South Carolina native David Wilson, commonly known as dwilly, first broke into the electronic music scene while attending Berklee College of Music in 2016. Currently based in LA, dwilly is a producer, songwriter, and vocalist that blends elements of hip-hop and EDM. With releases on Monstercat Records and Majestic Casual Records, dwilly has songs that have peaked at #24 on iTunes Pop Charts, #10 on US Viral 50 Spotify chart, and #48 on the Global Viral 50 Spotify Chart. dwilly has amassed over 10 million streams in 2018 and has been featured in New Music Friday US. Having “cooked up quite the sonic formula” (Hillydilly), dwilly has built notoriety as a producer having two top 5 Splice sound libraries becoming well known for his unique approach to sound design.
“CRAYOLA the EP is a retirement from the early stages of my artistry and into my deeper darker personal struggles. As I approach the age of 24, I realize my music has matured into something much more emotional and honest. That being said, the songs are flooded with immaturity, youthfulness, and a punch to the gut. I now see things differently as an adult, having to deal with the everyday bullshit that was once foreign to me as a kid. The lyrical content itself shies from popular topics like the culture surrounding drugs and violence and truthfully embraces things like failure and anxiety. My favorite part about the EP is how unsystematic the tracklist is, reflecting my impulsive imagination. Each song offers a different vibe. I want both kids and adults to fuck with this. I’m not targeting any audiences, just simply painting my mind onto a canvas for anyone to enjoy.”
Manatee Commune is on track to become a major electronic breakout artist in 2019. With two extraordinary singles already released from his forthcoming album, PDA, Grant has again crafted another highly personal homage inspired from his childhood memories.
His latest single, “Famous,” tells the story of the seduction fame has on a young and naive dreamer.
“I wanted to capture that feeling every kid has when they are alone, rocking out to their favorite song, fantasizing about becoming rockstars or celebrities. To illustrate that titillating feeling when not only have you made it to the top but are also envied by every person you’ve known since childhood. And how that ‘feeling’ is misunderstood and really pans out if/when you actually achieve of success.” – Manatee Commune
The collaboration with Cassandra Violet delivers sparkling vocals that elegantly detail the trappings of fame, over Manatee Commune’s beautiful, timeless production. “Famous” is a happy, feel-good tune that articulates the benefits and trappings of fame.
The music is as unique as his name. Equal parts bouncy, glittering beats and cool contemplation, Manatee Commune’s compositions capture the sensation of taking a self-reflecting journey through the forest. The productions are masterful arrangements of field recordings, textures from nature, surfy guitar licks, rolling arpeggiated sine waves and classically influenced viola melodies.
Over the past years, he’s performed at SXSW, Bonnaroo, What The Festival, Decibel, Bumbershoot and Capitol Hill Block Party as well as toured with Odesza, Slow Magic, Emancipator and Blockhead. His flamboyant live show at Sasquatch! caught the attention of dance music aficionados; energetically bouncing across the stage from violin to guitar to drums to keyboard while vibrant, moody, projections of pastels & floral visuals behind him.
Manatee Commune’s 2016 self-titled album on Bastard Jazz Recordings explored the symphonic territory of electronic music, combining dance-driven beats, cosmic overtones and whimsical, complex melodies. The album instantly became a fan favorite with over 4.2 million streams on Spotify which eventually led to remixes for Petit Biscuit and RAC.
It’s this connection with nature that is fueling his emotionally creative approach to electronic music, and paving a path for a uniquely stunning album later this year. Add in a continually evolving live show and unmatched stage presence, and the future is looking bright for Manatee Commune and his following of passionate fans.
Jade The Moon are an independent alt – pop band that consists of Dani, Benjamin and Jeremy who started making music from the age of six. They released a brand new single, “The Tide” as the second feature track from their upcoming new album, 11:11. The group says that the collection of tracks on the upcoming release are best described as “musical photographs”. A moment in time turned dance party, true story turned love song, a daydream turned eerie alt-pop lullaby. Real world inspiration. This is the follow up to the group’s self-produced 2015 debut release Habits and Hindrance sees the continued theme of “cycles” in human nature.
“We self produced our first record and our current record ’11:11′ was produced by Colin Munroe …except ‘HOTELS’ by Adam King. We are always very involved in every set of the creative process but it really helps to have some in the room to make sense of all the ideas. We are always looking to collab with new writers/producers. @mikkyekko if your listening ;)”
“Fall Tour Dates in the works. We will also be premiering our short film created and directed by Black/Cartel in Toronto last fall”.
