Derik Madrid, a Filipino singer-songwriter based in Sydney, illuminated the airwaves with the neon-lit glow of his latest RnB pop release, Vision. Created in collaboration with the powerhouse producer, Declan Dias, the sensuously salacious single explores the phenomenon of objects of desire existing as abstract ideas within fantasies until the lust-fuelled daydreams become more tangible than semblances of reverie.
The themes of fixation are expertly visualised in the etherealism of the single which showcases Madrid’s vocal versatility and Dias’ ability to thematically run with a concept until it euphonically materialises. Pulsative electronic beats become the bedrock of the vulnerable release that is underpinned with enough pure passion to allow listeners to vicariously experience the artist’s deep adoration and prompt reflection on the profound connections in their own lives.
By exploring the haunting fear of loss and unrequited love, Vision is a deeply affecting meditation on the dualism of love. It’s so much more than a showcase of Madrid’s ability to fuse his narratives into memorable melodies; it’s a testament to his talent for creating music that resonates on a profound level with his audience.
As Madrid continues to draw inspiration from icons like Sam Smith and The Weeknd, his own unique voice becomes increasingly distinct and influential.
Vision was officially released on July 5th; stream the single on Spotify now.
Tolerance of difference has always had its limits in alternative cultures. Take the Rockers, with their raw conceptual masculinity and their contempt for the perceived effeminate nature of the Mods, as the ultimate example.
Brandished as weedy snobs due to their clean-cut style, Mods became the natural enemy of the leather-clad greased-up Rockers who took insult to what they saw as the adoption of feminine cleanliness. You would have hoped that masculinity would have become slightly less fragile in the 21st century after the infamous culture clashes in 1964. Alas, men are still lambasted for straying from the normative presentation of masculinity.
Anything from showing vulnerability to being kinder to expressing emotions to being a feminist is enough to leave men subject to a barrage of misogynist or queerphobic insults. This archaic gender policing is why there is still an inclination to conform to socially constructed gender stereotypes and keep the myth of a real man alive and well. With that in mind, it is no real surprise that so many people can’t even begin to wrap their heads around non-binary people and those who identify as genderqueer.
Furthermore, this time last year, the BBC reported on how LGBT tolerance is going backwards after a significant rise in hate crimes was reported. Hate crimes based on sexual orientation have risen year-on-year since 2016. In 2016/17, 8,569 of these hate crimes were reported to the police. In 2021, hate crimes based on sexual orientation doubled to 17,135, as did the number of hate crimes against transgender people (1,195 to 2,630 in the same period). But that isn’t even the full picture; an investigation into LGBT hate crime and discrimination by Stonewall revealed 81% of LGBT people have experienced an incident and didn’t report it to the police.
How Sam Smith Held a Mirror to Widespread Queer Phobia
Unless you have been living under a rock, you will have undoubtedly seen the memes and videos taking the piss out of Sam Smith’s performance and red-carpet outfit at The BRIT Awards by now. And while I really wouldn’t expect any less from the mainstream, which loves to ridicule and demonise the people that don’t compromise their autonomy and adopt the desperation to fit in, I would hope for slightly more tolerance from members and figures in alternative circles.
Seemingly, the tragedy of Sophie Lancaster’s death did little to influence our acceptance of difference. Caroline Flack committing suicide after an online hate campaign? Simply water under the trolls’ bridge. But sure, let’s imply that Sam Smith expressing their gender is a symptom of a mental health disorder while tearing them to shreds and pretending that this isn’t indicative of a much more prejudiced picture.
And yeah, the outfits were outlandish. I’m not going to attempt to justify them in the same way a couturier would sell their high fashion collections. As for the attention-seeking claims, behave. If you don’t see garnering attention and hype as a fundamental part of an artist’s existence, you shouldn’t be allowed an opinion on anything revolving around the music industry.
The Rising Tides of Hysteric Hypocrisy
Can we just recollect what Lemmy said about people not wanting their rock stars to look like the blokes from down the pub; we want them other-worldly and alien from the monotony that breeds in the mainstream. To use another dead icon to prove a point, when Bowie died, his death was treated as a national tragedy – yet he was one of the most influentially androgynous people to ever walk the path of popular culture. Was he only so tolerated because his androgyny was alongside a mostly closeted sexuality? Or was it because he was heroin thin that his non-traditional presentation of gender was so widely accepted?
