SubmitHub – Page 183 – Queen City Sounds and Art

JIGI’s Melancholic Yet Hopeful “Welcome” is an Anthem to the Yearning in Your Heart for the Presence of Loved Ones

JIGI_Welcome1_sm — JIGI, photo courtesy the artist

JIGI’s single “Welcome” from the 2020 album I’M OK sounds like it could be a love song but was written for the singer’s cousin who he misses dearly and who moved to Mexico to do art. The broadly dynamic song has some interesting breaks that have a cinematic quality like switching scenes in jump cut style but coming back to the main story line quickly. Processed piano and vocals get the song started on a melancholic tone until the chorus starts with “You’re always welcome, I miss you, come back home” and the kick drums resound to accent the vocal line. Guitar and the full drum kit start up and lend the track a full, lush sound while also elevating the tone from melancholic to hopeful. Maybe aforementioned cousin left because circumstances at home were not nurturing of hisdreams of working on creative pursuits but JIGI sounds like he both wants what’s best for his cousin and wishing they could be living closer together and hang out regularly like close friends do. Listen to “Welcome” on YouTube and follow JIGI at the links below.

soundcloud.com/user-41891380
facebook.com/getjigi
instagram.com/jigi_music

Deepest Bison’s “Rider” Is a Psychedelic Folk Journey Outside Conventional Time and Space

DeepestBison_Rider_cover_crop — Deepest Bison “Rider” cover (cropped)

The fact that there is a lo-fi aspect to the recording of “Rider” by Deepest Bison gives one a sense of this maybe having been recorded at any time in the past fifty years. Its mix of texture and waves of melody from acoustic guitar and electric guitar convey a kind of timelessness like you’re not sure if this song or artist is coming out of a particular era or which set of inspirations informed the songwriting. Maybe one would point to the Brian Jonestown Massacre, Foxygen, Whitney or even The Moody Blues and The Zombies but there is none of the Laurel Canyon sound and there is no obvious attempt at conventional nods to modern availability of higher fidelity recording on a computer. Could have been recorded by an old handheld cassette recorder placed hanging from the ceiling of the room but capturing the essential details and sounds. The title of the song is telling in that the song feels like songwriter Kyle Imes, a solo artist, is conveying a sense of riding this wave of inspiration and emotion to craft an experience that stands outside obvious connections to contemporary music. Listen to “Rider” on Bandcamp and follow Imes’ further exploits as Deepest Bison there as well.

deepestbison.bandcamp.com

“Regret” by In/Animate is Like Industrial Dance Pop for a Survival Research Laboratories Event

InAnimate_TheDream_cover2_crop — In/Animate *The Dream* cover (cropped)

This In/Animate from it’s 2019 The Dream EP is called “Regret” but it sounds like the kind of music that you would hope would be used in some future Olympic games type of event when the A.I.’s go off world to establish their own civilization away from crazy humans. Maybe take replicate the minds of people involved in Survival Research Laboratories as mentors to creative, competitive mayhem that artificial intelligences would find interesting and amusing and just unpredictable enough to inject some innovation into their culture. Musically it’s like a playful fusion of industrial and techno with none of the harsh noises. Imagine Author & Punisher making instrumental dance pop and you have some idea of the sound of this track. It is both playful and majestic, uplifting and challenging. Listen to “Regret” on Spotify, follow In/Animate at the links below and look for a full length from the project in 2020.

inanimatemusic.me
soundcloud.com/in_animate_music
facebook.com/TheInAnimate
instagram.com/in_animate_music

Adée’s Lushly Atmospheric R&B Single “YOU YOU YOU” Takes You Through the Paces of Romantic Impatience

Adee_YouYouYou1_sm — Adée, photo courtesy the artist

A sound like the clacking of a train track is part of the beginning of Adée’s “YOU YOU YOU” like the song ahead was born of thoughts looking out the window on the way home from work. The sultry, R&B style production gives an interesting context and backdrop to a song that seems to be one of the singer addressing someone she loves but about whom she has complex emotions because the relationship is one that is a bit in limbo. “I will be patient, I will keep waiting for you” she sings as the bass accents her lines and pushes along a constellation of drones like tonal fog that enshrouds the track. Adée begins the song talking about how her love is probably with some of her friends right now but one gets the sense that it’s idle, jealous thought because she also sings about checking her texts about a thousand times – the usual frustrations. But she also sings about being lost in her love’s voice and also wondering what kind of person she has become and if she’s scared of being alone or if the love is real. The songwriting and arrangements cast these fairly pedestrian concerns in their proper melodramatic shape because everyone has been in a place where they can’t wait to see the one they love and going through the psychological gyrations and paces sorting through what they really feel and realizing that the insecurities are misplaced. Listen to “YOU YOU YOU” on Spotify, follow the Swedish artist at the links provided and look for Adée’s album Forward in 2020.

