Hail!Maggiedacat’s Enigmatic Single “Details” is a Document of Her Encounter With the Devil Before She Disappeared

HailMaggiedcat1_crop
Hail!Maggiedacat, photo courtesy the artist’s management and estate (cropped)

Hail!Maggiedacat is the name of a musician and producer who allegedly went missing on February 12, 2019. Though her music is said to be inspired by 80s horror movie soundtracks, her single “Details” sounds like a lo-fi mashup of ethereal guitar riffs sampled and overlaid with electronic flute and introspective vocals with which the artist sings a song about her first encounter with the devil before her disappearance. She goes over the things she could wish to be while looking for details in the offer made to her by Old Scratch and asks why she can’t be given what she wants and the devil can take what he needs. Without knowing the subject and the supposed backstory of her management and estate releasing her music posthumously, it’s a song that doesn’t give much away in terms of rooting it in a genre or cultural time frame outside of it likely had to be done after the early 1980s. The electronic percussion is simple and sounds like another sample placed in the mix alongside the subdued bass line. Though the song doesn’t feel incomplete or end abruptly there is an unfinished quality like when a filmmaker dies after somehow having made a final movie and done the editing but didn’t get around to the finishing touches. Listen to the enigmatic song on Soundcloud and follow Hail!Maggiedacat on the project’s Instagram account and watch the mini documentaries about the artist on the YouTube channel.

www.instagram.com/hail_maggiedacat
youtube.com/channel/UC6CDwP8OmDFrEYPwJ62qW7Q

Sal Dulu’s “Duluoz Dream” is a Hazy Collage of Emotions Set to Downtempo IDM Jazz

SalDulu_DuluozDream_cover_crop
Salu Dulu “Duluoz Dream” cover (cropped)

The Japanese dialogue as if from a movie heard from another room and the horn that brings you into “Duluoz Dream” by Sal Dulu suggests a sort of layers of memory. When the piano comes in and the voice calls out a name is it Jack? As in Jack Duluoz, the name Jack Kerouac gave himself as he wrote about himself in his book Visions of Cody? The sound of tape rewinding and playing back, piano chords echoing, IDM-esque percussion tapping out a beat that carries the time forward while the other elements occupy divergent frames of temporal reference. The late night, downtempo jazz aesthetic of the song blurs the line between the Kerouac references and Deckard’s “Unicorn Dream” from the director’s cut of Blade Runner. The song taps into how the mind can make those connections almost intuitively so that they may heighten the meaning of each while expressing a real moment contemplating a fond memory, a heightened and even fantastical reality preferable to the one you exist in now as your mind reflects to the past or projects into an alternate present or a future that may never be. It is an emotional collage crafted as a song. Listen to “Duluoz Dream” on Soundcloud and follow Sal Dulu at the links below.

soundcloud.com/user-727004974
facebook.com/saldulu

“Tired Love” is Rowe’s Soulful Ballad About Finally Letting One’s Outworn Past Attachments Fade From Your Psyche

Rowe1_crop
Rowe, photo courtesy the artist

The production on the Rowe song “Tired Love” begins with a slightly distant tonality like a sepia toned filter over a view into a music box or a snow globe containing all the bittersweet memories of one’s past. Becky Filip’s soulful vocal delivery too begins wistful but along with the song the vocal tone changes around the one minute thirty second mark into something more vivid and full as though shedding the past and coming to terms with how it impacts her now and revisiting those memories again before moving on. The textural beats and fuzzy synths is the sound of those past attachments dissolving. And as if to state that she’s already in the next phase of her life personally and creatively the chorus of “Now all I see is how I’m better off without you” leaves no question. The somber tone of the song suggests a weariness of going over the memories again and processing what it all meant but now being at the point of being tired enough to let those feelings go. Listen to “Tired Love” on Soundcloud and follow Rowe at the links provided.

soundcloud.com/roweofficial
twitter.com/rowesings
instagram.com/beckybird

Mora Mothaus Creates a Genre Bursting Reflection of Inner Life on “Memori”

