As Spring hastily approaches, Atlanta native AIR APPARENT returns with a delightfully warm electro-pop single ‘Asking You’ – serving as the perfect love anthem to jump into warmer weather.
‘Asking You’ is a lively shift in tempo from AIR APPARENT’s conventional relaxed soundscapes. As the single’s luminous bassline is swiftly met with mellifluous vocals, lush synths collide with an oscillating percussion line to create the ultimate playful melody for a love-inspired track.
The Indian-American DJ and producer has only just begun to make his mark on the dance music world since the release of his 2018 debut EP ‘Imaginary’. AIR APPARENT’s standout single ‘Your Love’ is a dreamy love boasting track that has amassed over 60,000 plays on Soundcloud alone and is a true testament to the young artist’s transcendent production capabilities. With a summer EP currently in the works, AIR APPARENT shows no signs of slowing down and will continue to prove his progressive artistic prowess while working to solidify his standing as the breakout electronic artist of 2019. Stay up-to-date with everything Air Apparent is up to by following his socials for news about upcoming music, albums, tour dates and much more.
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‘
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.
Unsigned Natalie Major translates raw emotion and relatable experiences into anthemic and ambitious pop punctuated by down-tempo beats, skyscraper-size vocals, and unabashed and cathartic honesty. After moving to L.A. to pursue a lifelong musical dream back in 2014, the artist bubbled up with a series of high-profile songwriting placements and vocal spots. Among those, Natalie penned and featured on Bobby Puma’s “Someone Somewhere,” and Tiësto included the track’s “Tiësto Edit” on the fourth installment of his popular Club Life series: Club Life, Vol. 4 – New York City. “Someone Somewhere” peaked in the Top 5 of Beatport’s Top 100 and landed onSpotify’s Global Viral Top 50. Next, the songstress teamed up with Dutch sensation Showtek and Brooks for “On Our Own,” which clocked over 11.2 million Spotify streams in under six months. By 2017, her cumulative streams would exceed 20 million and counting. However, audiences get to finally experience her vision in 2018.
Natalie kicks off the new year with “Waves.“ Receiving a feature in the Freeformseries premiere ofgrown-ish, the single ebbs and flows between breathy verses and a seismic and soaring chorus that’s as empowering as it is entrancing. Now is her moment. With music and touring planned throughout 2018, she stands poised to connect like never before. – Rick Florino, Written On Time Inc.
Art of Shades aka Leonardo Dessi is a twenty three old artist of franco-italian origins, newcomer on the Parisian scene.
After ten years playing the piano at the Conservatory, and two years spent on the banks of The American School of Paris immersing himself in the world of Jazz, Art Of Shades released in 2013 his first song, “All Away“, born of an improvised collaboration with his friend Soukaina.
His music offers a complex and melancholic atmosphere that mixes subtle and delicate electro to classical notes; the piano occupying a prominent place in his compositions.
All away is the perfect illustration of the artistic direction he wishes to undertake: a music that is romantic, eclectic, and generous.
Senoia, Georgia is a creepy old place. One hour south of Atlanta in the Deep South, Senoia is the town where AMC’s “The Walking Dead” is filmed. It is also the home town of ALL THE REST who are as much misfits in their town as their Zombie counterparts.
Baylee Waller (19) is the son of a contemporary Christian artist and his dad bought him an electric guitar aged 10. Baylee immersed himself in music and when he was at a Tennessee music festival his dad was performing at, he met Jud Harris (19) who had been playing drums since the age of 8. They started to hang out together and dream of being rock stars. When Baylee’s cousin Caleb Smith (18) heard Jud and Baylee jamming together he decided he wanted to play guitar too. He was only 12 but when he started to practice with the other two the band suddenly landed its lead singer.
In the summer of 2013 the band knew they needed to add a bass player to their line up and so posted a Facebook status. Local bass player Tre Housman (20) had been playing since the age of 7, he luckily heard about the vacant position and impressed the guys with his skills.
With the line up now complete the guys have played constantly in the Georgia music scene and developed their skills as songwriters and musicians.
All home schooled, All The Rest are anything but regular and with their individual fashion style and weird personalities were often sneered at by locals. They ignored and persevered and when their music reached the ears of LA Music Publishers Kundun Music they were immediately snapped up for synchronisation in Film, TV and commercials.
Now recording in the studio with legendary alt Producer Matt Squire, whose credits include Panic! at the Disco, Youngblood Hawke, Good Charlotte, Boys Like Girls and All Time Low.
Often thought to be pretentious, All The Rest mysteriously thrives on the outer critics, making honest music for a disoriented and systematic generation. Inspired by the Post-Punk era, this alternative rock band carries a rebellious voice, unexpected from their sleepy Deep South. It’s undeniable that this band represents “All The Rest” of society.
Their first official release is Black Plague – released March 7th 2017. It is a raw and honest song about a true life toxic former relationship for one of the band that lead to nothing but pain and heartache.
All Things Go loves the track calling it “a hard-hitting revival of the raw energy borne from personal struggle and perseverance. As it rides on waves of self-determination, the sheer force of will carries you through the void.”
Emerging Indie Bands claims that, “The mix of dirty blues guitar and preppy pop vocal give All The Rest a space of their own in a crowded-market…The fact that I am suggesting you spend time in their company indicates that I think in Black Plague it works successfully…”
All The Rest has been featured on Alfitude‘s New Music Playlist.
“Black Plague” captures the ebbs and flows of life throughout its production. Moments of complete chaos are followed by moments of sweet serenity. This punchy rock tune is gritty and heartfelt – the epitome of freedom, as the lyrics suggest, letting go of the ties that ultimately bring you down.