Cihan Ozaman is a producer, singer and songwriter known as Kemelion. He was born in Istanbul, grew up in Paris and went to school in Hannover. Currently he lives in Stuttgart and often commutes to the Alps, where he works with the producerJoe Styppa aka Jaime (drummer of Cro, Cassandra Steen, Estikay, KMN Gang) on his debut EP, which will be released in spring 2019.
On January 25, 2019, they released the fourth single by Jaime “With You (feat. Kemelion)”, which will also be available together with” Over Us “on the debut EP of Kemelion. He combines oriental beats with groovy bass lines that are beating through the melodic walls of the synthesizers. On top you hear guitar licks with different funk & pop influences. His striking voice complements the 26-year-old with huge choirs and harmonies. He describes his own musical genre as “Modern Electro Pop”. Kemelion does nothing be behind his music. He becomes one with it. In March 2018, Kemelion had applied for the nationwide band promotion Play Live. Against 60 artists, he made it through live performances to the last top 4. In December 2018, the final took place at the Scala in Ludwigsburg where he convinced the jury again and earned a slot at the 2019 Stuttgart Electronic Music Festival.
C. Gold is the new smashing artist from Sweden that, with his debut single ‘’Nobody feat. Fancy Dave’’, shows that he is here to stay! It’s not very often an artist makes an entrance as strong as C. Golds.
Some artists take years to figure out their sound and style, but listening to ‘’Nobody’’ and seeing the artwork makes C. Gold’s debut crystal clear and easy to love! Worth to know is that he does it all completely independent.
Nobody Feat. Fancy Dave is a groovy electronic pop song with new thinking beats and a lyric that tells the struggle of being a young creator in the most obvious way. When you’re young and working hard to reach your dreams, it can feel like a long way till you’ll see any gold. But listening to C.Gold will guaranteed be the most valuable thing you’ve done in a long time!
Singer songwriter Tamtam grew up in Saudi Arabia from her birth until she was 13 years old. Throughout her teenage years, she was relocated to California for school because her parents believed seeing the world through a different lens was important. Having discovered her love of singing at the age of 11, Tamtam took the opportunity to move and channeled all her learning experience into her biggest venture, music.
She got her start in music on YouTube with her first ever single “Little Girl.” At the advice of friends and family, she blurred out the video so you couldn’t see her face for fear of backlash from people who knew her in Saudi. This inspired her second single “Gender Game.” The EP Gender Game was released in October 2014, and it wasn’t long before the title single gained recognition. Contacted by Geena Davis to support at three of her non-profit events, along with An Upworthy article with over 80k shares from March 2015, it was clear Tamtam had made her first big mark on her path in the music industry.
From there, Tamtam was able to truly launch herself into the world of music. She released her single “We’ve Got Wings” in late 2015 to help promote a Saudi breast cancer awareness organization founded by Princess Reema bint Bandar, and has been promoting it ever since.
Tamtam uses her message of love and acceptance to promote gender equality along with other humanitarian and egalitarian efforts all over the world, especially in her home country of Saudi Arabia where movement towards gender equality is beginning to take off. She is dedicated to using her music to promote these positive messages to young women and men around the world while sharing her own experiences through her art.
“My new single, “Blue” is about heartbreak and feeling haunted at the end of a dissolved romance, while the other person seems so cool. I drew on nature’s everchanging blues (water, the sky) for inspiration – their vastness, unpredictability, and power to set a melancholy tone”.
“Thank you Substreamfor the kind premiere, and thank you for listening”.
After her debut-single with over 1M streams and the current single Pathetic released with Ninajirachi (premiered on Tripple J and supported by JAY-Z’s mgmt), Naah today is back with her new smashing single Touch !
Naah is one of the latest shooting stars over the
Stockholm-sky and is definitely one to keep your eye on.
With roots in indie-pop, the 21 year old independent songwriter and
artist now release her second single Sippin, which is
something you haven’t heard in pop-music before. She takes
her experience from band-jamming and translates it to
electronic-music and the result gets stunning!