LA-based pop-meets-R&B songstress Anna Dellaria returns today with her new single, “I Choose Me.” The anthemic new tune will also be heard on TV Land’s critically-acclaimed show Younger, starring Hilary Duff and Sutton Foster.
Premiering today on The New Nine, “I Choose Me” is a powerful anthem for anyone who has ever felt apologetic for who they are or are not. Driven by tight production, Anna’s smooth soulful vocals captivate during intimate verses before booming with unbridled power on the refrain.
On the powerful meaning behind “I Choose Me,” Anna writes, “It’s an anthem for anyone who’s ever been manipulated, taken advantage of, or felt worthless for not fitting some ridiculous standard. In which you choose to commit to yourself and honor who you are, whether or not people are going to like or understand it. So often we are told to hide the parts of ourselves labelled as “flaws”, instead of looking at them as pieces that demonstrate strength, authenticity and character. ‘I Choose Me’ is the moment you decide to say “f*ck that – I’m enough” and aims to allow those vulnerabilities to empower us instead of living with them as chains we can’t break and must make up for. ”
In keeping with the spirit of the song, Anna will also be donating a part of the proceeds collected from the song to Girls Inc of Alameda County. The organization gives girls from underprivileged neighborhoods the opportunities and resources that can help shape them into strong, smart, and bold young women.
Anna stepped into the spotlight last year with her single “Bolder,” landing a prominent sync of TV Land’s Younger and surpassing over 325K Spotify streams. With a rising profile, prominent furniture company Ethan Allen tapped Anna to sing in a national campaign that aired during the 2018 Academy® Awards.
Translating lyrical singer-songwriter catharsis a la Jeff Buckley through bold Aretha Franklin-style delivery, Anna Dellaria is quickly carving out a place of her own in the music industry.
Aaron Taos is ready to seize his own parcel of the indie pop-rock landscape in 2018 — and Night Thoughts, the Brooklyn resident’s sophomore EP, serves as the blueprint for his takeover. The seven-track effort sees the self-taught artist’s bedroom noodling explode into a full-blown studio project with bolder sounds and bigger production. However, getting to this triumphant phase in his career was no clear-cut task.
Aaron Taos received his first guitar at only five years old. The New Haven, Connecticut suburbanite kid’s affair with the instrument was fleeting as he became more interested in hip-hop and a promising soccer career, even playing in the state’s Olympic Development Program. It wasn’t until he encountered bands like Arctic Monkeys and The Strokes in high school that music re-established its magic hold on his creative aspirations.
“My first instinct is to write songs,” Aaron Taos says of his artistic drive. “When I first got a guitar when I was little, the first thing I wanted to do was write songs. I didn’t want to learn covers; I wanted to make something new. I really like making tangible things out of ideas.”
As a 16-year-old, those ideas first manifested as a garage rock band with some fellow jocks. Still, athletics remained his primary focus — until he took those talents to college. He quickly found enthusiasm for soccer quashed by too much structure and a lack of creativity, so he resolved to turn fully to his true muse: Music. Between classes, Taos holed up in his school’s computer lab, instructing himself in the production arts. “My friends would make fun of me because I was always there watching tutorial videos, learning how to use Logic,” he recalls.
Literally learning as he went, he was resolute in his passionate pursuit. He moved home before relocating to Brooklyn for a Sony Legacy internship, all the while forging his debut EP, 2015’s GUITS. Lo-fi by necessity, the project “was really a bedroom experiment with guitar in a way I wanted to do it,” he says. “Just looping. It was my first time mixing anything from scratch.” Despite its novice DIY nature, GUITS drew attention from publications like Consequence of Sound, The FADER, Brooklyn Vegan, and Pigeons and Planes; it even landed Taos a manager. With minimal assistance or formal musical education, Taos felt himself fast-tracked to pop success.
Until the reality of the situation slowed everything down. His recordings’ homegrown nature made them intriguingly sincere, but ill-prepared him for the actuality of the industry. Taos went from training himself to being thrust into writing rooms from LA to Sweden and shown all sorts of contracts and licensing deals. It was a lot to absorb for someone who just wanted to create.
“It was a double-edged sword,” says Taos of his quick come-up. “It gave me a reason to say, ‘I can actually do this. I’m going to do this.’ But it also stopped my progress in some ways. I met a lot of cool people, I became a better songwriter, but I wasn’t making anything tangible for me.”
