joji has shared a video in support of his song “Demons.” It is nothing short of unusual, but what would expect from the artist behind Filthy Frank. “Demons” is taken from joji’s excellent EP In Tongues, and it follows the release of lead single “Will He.” That too received an immersive visual treatment. Watch “Demons” below and revisit “Will He” below.
Kasbo just released his new track “Snow In Gothenburg”. The song is about Kasbo’s hometown of Gothenburg, Sweden. When talking about the new single Kasbo says, “I’m really happy to share my new song ‘Snow inGothenburg’ with you. I’ve been listening to a lot of melancholic house driven music lately and most of my productions this past year have been widely inspired by that. ‘Snow In Gothenburg’ is where I take this concept to its fullest. It came out as one of my most atmospheric and personal tracks I’ve made. Super excited that you finally get to hear it. The song itself is about loneliness and isolation, and the freedom of coming to terms with those feelings.Seeing the beauty of realizing that everyone has their own ways to go in life and that not everyone is supposed to have someone. 2017 has been such a fun year and can’t wait for 2018. I’m dropping so so much new music so make sure to stay updated!”
Moby has released a new single and video for “Like a Motherless Child,” from his forthcoming
album Everything Was Beautiful, And Nothing Hurt. Featuring LA-based soulstress Raquel
Rodriguez. “Like a Motherless Child” is a re-work of the well-known spiritual with origins in the
slavery of the American South. The track describes the void left when one feels separated from a
parent, higher power or similar guiding force. Over the years this powerful song has been
reinterpreted by the likes of Odetta, Lena Horne, Mahalia Jackson and Van Morrison.
The album will be released on March 2, 2018 via Mute.
Emancipator, who has regularly sold out venues across the country, just headlined Colorado’s iconic 10,000 seat Red Rocks Amphitheater this August. In each live performance, Emancipator harks back to his college jam band days, honoring the need for structure while allowing room for improvisation. With his five-piece band, Appling artfully balances seamless instrumentation with each crowd’s unique, vibrant energy.
“We carve out parts of the show for improvisation. “A lot of the parts that end up being incorporated into the songs later on come out of these improv spaces. We’ll play something live and decide, ‘That sounded great,’ so we start playing it like that at the next show.”
Inspired by the astral “island” some aboriginal societies believe to be our spiritual home after death, ‘Baralku‘ synthesizes downtempo hip-hop beats, world music elements, and field recordings, as well as jazz, folk, and classical influences into a transcendent hybrid of lush, nuanced, and ethereal compositions. “No part of his fusion is forced,” the New York Times has proclaimed. “While many attempts to merge classical melodicism with dance music sound awkward and gimmicky…Emancipator has found a balance.”
2018 Tour Dates:
1/30 – Burlington, VT @ Higher Ground
1/31 – Boston, MA @ Paradise
2/1 – New York, NY @ Brooklyn Steel
2/2 – Philadelphia, PA @ Theatre of Living Arts
2/3 – Washington, DC @ 9:30 Club
2/7 – Milwaukee, WI @ Miramar Theatre
2/8 – Detroit, MI @ Majestic Theatre
2/9 – Chicago, IL @ Concord Music Hall
2/10 – Minneapolis, MN @ Fine Line Music Cafe
2/14 – Birmingham, AL @ WorkPlay
2/15 – Baton Rouge, LA @ Varsity
2/16 – Dallas, TX @ Trees
2/17 – Austin, TX @ The Mohawk
2/18 – Houston, TX @ White Oak Music Hall
2/20 – St. Louis, MO @ Old Rock House
2/21 – Nashville, TN @ Exit In
2/22 – Charlotte, NC @ Underground
2/23 – Raleigh, NC @ Lincoln Theatre
2/24 – Atlanta, GA @ Variety Playhouse
3/15 – San Diego, CA @ Music Box
3/16 – Los Angeles, CA @ Fonda Theatre
3/17 – San Francisco, CA @ Regency Ballroom
3/29 – Vancouver, BC @ Venue
3/30 – Seattle, WA @ The Showbox
3/31 – Portland, OR @ Crystal Ballroom
“Hip-hop defined the Grammy nominations in 2017, but further down the bill, there was also a notable shift in how Recording Academy voters saw the year in electronic music.
This year, two acts – the duo ODESZA and the producer Bonobo – each earned a pair of nominations for electronic music’s top two categories, for dance recording and dance/electronic album. Odesza is an ascendant arena act, one that headlined Staples Center earlier this year, that has done much to shift mainstream dance music away from DJ-driven spectacles and back to live performances of original music. Bonobo is a veteran U.K. artist with roots in jazz and global pop who, after 15-plus years, has finally ascended into a major act in the U.S.
Add in the fact that each did it on divisions of the same indie label, Ninja Tune, and they may be pointing the way to a post-EDM (electronic dance music) vision of dance music at the Grammys.
“In the wake of the EDM craze, there’s now space for people to take this music further,” said Jamie Collinson, the head of Ninja Tune’s North American operations. “The EDM explosion wasn’t necessarily all positive. This shows fans and Grammy voters are going deeper.”
On the day of the nominations, both ODESZA and Bonobo were a bit overcome by the Grammys’ acknowledgment.
“It’s been surreal,” said ODESZA’s Clayton Knight of the group’s Grammy nominations after this year’s album “A Moment Apart.” Odesza had previously been nominated for remixed recording, non-classical, but this was by far its biggest turn at the Grammys.
“It hasn’t really hit me yet. But yeah, it’s insane,” Knight said.”
“When you walk into Lawrence Rothman’s house, the place just keeps on going. Rothman — a gender-fluid, genre-agnostic L.A. singer-songwriter who uses neutral pronouns — lives deep in the Cahuenga Pass, in a three-story Midcentury stunner filled with metal skulls under glass, floor-length fur coats and delicate shoji screens (Rothman splits it with a few friends).
The long, steep stairs lead out to a grassy hillside, and along the wall, there’s a tiny crawlspace just big enough for a person to slip through.
Inside, there’s a sunless two-room studio where Rothman cut much of their Downtown/Interscope debut album, “The Book of Law.” On a Tuesday afternoon, Rothman fired up a Chamberlin keyboard — a kind of ancient tape-loop sampler — that appears all over the record and lent it some of its mystery.
“I was told this one actually belonged to Harry Houdini,” Rothman said, dressed in a gown-length denim coat hand-sewn with an image of a geisha. “I found it at a prop house and was immediately like, ‘This shouldn’t be here.’”
Rothman is one of those singers who, upon meeting them, immediately restores your faith in music as a world to get lost in.”