingly reminiscent of 2014's Forcefield, an all-time favorite album of mine. Maybe it's just vocalist Dave Monks' ever unmistakable vocals, but I can't help but feel the airy vibes of "Beaches" and "Hot Tonight". With a re-creation of their renowned synth-filled pop sound, TPC maintains their nostalgic summer feels; summertime jams have been the band's niche since its early releases of Champ and Elephant Shell. "PCH" is beyond summer worthy; "tearing up the speakers of my GTO, loud enough to piss you off" screams 'beautiful sunshine' - the act of rolling the windows down in your car and blasting loud music is one that's reserved for short-lived summer months (unless you live in California?). That brings me to point b: anyone who throws out a tribute to the Pacific Coast Highway is a hero in my eyes. As one of my favorite roads traveled, it's so fitting for "[pulling] over to the shoulder". The PCH isn't an ordinary highway, and "PCH" isn't an ordinary song; the track very much embodies the love you feel being in awe of the vast PCH scenery. After all, Dave wrote "PCH" while in Malibu, doing just that - experiencing such scenic, mountainous views. Goes to show how essential any experience can be for an artist. It seems as if Tokyo Police Club is living off of the experiences of love and travels, and for a band eleven years in the game, that may be all it needs to survive the times.






Also check out a couple throwback songs below: increasingly iconic, nine minute, three part "Argentina" and personal favorite, "Bambi", a 2010 release.

ICYMI: Mac Miller - The Divine Feminine (album)

I’ve been spoiled by Mac Miller’s musical growth and astounding development since high school. Since his release of K.I.D.S., the mixtape that put him on the map, he’s dropped a couple of masterpieces - namely, Macadelic and Faces - two tapes that really never got the (public) attention they warranted. The Divine Feminine is Mac’s fourth studio album (his second since signing to Warner Bros. Records), a body of work that far surpasses his previous album drops.

Mac’s never been too shy about the sexual themes, and that persists through this project. TDF is definitely a “sexy” album from top to bottom. One constant is the allusion to the power of “her” (the “feminine”?) - a power great enough to bring him to his knees, to challenge his confidence and independence, and to immerse him into new worlds (ie. “Planet God Damn”). Simply, it’s an album of love and vulnerability. The candidness of  "Congratulations" - highlighting the ups and downs of Mac's relationship with former girlfriend, Naomi,  The vulnerability is familiar, but being as Mr. McCormick never releases a project we’ve heard from him before, there was so much newness to be found! Most strikingly, he’s singing… A LOT. With that somehow endearing, raspy voice, Mac’s singing has never really seemed out of place. However, his projects have only contained glimpses of that singing. But for now, it seems he’s dropped BARS for some singing and funk/soul, jazzy vibes, and he’s taken to that sound incredibly well. With some help from many friends, old and new, Mac’s been able to produce a sound that the average fan wouldn’t think him to be capable of. The soulful vibes of the album can be attributed to many - CeeLo Green with his vocals, Robert Glasper on the piano, Keyon Harrold with lots of horns, Dam Funk (who speaks for himself), Thundercat (whose collaboration with Mac is real familiar), etc… - but mainly to the additional production of Phony Ppl’s Aja Grant out of NYC. And there’s the ever beautiful appreciation he has for the chemistry and fun in working with girlfriend Ariana Grande; there seems to be a lot of creative potential there (and she wonderfully opens the album). His working with artists so established in their fields, despite being so unfamiliar to him in a collaborative context, while maintaining his voice and being able to executively produce an album so different than his past work shows immense growth as an artist and musician. Not many rappers are able to expand their prowess into the world of soul music and have some success there.

The title, “The Divine Feminine” was cause for pause upon its announcement - like, where’s Mac going with this? Almost seven months later, the questions are still popping up: “So, what’s Mac saying? He’s a feminist now?”. That’s not quite where he went here. It’d be a bold claim, in this age of quick, thoughtless labeling, to title an album “The Divine Feminine” and uphold it as some kind of understanding of womanhood. It’d also be a tragedy. But for Mac, the “feminine” is his solace, his awakening, sensuality, love… the Universe.  After Ariana's intro and short rumblings from Mac (mad love, and a little sex), "the sun don't shine when I'm alone" opens the TDF's first verse, shedding some light on his discovery that there's a lot more to life, and love, than his individual walk; tackling life's dealings solo is something very familiar to Mac Miller. He's no longer playing the role of the dude who slides into DMs and has sexual escapades to add to his "collection". As he puts it, he's "trying to cuddle the world after sex, not keep the Uber running and dip out", which, through lyrics, seems to be a motive that's carrying over into his romantic journey. It's easy to sum up The Divine Feminine as a story of interpersonal relationships with women/a woman given the abundance of songs centered around loving someone. The ‘feminine’ goes beyond the human, female form and treads along this idea of the energy of the Universe being a feminine one. It's a notion that is at the center of his exploration of love through learning to love himself, those around him (especially lovers), and the entire world around him. A deeper connection with the Universe is his path to a deeper connection with relationships.  For Mac, TDF comes out of secluded years holing himself up in a studio, with endless drugs, pushing himself to create work. This is the most recent story of his ongoing recovery - the story of him finally letting life’s love and light (HIS CURRENT HOME IS THE FIRST PLACE WHERE HE’S ALLOWED NATURAL LIGHT INTO HIS STUDIO) into his heart. He’s been exploring love, which is so powerful for any person, and finally expressing that to his listeners in the best way he can.

Kendrick Lamar - The Heart Part 4

Mr. funK is at it again! Who else could start a track with funky chords and have the world knowing, very well, the fire that is to ensue? As we should know by now (I think the infamous "Control" verse was enough), Kendrick Lamar fears no rapper. In fact, his diet usually consists of eating other rappers quite swiftly. Is he the greatest rapping? He’s claimed that title since 25, and while it may go unnoticed, it's a claim to take seriously. Following an instant classic release in To Pimp a Butterfly, and a short album of unreleased tracks, it seems we’ve been due for some flames from Mr. Lamar. Until now, Kdot’s been having a quiet 2017 (with some great features, as always, for other artists over the past year), but no giant remains quiet for too long. What better way to make noise than to arrogantly praise your accolades, calling out your counterparts (for the 1865759th time), and daring them to make a catch-up attempt by a given date (04.07.17.)? I can’t answer that, but this track has me so excited for what’s to come. “The five foot giant woke up out of his sleep” back with more of the same: fearless bars. Hearing his switch-up from a casual first verse about the seed he’s planted with his entrance into the rap game to his reckless spitting over a beat, calling rappers and haters out, is art in itself - an art I will forever stand in awe of. He's 29 now, and that claim to 'greatness' is a motif I'll probably never get tired of.

Kendrick’s upcoming album has yet to be titled, but we do have a release date! The album’s due to drop on April 14th, giving aforementioned rappers an extra week to “get [their] shit together”. I’m looking forward to weighing that body of work up against the outpour of albums released since last September and those set to release over the remainder of 2017.