At this point, I wouldn’t expect people that are giddier than someone coming up on ecstasy for the opportunity to tear shreds out of Sam Smith’s willingness to disrupt heteronormativity to get the point.
Even if the point stabbed them in the eye, it is much easier to attack an individual than to contemplate the fallacy of the gender binary and realise that there are miles of personal growth between their current mentality and appearing as a semi-decent human being.
Many voices, including the horror show Matt Walsh, are fully open in their admission that they do not understand the concept of being genderqueer or non-binary. Still, they stand with so much conviction on their soapbox when attacking Sam Smith. Going as far as to call them the white Lizzo, as if something is disparaging about being compared to one of the most culturally influential artists of this generation.
You only need to look at the language surrounding Sam Smith’s latest music video for their single, I’m Not Here to Make Friends, which is on 10 million streams within two weeks, by the way, to see how insidious the prejudice surrounding them is. “Disgusting”, “Revolting”, and “I Feel Sick” were up there with the most inventive tropes surrounding the video, which, honestly, really didn’t live up to the lewd hype.
Hypersexuality in the music industry is hardly a new phenomenon; sex has always sold, and it always will. The issue with the I’m Not Here to Make Friends music video is that it doesn’t appease the male gaze, which is tearing up through the prospect of not dominating popular culture anymore. Remember when everyone was FURIOUS about the All the Things She Said music video by t.A.T.u.? No, me neither; men were too busy getting hard over it to complain.
Unfortunately for those determined to regress progression, 2023 isn’t like the good old days of coercive sex with minors, drugs that become the gateway to the 27-club and rock n roll, which glamourises the aforementioned and a plethora of other toxic traits. We’ve moved on, and we will continue to do so – despite the reluctance to leave prejudice and persecution for being queer in the past.
Sam Smith may never see your memes posted as shitposter fodder, but countless non-binary people will. If you can be content with yourself making staying repressed and closeted more appealing to the silently queer out there, knock yourself out, champ. Just know that negativity never stops with one sour throw-away comment because you’re so miserable in your own lives you need to tear down others. We all see you, and we pity you.
As we emerge from one of the most stagnant and isolated winters of our lifetimes, Overslow’s single, Deep Blue Water, featuring Alex Amto, serves as a poignant reminder of what it truly means to live instead of just existing.
The acoustic folk-pop single is instilled with compassion and meta inspiration for those who find themselves tentative when it comes to picking themselves up delving back in. It is the perfect summer pop anthem; in every possible way. Catchy Choruses? Check. High-vibe life-affirming lyricism? Check. Stabbing horn sections around stunning acoustic guitar solos? Check.
Fans of Lewis Capaldi, George Ezra and Sam Smith will want to immerse themselves in Overslow’s radio-ready pop-rock single.
Deep Blue Water officially released on June 18th; you can check it out for yourselves by heading over to SoundCloud or Overslow’s Twitter or website.
If you had to sum up Garvey’s debut release in one word, smooth is the most apt one that springs to mind. It isn’t just that this slow but powerful, pop infused R&B ballad is a wonderful blend of the infectious vocal hooks and sultry late night vibes, there is also something in the way that it is put together which sees it out pace its musical rivals.
Sitting easily alongside modern acts such as Sam Smith and Rag ‘n’ Bone Man it also draws on older references such as gospel harmonies and the songs of the soul music heyday and threads them together around a slow burning dynamic build as it heads towards its crescendo. Rock guitars, plaintive pianos and sumptuous vocal treatments are all gathered in to build the drama and drive on its way to its conclusion and the result is a wonderful calling card for an artist who is definitely going to be one to watch from now on.
Pop singer-songwriter, Nick Deutsch, announces the release of his new single, “Under Your Ocean.”