adeeofficial.com
soundcloud.com/ad-e
twitter.com/AdeeSweden
facebook.com/adeeofficial
instagram.com/adeeofficial

LUC Takes Us Through a Darkly Dreamlike Tunnel of Fear and Transcendence on “Lost In Love”

LUC_Glow_cover2_crop — LUC *Glow* cover (cropped)

LUC’s single “Lost In Love” has a darkly sensual quality that permeates its pace, the layered synth melody, the sensitively sequenced low end, Joe Corcoran’s production generally, and Kari Kimmel’s languorously dynamic vocals. One can imagine the kind of love that Kimmel sings about being like one of those tunnels you can walk through at haunted houses and the like where your path is fixed but the tunnel itself turns and disorients your sense of gravity through stimulating your vision in the right way. The kind of love you’re not sure is good for you but it has you in its grip almost against your will and it in some ways warps your own sense of self. At the same time the song conveys a sense of how you sometimes have to just feel whatever it is you’re feeling to get through it and allow yourself to be changed by the experience even if on the surface it threatens to overwhelm you. The reverse progression at the end of the song signals an end to that dark, intense passage as though waking from a dream. And the song itself with its close atmospheres and ethereally distorted drones feels like a dream in which you are examining how you interact with the world and the people in it with whom you have the strongest emotional bands and in the moment it feels scary but at the end, with any luck, you wake having resolved an ineffable something. Listen to “Lost In Love” on Spotify and follow LUC at the links provided.

soundcloud.com/maxusnipes/04-ghost-m-editb-320kb
twitter.com/We_Are_LUC
instagram.com/weareluc

The Gooooose remix of “Landscape” by Roca. is Like a Techno Soundtrack to the Urban Exploration of a Site of Alien Civilization

Roca_Landscape1_sm — Roca., photo courtesy the artists

This Gooooose remix of “Landscape” by Roca. defies any conventional genre designation. At times it sounds like an inverted dub production dynamic. The plodding rhythm sounds like someone listened to a lot of minimal techno and decided those beats were entirely too boring and figured out a way to not only slow it down but to also give it a liquid quality rather than one that is like a distinct drum machine sound. The vocals exist in a realm of cybernetic abstraction like a guide to the lost part of an ancient city built by robots. The drones begin as a tone struck and then processed to warp downward, accompanied by stuttering, shuffling textures like a blast of steam being let out. It would be disorienting if it didn’t suggest a definite space, a dark landscape deep inside a planetoid city abandoned by its creators, occupied by a new set of inhabitants for centuries before being abandoned again and now being plumbed by cosmic urban explorers and used by artists to create massive, haunted installation art as reconstituted artificial intelligences arranged using their intelligence and capacity as the materials for a new kind of creative work. This song is really unlike much else you’ll hear until Roca. releases its next song. Listen to “Landscape – Gooooose Remix” on Soundcloud and follow Roca. at the links below.

rocabandinfo.wixsite.com/rocaband
soundcloud.com/rocaband

“Subconscious” by Cherry Junky Emulates the Confusion and Euphoria of the Psychedelic Experience as a Path to Overcome Your Deepest Anxieties

CherryJunky_HauteCouture_cover2_crop — Cherry Junky *Haute Couture* cover (cropped)

Cherry Junky used the simultaneous confusion and euphoria of a psychedelic experience as an inspiration for “Subconscious.” The luminous bell tone synth melody in the foreground with falsetto vocals over the top gives a sense of heightened, dream state while bass sets a warm tempo to ground it with the guitar stepping in to give tonal accents in an almost abstract reggae style. The balance of sounds gives one a sense that within the seemingly contradictory states of confusion and euphoria there is a chance to bring to the surface parts of your mind that normally remain hidden by the dictates of the conscious mind—the fears, the underlying and unexamined desires and aspirations, the motivations that may be a mystery even to yourself. In the process of experiencing confusion and euphoria you can no longer fully hide from those things you think are fully under your control but are really buried rather than integrated into your full, aware self. The melodious tones of the song suggest, though, that this experience need not be nightmarish, rather, it can easily be a welcome change of personal reference and a psychological healing deeper than most things you’ve previously experienced because it has gone beyond the boundaries you put up between you and yourself. Listen to “Subconscious” on Spotify and follow Cherry Junky on Soundcloud linked below.

