The Melancholic Indie Pop of “The Xennials” by Blissful Red is an Ode to Coming of Age in a Time Before Constant Connection and Instant Access

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Blissful Red, photo courtesy the artist

From the stop motion drawing animation of the music video to the start and stop dynamics of its spare melody, “The Xennials” by Blissful Red captures a sensibility that came to the fore during that early to mid-90s period in Western culture. One that embraced a lo-fi sound and songwriting approach favored by artists like Microphones and Sebadoh, willfully rough around the edges but making that into a more authentic and intimate songwriting style inspired in part by that brief period when artists that didn’t fit with the previous era of overproduced music and bloated bombast or the one that came after of conservative artistic choices guided again largely by commercial potential over artistic originality and a turning away from idiosyncratic creativity. By putting into the video visually interesting but rough drawings of classic 90s album covers and clothing colored in by crayon and colored pencil by hand it’s almost as though Blissful Red is invoking how coming of age at the that time was a mixture of having art handed to you by an older generation and discovering what was meaningful to you in your anecdotal way long before almost everything could be researched on the internet sans the context that made it all meaningful to the people to whom it resonated originally. Almost as though the act of the drawing was a way to emphasize how your identity had to be hand crafted analog style with the context not summed up for you in some online article or playlist. There is a sense of a loss of that way of being and the culture that came out of that time that fostered a real sense of having access to an alternative culture by having to pursue and cultivate it rather than have instant access. Of not being able to access everyone all the time and feel an artificial sense of connection, of existing before a beige, interconnected monoculture set in. It’s not a mournful song, but one that looks back fondly to a time not so long ago that may seem quaint to many now. Watch the video for “The Xennials” on YouTube and follow Blissful Red on Soundcloud.

soundcloud.com/blissful-red-1

Tomas Raae & The Malibu Beach Band Encourages Us to Follow Our Inner Light and Curiosity Toward Paths of Our Lives’ Fulfillment on “Flashlight Beam”

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Tomas Raae, photo courtesy the artist

With a name like Tomas Raae & The Malibu Beach Band you might expect something like a surf garage project. But with the ambient version of “Flashlight Beam” it’s more like something Nico might have done had she lived long enough to collaborate with Jenny Hval or Joanna Newsom. Alice Carreri’s luminously ethereal vocals float through a tranquil soundscape directed by spidery guitar work and textural percussion. Distorted synth washes flash through the track like the object in the title, sweeping away the darkness for a moment as if to emphasize the idea in the song suggesting how we all need to figure out where we want to go and the path we can discover for ourselves if we’re willing to go beyond what we assume is possible based on the limited horizons of our upbringing and culture. The vocals drift toward those that alluring and mysterious territory just outside the reach of where our personal flashlight beam can illuminate and make clear to us unless we take those steps into the unknown trusting our ability to navigate the new if we don’t let the unknown be a source of fear and allow it to be a beacon for curiosity. Listen to “Flashlight Beam” on Spotify and follow songwriter and composer Tomas Raae at the links provided.

https://open.spotify.com/track/3gZpNdiFoDVbJoGEZIeT1R

TomasRaae.dk
facebook.com/TomasRaaeandthemalibubeachband
instagram.com/tomas_raae

“Got It Like I Like It” is Like Qwiet Type’s Personal Action Movie Outro Anthem

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Qwiet Type, photo courtesy the artist

“Got It Like I Like It” finds Qwiet Type in a bit of a different sonic realm than the other singles reviewed on this site. Rather than the somewhat whimsical yet ambitious pop of “Shakedown” and “My Friends Are Coming Over,” this song makes you think not of Harry Nilsson so much as the moment in an 80s action movie or cop show, think Miami Vice or another Michael Mann vehicle like Band of the Hand or Manhunter, where one of the protagonists is reflecting on all the struggles to finally reach the point in the plot at the end of the story where the greatest challenges are overcome and they can take the time out to enjoy the kind of victory and triumph that really only fully makes sense in your own head because that’s where a lot of our struggles take place even if they seem tough even from the outside. Though the song has an uplifting vibe and somewhat celebratory it also obviously comes from a place of genuine feeling but needing to downplay how hard it’s been in order to enjoy the moment. Listen to “Got It Like I Like It” on Soundcloud.

Louis Metric’s “Aloe Vera” is a Clever Dig at the Nihilistic Rat Race of the Modern 9-5

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Louis Metric “Aloe Vera” cover (cropped)

The story of Louis Metric’s “Aloe Vera” is probably one familiar to most people. Working for around ten dollars an hour at a dead end retail, restaurant or desk job, the kind that rewards talent equally and for hard work and excellence offered more work, uninspiring benefits at best and no advancement because only so many people can be promoted to middle management. Anyone that’s been there will tell you it’s one of the worst jobs in any company. So strive and make yourself valuable for what? Louis knows what’s up with that grind summed up nicely with the line, “Wearing a tag with my name don’t really bring me joy.” So he plots to get connected with a cougar with money to get more than a taste of the good life. The whimsical keyboard work in the beat signals the absurdity and surreal quality of the whole situation for everyone involved even as the lyrics describe a better life than selling one’s life on the cheap in the world under late capitalism. The song is reminiscent of early Anticon specifically Why?, with its energetic delivery and deft wordplay. The song is called “Aloe Vera” as in a treatment for burns? Burned by being offered low expectations as the be all end all of your life if you’re not already rich. Metric suggests we all have to do what we have to do until the world is better for everyone. Listen to “Aloe Vera” on Soundcloud and follow Metric at his website.

louismetric.com

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

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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

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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

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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”

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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

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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”

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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