Throughout that year of fruitless co-writing sessions, he nevertheless kept learning, refining his craft while awaiting that serendipitous spark to reignite his artful ambition. Without warning, it returned full force when Taos found himself in the right room with the right song and the right producers. The production team was LA duo TÕN and the song was his early 2017 single “Off My Mind”. A hook-riddled groove of yearning desire mixing GUITS‘s guitar sound with “hard-hitting hip-hop-ish drums,” the track catalyzed a new flurry of writing, recording, and releasing.
Yet, just as his music was becoming more dynamic, his personal life was stagnating. His relationship with his girlfriend, who had been there since the beginning of this journey, was coming to a crossroads. Taos now had to find a way to explore his new sonic growth while simultaneously dealing with a broken heart. Ever self-aware, he determined the best way to progress with both was to capture it all on Night Thoughts.
“This EP, for me, is to conceptualize what I am and what I’ve done, what this time meant to me,” Taos reflects. “It’s me retrospectively making sense of my life at that time personally and musically.”
As a result, Night Thoughts plays through the timeline of a relationship. The sleek, sexy tones of opener “Amazing” capture that first rush of attraction. Driving and syncopated, the hard-thumping “Twisted” expresses the dumbfounding anxiety of obsession with psychedelic licks nodding to Taos’ love of Tame Impala. Straightening himself up, Taos gets lost in the cool, carefree joy of true love on “Only One”, only to wistfully stumble on the dance floor as he recognizes a potential end with “Not Over Yet”.
More than just romantic contemplation, though, the EP is truly a time capsule of Aaron Taos’ last three years. It’s the result of a burgeoning musician’s quest to become the type of recording artist he knew he could be. Although it stands as validation that he’s succeeded, it also marks the end of this chapter in his life. It places this young songwriter on the edge of darkness, just stepping forward to meet whatever comes next. There, in those moments before the breaking dawn, live twilight ruminations rich with vulnerability, pleasure, and heartache — the Night Thoughts.
Boys Choir is the new electronic prodigy from Scandinavia. A territory already renowned for its brilliant dance tunes. They deliver a true blend between pop and club music with their hard hitting tracks and infectiously catchy melodies. On June 8th they released their third single, “Sorry” – A lush, grand sounding track with punchy drums, massive synths and glimmering guitars. On vocals we find the amazing voice of HART.
Sergio Hernando A.K.A DJ Soak at the early age of 24 years old has become a top reference in spanish scene electrónic and turntablism. Credentials, of course, is not lacking: in 2003, with only 12 years old, opened an enviable achievements in becoming runner-up Spain in DMC. Since then it has not ceased to be a landmark in the national and international competitions for DMC and ITF, now known as I.D.A.
“A young prodigy from scratch” would be one of the most successful definitions to discuss Soak, and that is that this kid wants to bite the world.
DJ Soak shows an innate talent, which has managed to shape practicing very hard since he barely lifted was a child and used to sneak the dishes of his brother Dj Elko. Soak has grown and grown into one of the new covering of urban culture of our country.
Valencian, but with good hands who could have been forged in the crib from scratch, at it’ s Soak bet the electric rhythms.
It plays in each of them to perfection by mixing electronic, freestyle, hip hop, and requires more than an unbeliever to turn his head toward the cockpit to check that this wonder is scratching vinyl meat and bone, ultimately free music that skips the rules without giving up the party.
The best thing is that the reign of Soak just starting and we can only expect good things very good things, this guy in constant exploration of ways and innovation that transform and magically erase the dividing lines between musical genders.
TITLES AND AWARDS:
*Vize-Champion of Spain DMC 2003
*3º in the championship of Spain of the I.T.F 2005
*4º in the championship of Spain of the DMC 2005
*Champion of the Community Valenciana of DMC 2006
*3º in the championship of Spain the DMC 2006
*Champion of Spain I.T.F / I.D.A 2006
*Vize-champion of World/Euro I.T.F / I.D.A 2006
*Vize-Champion of Spain DMC 2007
*4º in the World I.D.A/I.T.F 2007
*Champion of Spain DMC 2008
*5º in the championship of World DMC 2008
*Champion of Spain DMC 2009
*Red Bull Thre3Style Champion of the Community Valenciana
UHURU are a duo whose music knows no boundaries – even their name means “freedom” in Swahili. Bringing together dance, electronica and R&B, their sound is a vibrant fusion that takes up today’s post-genre challenge to create soul-infused, modern pop equally at home on radio or the dancefloor. “The mix of weird sounds which you can do now in pop really excites me,” says UHURU’s vocalist, songwriter and producer Connor Daniel. “Pop production now is the most exciting I’ve ever heard it.”