The track is the first taste from his EP “Heart Saver” released this past November. The EP is a follow-up to his 2015 release, Crazy Ride . Melissa Kucirek of Hot Indie News , raved about Crazy Ride, stating, “I’m convinced Nick Deutsch is the next big thing. Convinced. Overall, he garners a solid A+ review for his enjoyable Crazy Ride. ” The new track “Under Your Ocean” has already gained recognition, earning a UK Commended Entry Nomination for Best Pop Song 2015 and a semi-finalist for Best Pop Male Voice at the 2015 International Vocalist Competition.
The New York-based musician started making music at the age of 10, and by his early teens, he was performing at his local Border Books Cafe and coffee houses. Taking after his musician mother, he developed a love for jazz and classical piano. Deutsch made his way to NYU, where he befriended the CEO of the New York Songwriter’s circle,Tina Shafer (who has worked with Avril Lavigne, Taylor Swift, Vanessa Carlton, Gavin Degraw and Norah Jones).
Shafer’s support and guidance led Deutsch to booking shows at venues such as CBGB’s, The Bitter End, Rockwood Music Hall, Cafe Vivaldi and Ella Lounge. Soon after, he began working with award-winning producer Joey Auch (Rachel Platten, Erin Bowman, Brittany Cairns). Deutsch has performed with Ian Axle (Great Big World), Jillette Johnson and performed with American Idol finalistMarissa Pontecorvo. Aside from his awards for “Under Your Ocean,” he was the recipient of the 2011 Philadelphia Songwriters Project Award and the 2011 New York Songwriter’s Circle Award. His lyrics for “Crazy Ride” have wonmmultiple nominations and were printed in the American Songwriter Magazine in 2014. Deutsch has been featured onBuzzfeed, Pop Vulture Magazine, Spoke Magazine and more . Stay tuned for more from Nick Deutsch and his upcoming EP!
The HOLY video was directed by Sadé Clacken Joseph, who recently was awarded by the White House with the 30 under 30 Emerging Carribean American Leaders Award. The video stars Golden Globe nominee and Satellite Award Winner, Sarah Hay and was choreographed by Polish So You Think You Can Dance star, Ida Nowakowska Herndon. The song and video also feature Rhea Dummet, who tours singing with Pharrel Williams and sang on his hit song ‘Happy’.
The electro-soul-funk band of multi-instrumentalists led by joint frontmen Edan Freiberger and Adam Epelbaum have been sparking up dancefloors at 1am in sold-out clubs around their adopted home of Los Angeles since they found each other at UCLA. Their set-up of falsetto swagger, horns, electric violin, and endless keyboards have made them a must-see band around the local scene of East Hollywood and Downtown LA. B00TY are the ideal visceral hedonistic party hang for anyone who wants to channel themselves back to the original vibe of 1970s primetime Sly And The Family Stone via the modern twist of electropop pioneers like Flume and current soul messiah D’Angelo. As you can tell by the name, which they’ve realised bears certain challenging connotations, B00TY don’t take themselves too seriously. They channel a goofball carefree attitude, shared by their comedic heroes. Having released three singles over 2015 and the start of 2016, this summer begins for B00TY with single ‘Holy’, their biggest and boldest statement to date. ‘Holy’ is a swelling, soaring R&B ballad with an indie flavour. It’s the type of drama-heavy, piano/strings-led soul vibe the likes of Jessie Ware, BANKS, and The Weeknd have breathed new life into.
Edan and Adam both came from prolific artistic backgrounds; Edan via San Francisco’s Bay Area following a childhood perfecting the violin, then learning every other instrument he could get his hands on, and Adam from Miami where he grew up obsessing over films, comedy and screenwriting. Both hold down full-time day jobs, Edan producing music for Hollywood (he’s currently working with Sir Anthony Hopkins on a project), Adam writing scripts with a dream to make the major studios some day. By night, however, they’re joined by childhood friend and drummer Connor Irias (who doubles up as a co-producer), guitarist Nick Setter, bassist/horn player Jesse McGinty and back-up singers Rhea Dummett (sings on Pharrell Williams’ ‘Happy’) and Sadé Clacken Joseph. Via ‘Holy’ the B00TY family seek to further establish themselves on the map as one to watch. The track showcases the mature side to a project that has so far combined B00ty’s musical passions with their constant search for good times, soulful intervention and a relentlessly positive outlook to life on the West Coast. “Improvisation is at the heart of everything we do.”