MoraMothaus2_sm
Mora Mothaus, photo courtesy the artist

“Memori” by Mora Mothaus sounds like the imagery reflected off a shiny surface of a world outside a nearby window on a cloudy day. At points the melancholic tones are bright and distinct, at others there is a tiny bit of warping and obscuring and blending of details. The fragile guitar shimmer, the synth wash and the vocals both the most coherent and focused presence in the song and one that seemingly effortlessly passes into the abstract drones mid-track before coming back in out of the flood of sound like a cherished memory emerging through the crowd of thoughts of present concerns. It is the sound of one’s inner life projected onto a funhouse mirror. Fans of Like A Villain and Grouper will appreciate how Mothaus is operating beyond genre and using her various musical tools to craft an emotional experience informed by aesthetics beyond songwriting. Listen to “Memori” and follow Mothaus at the links below where you can listen to the rest of her new EP Overture to a Dream.

mmothaus.wixsite.com/moramothaus
moramothaus.bandcamp.com
open.spotify.com/artist/6WfC2fzu5xzRdnsG9Nq7uv
twitter.com/MoraMothaus
facebook.com/MoraMothaus
instagram.com/stories/moramothaus

Conrad Clifton’s Remix of POLARSEN’s “How” is a High Contrast Enhancement of the Song’s Textures and Immediacy

POLARSEN1_sm
POLARSEN, image courtesy the artist

Conrad Clifton brings to his remix of POLARSEN’s “How” an ear more for the textural possibilities of the song. The original is more contemplative and ambient. Clifton maintains the dream like sensibility but one where the feelings and the tactile quality of the sound is more in the foreground than a background in which to get lost. With Clifton’s treatment the dream feels more present and vivid and urgent. It takes the abstraction of the tonality of the original and gives a kind of high contrast aesthetic and one that engages your feelings directly rather coax you into that moment. Both the original and the remix combine modern hip-hop production with IDM showcasing the inherent expressive versatility of the genre blending. Listen to Clifton’s remix of “How” on Soundcloud and follow POLARSEN at the links provided.

residentadvisor.net/dj/paulursin
soundcloud.com/p-ursin
facebook.com/paulursin
instagram.com/paul_ursin

Behold Bad Flamingo’s Slinky, Psychedelic Spaghetti Western Song “The House Is on Fire”

BadFlamingo2_crop
Bad Flamingo, photo courtesy the artists

“The House Is on Fire” by Bad Flamingo sounds like something that will be in the inevitable Jim Jarmusch haunted rural town where a secret society of dentists that practice mummification in their “health cult” undergoes a power struggle for the leadership of the group that changes its membership and mission forever. Just plug “dentist mummy cult” into a search engine and have at it. But this song, slinky, spaghetti western psychedelia, downtempo and sensual would fit a montage when the whole thing goes upside down and the final conflict is afoot. Simple guitar accents, soothing vocals and spooky bell tone and synths conspire to give the song a feeling like something out of 60s garage rock and Peggy Lee’s weirder songs. Listen to “The House Is on Fire” on Soundcloud and follow Bad Flamingo at the links below.

badflamingomusic.com
facebook.com/badflamingomusic
instagram.com/badflamingomusic

DefByMisadventure’s “rabbit” Captures the Oddly Tranquil Beauty of a Moment of Great Terror in Slow Motion

DefByMisadventure2
DefByMisadventure, image courtesy the artist (cropped)