Still only 22, Daniel been making music since his early teens, when he began uploading unofficial dubstep mixes of Drake and Usher to YouTube. He now describes the tracks as “awful”, but they showed impressive studio skills, clocking up plays in the hundreds of thousands, earning him a feature on BBC Introducing and, more importantly, impressing his future bandmate Robert Jones when they met on a music technology course in their home town of Southampton.
“When I met Connor at college he was talking about having one of his mixes played on Introducing,” says Jones, “and I was thinking, This guy is big time!”
It turned out Daniel had his sights set well beyond the dubstep scene. His background, too, marked him out from his fellow students. Born in Kenya, Daniel spent his early years in the coastal city of Mombasa before his parents moved to the UK when he was six. “My mum’s family have been in Kenya for generations,” he says. “I’m proud of my Kenyan roots, for sure. I have tattoos to prove it!”
His parents also encouraged an early musical flair. “There’s videos of me when I was four years old tapping along to the beat of a Michael Jackson song,” he laughs. Later he developed into a gifted pianist, with a soulful vocal delivery that elevated early efforts at writing pop songs to echo those he was hearing on the radio.
Jones’s ancestry is somewhat less cosmopolitan – both parents are originally from Wales – but his wide-ranging musicianship has been key to UHURU’s development. Like Daniel, the 22-year-old plays five instruments, having first taught himself guitar as a teenager. “My family’s not musical at all,” he says, adding that he took inspiration instead from Nile Rodgers and Noel Gallagher. “Other than my grandad, that is. He plays euphonium with the Salvation Army.”
Having clicked as friends, Jones and Daniel initially formed UHURU as a four-piece band while still in Southampton. Daniel recalls their live set was mostly made up of “electro house and Chase & Status covers”, and it was only after downsizing to a duo that the current, more complex UHURU sound started to take shape. By the time they’d finished their studies in Southampton, both agreed they should continue working together – especially after being accepted onto courses at the Academy of Contemporary Music (ACM) in Guildford.
“It was all quite natural,” says Jones of the move. “We ended up in this little two-up, two-down and it had a conservatory. We used to practice in there, much to the annoyance of old Richard next door!”
Jones and Daniel, however, quickly impressed their tutors – not least former Prodigy drummer Kieron Pepper who came round to listen in on the conservatory sessions. With Daniel studying Electronic Music Production and Jones signed up for Contemporary Music Production, at this point neither quite knew what UHURU was going to sound like from one week to the next. But well aware that ACM had previously nurtured some major talents (Ed Sheeran is a former student), they relished feeding new experiences and influences into the mix.
“Connor would come back to the house with people that were on his course,” says Jones, “and we’d try and work out this cool new direction he wanted to go in.”
“I was trying to do really experimental, underground, future bass hip hop stuff,” laughs Daniel. “But from there I discovered that you can mix all of that into pop music, which is more what we’re pushing towards now.”
Currently holed up in a studio off the M25 where they’re mixing tracks for a forthcoming EP, UHURU is rapidly evolving beyond an experimental studio project. Attention-grabbing new songs such as Riddle and Thirsty show their ambition, updating contemporary R&B with neon-tinged synthpop and global beats in a way reminiscent of breakout acts such as Bondax and Mura Masa (“a huge inspiration, production-wise” says Daniel).
Daniel insists there’s much more to come – he has hundreds of melody lines and vocal fragments recorded on his phone. He’s also still restlessly seeking out inspiration from unlikely sources, whether it be his mum (she recently clued him into jazz maestro George Benson) or Justin Timberlake. “Songwriting and vocal-wise, I love Justin Timberlake,” he says. “People say to me, Is he a guilty pleasure? But there’s nothing guilty about me loving Justin Timberlake!”
With ideas flowing so fast, it’s not surprising Daniel and Jones are eager to take UHURU out on the road and test their songs on live audiences, not least during a busy summer festival season. But for all the stylish sophistication of their new material, Daniel says his aim remains the same as when they played student clubs in Guildford: to make people dance. “Put us on a stage in front of a crowd,” he grins, “and I think we can do the rest.”
