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Hunter Diamond "Entrance Velocity"

Saxophonist Hunter Diamond has released the opening track, "Entrance Velocity", to his solo debut album, Reflective Nostalgia, which is due out on August 6th via his new label Curio Records.

On this recording Diamond plays tenor sax exclusively while being recorded live at Atlantic Center for the Arts in northern Florida. The recording not only captures his experimental and improvised performance but the living environment around him.

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Brett Naucke "The Glass Shifting"

Brett Naucke has released the first single, "The Glass Shifting", from his forthcoming album, Mirror Ensemble, which is due out October 1st via American Dreams.

For this album Naucke teamed up with like-minded and extremely talented musician Natalie Chami (aka TALSounds) on Voice, Synthesizer, Organ, and Piano and Whitney Johnson (aka Matchess) on Viola, Violin and Organ.

Photo by Michael Vallera

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Blue Lick "II"

Experimental Electronic duo Blue Lick, Havadine Stone (Vocals) and Ben Baker Billington (aka Quicksails) (Modular Synth), have released the first single, "II", from their forthcoming debut album, Hold On, Hold Fast, which is due out on September 17th via American Dreams.

Billington creates shifting, swirling soundscapes to accompany the spoken word performances of Stone. Of her writing Stone had this to say, “I was trying to express the aggression I was feeling without sounding like I had a chip on my shoulder.”

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VIDEO: On “Habit,” Angelnumber 8 Draws Us Like A Moth To A Flame

photo credit @jeralddjohnson 

 

L.A.-based singer-songwriter Angelnumber 8 today releases “Habit,” the first single from his upcoming project Digital Tribal, along with an accompanying music video, released via CashApp Studios.

The track begins with Angelnumber 8’s crisp, double-tracked vocals accompanied for a couple measures by echoing synth keyboards, until the beat (complete with itchy-sounding snare) enters, alongside delicately arpeggiated, tropical-sounding electric guitar and deep, rounded synth bass. At points, Angelnumber 8’s voice is transformed with clever use of tremolo, lending a hypnotic quality to his voice and blurring the lines between vocal and instrument. When he chooses to bypass the effect, it’s in favor of double-tracking his vocals using the low bass range of his voice, which lends an additional pleasant depth to the soundscape. The track ends just as quickly as it starts, with mischievous vocal hiccups and gentle yelps seeing the drums and bass out until, at last, all that’s left is the electric guitar.

Lyrically, Angelnumber 8 seems to address some unnamed romantic interest in terms of his addiction to them, but also laments their neglect of him in favor of other distractions, including those that earn them money, but not artistic or creative output. “Breathless/I am again,/Like jeans ripped from the hem/Holding on to a thread/Bending,/Twisting,/With limbs,” he sings, describing his strung-out state of mind after bing neglected by the person he’s addressing.

The ingenious music video (directed by the artist and with visual effects by Zach Beech) finds Angelnumber 8 in an idyllic romance with a glitch-ridden, technicolor digital moth. They cavort together in the wilderness, they have dinner at a “fancy” restaurant (although she goes unnoticed, at first, by the waiter), but their time together takes an unfortunate turn toward the morbid, as well as the surreal. The final sequence is startlingly Lynchian in both its banality and its chilling effect. This writer expects bigger and better work to come soon from this artist on the rise. Gabe Hernandez





VIDEO: INNER WAVE’s “Take 3” Is A Surreal Take On Covid Life

photo courtesy of the artist

 

L.A.-based band Inner Wave has announced the coming release of their fourth and latest album, Appotosis, on September 30th by releasing a music video for album track “Take 3.” Inner Wave are managed by Cosmica Artists + Records.

The track begins with a thick, honky, effortlessly funky bass line rolling alongside a languid but insistent four-on-the-floor drumbeat, both sharing space with polished, delayed synth mallets. Frontman Pablo Sotelo’s vocals are pleasingly lethargic in the way his syllables land in the pocket with the four-on-the-floor groove. Sotelo’s vocals are accompanied by delicate, echoed guitar strums and mournful, siren-like, infinitely stretched synth lines that seem to underline the melancholy and emotional fatigue of his vocals. Plucked synths that dominate during the chorus add an extra layer of dancefloor gloss that wouldn’t be out of step at a local club some night this weekend. The icing on the cake is the lush middle section that leads the song into it’s conclusion, which has an “everything but the kitchen sink” feel, while managing to remain stately in its unraveling.

The track is special in that its music video also marks Sotelo’s directorial debut. It’s a fairly simple affair, but full of symbolism for covid quarantiners. The singer spends the bulk of the video standing camera center, viewable only from the waist up, and wearing a simple white tank top. Footage of vintage road scenes are projected onto the upper part of his face (an enigmatic but potent visual, to be sure), which alternate with multi-exposed versions of himself. Some are lit from the front with a blood-red glow, some from behind with a single blinding white light, revealing a sea of fog at his feet. It’s definitely a pick for best use of minimal prop resources, and the shot where Sotelo slowly struts across the multicolored stage wearing a full military gas mask apparatus is a not-too-subtle nod to the Covid pandemic. It’s an effectively narcotic video for a lush and hypnotic track that accurately reflects the breakdown of time and space that the covid crisis created, and another artistic document to note the events of the past year and a half. Gabe Hernandez

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