There is an elegance of style in DefByMisadventure’s “rabbit.” The project’s preferred image is a Goya and the cosmic/existential/spiritual terror that may imply. And the image for the song itself is of the titular rabbit escaping the jaws of a greyhound by a pace. The implied tension in that creative background is perhaps reflected in how the song, though downtempo and essentially chill, brings together textural beats and organic string sounds accented by pounding bass reminiscent of an MPC. And the sonic forces are balanced, none dominating over the other, giving the song a taught yet fluid quality. The guitar/string sounds and background synth work give the mood an uplifting sonic architecture while the rest grounds it to an irresistible groove. If it has indeed been assembled by samples backed with drum machines and electronic bass, it is in the vein of DJ Shadow in that it sounds like samples recontextualized and used as a compositional element to make something fresh and original. The track implies the visual grace of movement captured in slow motion as though the image of that rabbit and the hound slowed down shows us some of the beauty of what is spurred on by the instincts of a carnivore toward its prey and how that prey’s own instincts and abilities gives it a hope of escaping death. The beauty of that interplay outside the context of having to be there is almost undeniable. A metaphor for entirely too much of life. Listen to “rabbit” on Soundcloud.

“Black Truck” by Q-bizm has the Swagger and Cool of a Song Opening a Guy Ritchie Film

Q-bizm1_sm
Q-bizm, photo courtesy the artists

Q-bizm’s “Black Truck” sounds like something that should launch the opening scene of a Guy Ritchie movie. It sounds like some hybrid of futuristic funk and Madchester cool. The song established a momentum and groove with a heady mood. The fluid bass line ripples up and down the scale as guitar accents stretched at times by wah and free-jazz style sax takes the song into outer space. One can imagine some plot afoot carried about by charming scoundrels who are confident in the efficacy of their plans looking like they consulted with style coaches before meeting up to discuss the details. This music is the montage to their individual days leading up to that momentous occasion. Listen to “Black Truck” on Soundcloud and follow Q-bizm at the links provided.

qbizm.net
facebook.com/pg/qbizmmusic
instagram.com/qbizmmusic

Dragondeer Invokes the Lighthearted Spirit of Rural Dance Parties on “Max Patch”

Dragondeer_ScottMcCormick_sm
Dragondeer, photo by Scott McCormick

Dragondeer’s “Max Patch” deftly weaves together blues and funk with nicely crafted changes throughout. Eric Halborg’s voice has always been expressive but on this track its like he’s mastered the art of hitting the perfect emotional coloring and a broad dynamic range. Which jibes well with a song that not only has a nice groove with masterful syncopation but which showcases the talents of all the band’s players with a broad diversity of sounds and textures without overwriting. There is a spontaneous and fresh quality to the song that could be given to going over the top but Dragondeer lets the musical spool out just enough to indulge a tasteful bit of psychedelically-tinged improvisation and musical experimentation. Does the song reference that mountain in North Carolina? It certainly references good times to be had in the hinterland and dancing at the hoedown. Listen to “Max Patch” on YouTube and follow Dragondeer at the links below.

dragondeer.com
www.instagram.com/dragondeer
facebook.com/pg/Dragondeer

Siv Disa Explores the Mysterious Complexity of Instinct and Our Aspirations on “Moths”

SivDisa1_sm
Siv Disa, photo courtesy the artist

The video for Siv Disa’s “Moths” suits the hazily luminous melodic drone that draws us into the song. Visually it’s reminiscent of late 70s/early 80s psychotronic cinema or of Kate Bush’s 1980s music videos—dreamlike and symbolic. Disa sings in dynamic lines akin to those of Bush but her music is more modern in the processing of sounds. Electric piano and quivering synth drift in space amid minimal guitar work with Disa’s vocals guiding the paces, notes trailing in their wake. The image of the moths in the windows is an interesting detail as moths aren’t long lived and by instinct drawn to the light, distracted from living hinting at the song’s other lyrics wherein Disa sings about the subtly seductive powers of her own instinctive infatuations and how we can all get sidetracked from where we want to be by what we think we want in the moment when the right stimulus hits our nervous system. Watch the video on YouTube and follow Siv Disa at the links provided.

facebook.com/sivdisa
sivdisa.com
open.spotify.com/artist/1DMhuX8DGsngDnjpNECYSm
instagram.com/sivdisa
sivdisa.bandcamp.com
soundcloud.com/siv-disa