soundcloud.com/cherry-junky

Teratogen’s Jangle-y Post-Punk “You’re Not Here” is a Purging of the Mind of the Ghosts of a Past Love

Teratogen_YoureNotHere_cover1_sm — Teratogen “You’re Not Here” cover

Teratogen’s frayed musical roots are on display on “You’re Not Here.” Frayed meaning eclectic and drawing from an interesting spectrum of sounds and styles to craft something that sets it apart from a lot of indie rock right now. Its chord progressions echo the jangle pop of 1980s “college rock” bands especially R.E.M. in the breezy yet urgent, chiming leads, the use of a minor chord shift to emphasize a change in structural dynamics during the chorus in which the title of the song is repeated is reminiscent of The Call and the noisier, more aggressive yet melodic aspect of the song may remind some of Hüsker Dü or Wipers. The paired couplets in the verses sketch a scene for us of someone whose mind is haunted by the memory of someone loved and dearly missed but someone who isn’t going to be returning any time soon if ever. Yet, the song isn’t melancholic in its fast pace and gentle intensity. It’s as though it’s a purging of those lingering attachments. The song comes to an unusual ending with a short section of trippy, minimalistic, noisy soundscaping that sounds almost like a synth but likely guitar allowed to drone out with volume swells. Nevertheless it breaks the pace and sounds like the shoveling off of an outmoded frame of mind. Listen to “You’re Not Here” on Spotify and follow Teratogen at Bandcamp linked below where you can also give the band’s new album Terrible Cloud a listen and perchance buy a copy for download.

teratogen.bandcamp.com

Maro Music’s “WAR (ft. Lex Lu)” is Like a Theme Song For a Morally Conflicted Cyberpunk Action Film

maro-music-ft-lex-lu-war-cover-1_crop — Maro Music “WAR ft. Lex Lu” cover (cropped)

Listening to “WAR” by Maro Music, with the rapping from Lex Lu, one thinks of a world where Battle Angel Alita walks the earth teamed up with Molly Millions. The industrial percussion and percussion underpins a talk of going to war with some fool who is choosing to tangle with the deadly duo. But a third of the way through the song a somber tone sets in as Alita and Molly discuss what has happened so far with an abundance of swagger. But the swagger is tempered by questions about the meaning of it all and what it says about the people engaged in such behavior and the world that necessitates such conflict. And the song ends on that note of existential uncertainty. Rather than go out with tough talk if this song were a movie it would be one that takes a sharp turn toward the unexpected the way To Live and Die In L.A. does toward the end and the way the French movie Martyrs turns from a shockingly violent horror film into something commenting on spirituality, the nature of human existence and the limitations of knowledge. Yet it all makes sense in the greater context of the work. It’s just that this song begins with the lyrics seeming to discuss being stoked on going to war as usual only to later have that resolve crumble and question whether that’s a worthwhile pursuit even if you’ve been built for it. The format of hip-hop with industrial production and processed vocals perfectly fits such a complex turn of narrative and makes this song a must listen for fans of Church Fire and MXMS. Listen to “WAR” on Spotify.

Maxx Gawd’s Genre-Bursting, Elegantly Cathartic “Coercion” Perfectly Fuses Trap and Post-Hardcore

MaxxGawdXLilUwu_Coercion2_crop — Maxx Gawd, photo courtesy the artist

Maxx Gawd’s fusion of trap and metallic post-hardcore on “Coercion” brings a surprising emotional power and depth to bear in a song about not being able to trust anyone and betraying yourself by pursuing the wrong things. The song is melodramatic but not overwrought and at its core is a desire for having real connection and not fucking yourself over so often through talking yourself into things that part of yourself knows aren’t good for you. The back and forth of male vocals from Maxx Gawd and female from Lil Uwu creates a gripping contrast of perspectives, a dialogue, that illuminates a way out of that mess or at least a glimmer of hope. The production by Rayless and The Venus De Melos’ guitar work sync well to create a dynamic backdrop of melody and atmosphere that perfectly compliments the alternately emotionally charged and ethereal vocals. Fans of The Mars Volta will appreciate the poetry of the lyrics and the authenticity and emotional power of the sentiments expressed as well as the masterful, elegant melding of electronic and rock elements. As the final track on the band’s album Delete Everything the song sounds like it’s drawing to close a time of great personal struggle and coming to a place of catharsis and, in the end, healing, erasing the pain and psychic torture of the past. It is a genre-bending, genre-expanding song that is much more than the aforementioned genre designations. Listen to “Coercion” on Soundcloud and follow Maxx Gawd there as well at the account linked below.

soundcloud.com/maxxgawd