With an ironic tone to riches, new-thinking groovy beats and
playful melodies, she puts her own stamp on music and
delivers a single that can be measured with the world stars.
It’s not electro. It’s not R&B. It’s not pop.
– It’s Naah!
“Sippin’ is the second single from Stockholm based songwriter NAAH. It’s an effervescent electronic alt-pop number with rhythmic synth-work, crisp percussion and outstanding melody writing. It is clear that she is talented beyond her years, at only 21 she is creating well crafted synth-pop with clear appeal – her debut single ‘Worth It’ picked up some serious love across the blogosphere and shot its way to ~500,000 streams on Spotify. This new one is sure to find its way into your Spotify playlists and should see the young talent emerge as a serious contender this year”. ‘Purple Melon‘
Pacific are a Piano-driven Alternative/Indie band from Northwich, UK. The band consists of brothers & songwriters Anthony Orzel – Vocals/Piano and Daniel Orzel – Synths/Bass/Backing Vocals, Dave Bithell – Guitars and Drew Burns – Drums/Percussion.
Fresh off the back of their 2017 single release ‘Blinded’ – described by reviewers as “anthemic vocals, addictive guitars and euphoric moments” – Pacific’s energetic brand new single ‘Life in Short’ has landed, with an exclusive first look courtesy of Metro. The release of the band’s EP, ‘What Are You Waiting For’, followed the success of its lead single ‘Time to Forget’, a forceful call to action that immediately stood the band out from the crowd. The single reaped Pacific’s first BBC Radio 1 play on the Huw Stephens show, along with airplay on a further eighty UK radio stations.
Pacific have previously received strong backing from BBC 6’s Mark Radcliffe, who praises the band’s music as “outstanding”, along with constant support from BBC Introducing, who often invite the band for live interviews and to film live sessions. The band made huge steps on the live circuit in the summer of 2017, sharing stages with Razorlight, Maximo Park, Toploader, The Hoosiers, Starsailor and more. The young band are excited to share their fresh, energetic sound with anthemic melodies on continually bigger stages in the years to come.
Grandson is a 24 year old alternative artist hailing from Toronto, Canada. Born in New Jersey, he relocated to the cultural melting pot of Toronto at a young age, and grew up surrounded by music ranging from jazz to rock and roll to rap, dancehall and electronic. He began playing guitar and writing songs as a teenager, and experimented with hip hop and trap production.
Adopting the Grandson moniker while living in LA, he met guitarist and collaborator Kevin Hissink and dove deeply into rock influences such as Rage Against the Machine, Nirvana and Led Zeppelin, while also listening to rap and soul music emerging out of Toronto as well as alternative acts such as Twenty One Pilots and Hiatus Kaiyote. He found a small community of musicians to work and perform with in Los Angeles. The live set creates a frantic, mosh pit inducing cathartic release of energy for concert goers, influenced by early punk and grunge music.
Grandson’s lyrics confront the most pressing issues of his generation through his songwriting, such as governmental transparency, economic accountability, climate change and social justice, giving these topics a soundtrack with a genuine sense of urgency and frustration. The music also touches on adolescence, relationships, and the insecurities and difficulties of growing up.
Captain Kidd are a product of the ever-growing Columbus, Ohio music scene. The psychedelic pop infused 4-piece returns after the soulful, chill vibes of singles “Stay” and “Wild,” with their newest track “Bleed.” Propelled by the success of their first single Freaky Love, Captain Kidd’s evolution has taken them from the dive clubs of northeast and central Ohio, to supporting the likes of Glass Animals, Capital Cities, Wiz Khalifa, and Griz at some of the country’s premier music festivals.
Captain Kidd can be characterized by spacey synths blended with sultry vocals. The band has captured the attention of listeners from New York to New Zealand. This dynamic mixture of song writing elements has cultivated a sound that has been described as “fresh,” “dance-able,” and “celestial.”