The word is out: UHURU are on a mission to liberate your mind, body and soul.
Bee Bakare is a Nigeria-born British soulsinger-songwriter. A charismatic live performer with a deeply-rich warm tone and catchy songs. Blowing away audiences with that big voice and smile, her songs have achieved and continue to achieve local and international radio play including BBC, Premier radio & Cross Rhythms.
Her known-for feel good charm and eloquence on stage and as live music compère/creator of “Soul Stripped Sessions“, landed her a role as TV Judge in BBC one’s brand new six-part series. A Saturday night primetime show called “All Together Now“. Bee Bakare is one of “the 100” music industry judges, aired 27th January 2018.
Passionate about connecting with people through music, despite starting off different career in the medical industry, she is a keen and ambitious personality with an impressive momentum in her career. For instance, she references covering a wealth of over 350 live performances in 2016/17 alone, including intimate shows as Ronnie Scott’s, Sofar sounds, Legendary Troubadour, festivals as well as concert venues in the UK, Europe & Africa. She is currently on her wider international tour including USA.
‘Brighter’, responsible for her songwriting award, is the title track to her April 2017 EP. The 5-track release contributed to almost 1 million minutes streaming time on Spotify alone for this artist in 2017.
She has also attained the No1 spot on UK R&b/Soul Charts on Reverbnation for Sept 2016 to Feb 2017 and remains in the Top 10 (jan 2018).
Singing and writing from a young age, she cites her songwriting in the early years as poems and simply as a way of “working out emotions”. Growing up listening to R&b, gospel and female acoustic soul singers such as Lauryn Hill, Tracy Chapman and India Arie, she describes these as her main influences that later inspired her to “play guitar and get on the streets busking” whilst she holds the queens of Soul pop, Whitney Houston and Mariah Carey responsible for that impressive vocal range.
Hailing from Bath, UK she is currently most active on London’s buzzing live music scene, making a name for herself fronting her all-time sell-out show Soul Stripped Sessions. A 5* rated event known for its upbeat atmosphere and quality of music, it is a known brand in London’s soul scene, priding itself in inspiring creative women, advocating fairness, respect and support for female independent artists.
In her own words, “to be able to say someday that my music has reached the world and positively touched people’s lives would be the dream come true”.
She describes her most recent release as “upbeat, yet vulnerable and heartfelt songs that take you on an emotional journey”, Listen to Bee Bakare’s Brighter EP. Visit the Official site. Available now in stores.
“Bee Bakare began playing at a small Soho club the audience was utterly transfixed. Her richly textured vocals, catchy hooks and fizzing musicality immediately set this young acoustic soul pop singer-songwriter apart” -Cultural Highlights 2016 (Huffington post)
Foley started almost as a dare – a challenge between two long time friends to blend their mutual love of pop, funk and dance into a meaningful spin on pop music. Frustrated with the standard model of two-piece acts being pigeonholed into 1 vocalist and 1 producer, Foley made a point to be equal. Songs are crafted together, 50/50; with neither party more important than the other. In a male dominated industry where female vocalists are often commoditized, it’s an important distinction to make.
Both talented writers, producers, and performers, the pair collaborate on everything from lyrics & melody to instrumentation & performance – nothing is one sided and the result is greater than the sum of its parts. The long list of achievements following their debut single ‘Settle’ is proof that going against the grain works.
Released in October 2017, the bass-driven debut immediately launched the pair into local hearts and minds, receiving extensive radio support from one of New Zealand’s largest commercial radio stations ZM and NZ’s largest dance station George FM. ‘Settle’ also received wide support from DSPs, landing on Spotify’s prestigious Fresh Finds: Hiptronix playlist and clocking up over 50K streams since release. And after only one month in the public eye, Foley were invited to play New Zealand’s largest New Years festival, Rhythm & Vines for it’s second consecutive sold-out year.
Waves like this don’t go unnoticed – Foley’s success quickly pricked the ears of the industry, landing the duo features on tastemaker blogs like Coup de Main. The pair also secured government funding and a coveted spot on the NZ On Air’sNewTracks disc – which is presented to top level broadcast media. Behind the scenes, the duo have formed a relationship with some of NZ’s best producers: Josh Fountain (Thomston, LEISURE, MAALA) and Djeisan Suskov (Mitch James, Matthew Young) – trying new sounds and tearing apart old habits.