“Bleed” was the product of a weekend-long cabin getaway to middle of nowhere southern Ohio. We initially went to the cabin to work on a couple of existing ideas we had been struggling with, but ended up writing several new ideas via some impromptu jam sessions – one of which turned into this track. We wanted “Bleed” to feel nostalgic, like a fond look back on some forgotten, perfect summer day that really never existed except in our memory of it.
Psychedelic pop infused four-piece, Captain Kidd once again showcase their songwriting capabilities with ‘LIMIT’. ‘Indietronica’
Speaking of the track, they explain
“Limit” is our most collaborative effort as a band yet. We bounced a ton of ideas off each other and really stuck to our decision to not overthink anything, but rather let the song develop naturally as those ideas poured out. We had fun with this one. We were watching 007 Casino Royale and thought, “hey let’s write a James Bond dance song.””
The best songs have the power to either heal or hurt you. When independent singer-songwriter Matt Woods is looking for a great poem or lyric, he has one main criteria: “I just want someone to break my heart in the shortest amount of time possible.” It’s the reason he carries around books by Charles Bukowski and Rupi Kaur, whose succinct words can pierce the reader right to the core — and it’s also a model for his raw and direct songwriting. With a raspy and world-weary vocal, Matt Woods writes about the darkest realities of love, loss, and depression in futuristic soul songs that cut to the bone.
Matt Woods grew up in the coastal town of Newquay, where he was always a keen observer of people and relationships. “It’s so mellow and laid back, it definitely sparked something in me,” he remembers. “I’m much more observational — I’m quite happy sitting in silence and watching things.” With an ex-West End actress and singer for a mum, Matt Woods was exposed to musical theatre and classical compositions from a young age, playing the violin and singing in a cathedral choir. That was his world until his mid teens, when he became entranced by the hard-edged folk music of Ray LaMontagne, and the iconic voices of Nina Simone and Otis Redding.
Breaking away from his choir roots, Matt Woods began teaching himself to play guitar, and nurturing the distinctive vocal he has today — a gritty, soulful instrument. “I want to just get as much emotion out of it as possible. I love the idea of getting to a point where it doesn’t matter if you don’t understand what I’m singing, you feel it anyway. I’m trying to sing from that place, rather than make the most pure and clean sound.” At 18, he wrote his first song: a painfully real ballad about unrequited love that seemed to fall out of him fully formed.
After studying maths at university, he spent a summer in Newquay playing songs in a beach bar. As punters bought him drinks to keep him playing for hours, he realised he might have something special, and not long afterwards set off travelling around Europe with a guitar and tiny amount of money in his pocket. Busking in Belgium, Austria, the Netherlands and elsewhere, and earning enough to keep going, helped Matt Woods realise that music was what he wanted to do with his life.
Returning to London, he turned his attention to writing those songs that could break listeners’ hearts. A chance encounter while flyering led to Matt Woods signing to his management, and soon after, releasing the triumphant, gospel-inspired ballad “Impression” in 2015. With that song, he remembers, “I discovered the difference between writing a song using your brain and writing a song trying to just use your subconscious. It’s sad and sexy at the same time: that’s ideally how I want my music to feel.” On his 2016 EP Ain’t No Use, he teased out the same melancholy-yet-sultry vibe, with even more anthemic choruses and looser, funkier production.
On his upcoming EP Re:Connection, Matt Woods’s songwriting is more reflective and nuanced than ever. On the lead single “Nervous,” he sings tentatively of rekindling an old flame over the glistening push and pull of MathsTimeJoy’s production. Matt Woods reflects: “It’s about that beautiful thing: when the person that makes you feel most calm in the world makes you feel nervous.”
The rest of the EP explores the highs and lows of that rekindled romance, cohering together to create a deeply intimate narrative. One, a smooth soul jam titled “Tongues,” picks apart the unique dynamic of dating someone from a different cultural background, or with a different first language. “What you lack in being able to communicate verbally, maybe you end up communicating physically,” says Matt Woods. “You end up having a deep connection physically, and in silence, because you’re saying all the things you’re struggling to say with words. At the time [of writing], we were three months into Trump in America, and the whole story of the song — it being a love song for people from different cultures — meant a lot to me in that moment.”
Elsewhere, on “Stop,” warm and church-like synths provide the backdrop to a brutally honest song about battling to get over someone, and to keep hold of your own mental health. “I was
really fighting with depression,” says Matt Woods. “I had to cancel a release. I was supposed to be going on a European tour, and I couldn’t do any of it. The song is both coming to terms with the idea that I’m never gonna be properly able to get over this person, but then there’s a parallel with depression — it might never go away, you just have the ability to make it smaller, and live with it.” He describes depression as “like this thing coming at you. You want to close off your body, to make yourself small. That’s what makes you then feel like you can’t overcome it; some days you can’t get out of bed, or you just feel useless. But if you stand there and open your arms wide and face it, and acknowledge it and attack it head-on, it becomes smaller
immediately, and then you can sort of control it.” Initially, Matt Woods didn’t want to release the song, which felt too painful to share; but its lack of filter is what makes it so real. “I just found a way to fall in love with it, and appreciate the way the song healed me.”
I Am Hill Wrote, produced, recorded, and performed Give It A Rest entirety by herself. Give it a Rest is an expression of sarcastic frustration with capitalist patriarchy. It was performed on an Oberheim analog synthesizer, with the beat created using Native Instrument’s Maschine. Most of the verse vocals were recorded on Apple earbuds. Most of this was done between the hours of 2 and 5am.”
“Writing GIAR (Give it a Rest) was really a weird experience. I was feeling some crazy burnout after the last tour, I didn’t know if I’d ever write a song again. I was working nights, so I was getting home at like 4am after long hours in a loud, high intensity night club. So I’d usually be buzzing when I got home from work and need to come down”.
“One night I was driving home and blasting tunes and I got this beat in my head… when I got home I frantically plugged in my setup so I could “catch” the song. I made GIAR from top to bottom that same night, and tracked scratch vocals on my earbuds, which I ended up keeping for the verses. It had this ‘fuck it’ vibe that I couldn’t throw away. I didn’t even know what the song was about until like 48 hours later. It just came out”.
Give It a Rest, is scheduled for release in 2018. You’ll also be able to hear title track in exclusive rotation on KCRW as well as now at IX Daily”.
Unsigned Jan Hammele, 26, and Andreas Huber, 25, are two ambitious and experienced producers, multi-instrumentalists, DJs and live-acts who have been making music together for six years.
The two perfectionists first got to know each other during their studies in Audio Design at the School Of Popular Arts Berlin (hdpk) and have been involved in several collaborative projects since then. They quickly discovered a similar taste and working process which brought them together on a professional level.
Jan‘s musical approach has been influenced by his early involvement in a punk/grunge band where he was front singer and played both the guitar and the piano.
Andreas is an equally educated musician who began his musical career in numerous metal bands before he shifted his focus on other genres.
Drawn towards the zeitgeist of Berlin‘s electronic music scene, they developed an enthusiasm for the sheer endless opportunities within the genre. Formerly operating under their stage name Egokind & Ozean they started making music in 2010 and released their debut album „Transition. During this period they toured around European clubs as a DJ duo and live-act and played gigs in Belgium, Canada, Estonia, France, Germany, Hungary, the Netherlands, Switzerland, Turkey, the UK and the US.
They have produced for numerous artists such as Alle Farben, Yasha, Lovra, L Devine and many more. For the multi-national selling single „She Moves“ by german EDM artist Alle Farben they received a golden record in 2015.
With their new artist project BLYNE the two Berlin based producers decided to shift their focus and devotion in order to developed a unique interpretation of contemporary pop music transcending traditional and national genres. By collaborating with different English native-speaking artists for each song, they create a varied but very recognisable sound which meanders between pop, r‘n‘b, hip-hop and electronic music.