Browsing Tag

trip-hop

Detroit Dreampop Diehard Romantic, Jessie Berkshires, Pulled All the Emotive Punches in Her Latest Single, Don’t Let Me Down

Posted on 6 December 2024

With her latest single, Don’t Let Me Down, Detroit-based indie artist Jessie Berkshires carved a new vein into the dream-pop pantheon. Opening with tenderly hammered minor piano notes entwined with a syncopated, trip-hop-inspired beat, the track balances warmth and alienation in bittersweet duality.

Beneath its polished production lies a raw exploration of the paradox of love and its ability to flood your world with light while igniting fears of the darkness of heartbreak. Berkshires’ lyricism pierces with its candour: the tension between vulnerability and the need for reassurance is as gripping as the delicate melodies that carry it. Her ethereal vocal delivery is perfectly framed by an instrumental arrangement that feels both spacious and all-consuming, like staring into a love you want to trust but fear will falter.

The balance of the raw, relatable emotion and the cold visualisations of romantic dissonance in the instrumentals allow Jessie Berkshires to establish herself as an artist who knows exactly how to amplify her lyricism with melodies which may be quiescent, but they know exactly how to pull the evocative punches.

Don’t Let Me Down was officially released on November 22 and is now available to stream on all major platforms, including Spotify.  

Review by Amelia Vandergast

Julia Kahn visualised the divinity of dark feminine energy with her dark pop installation of etherealism, Badlands

Posted on 25 October 2024
Julia Kahn

With her latest single, Badlands, Nashville’s dark-pop siren Julia Kahn defiantly stepped beyond the conventional boundaries of genre and geography. Born in a city more famed for its twangs of Americana than oscillations of dark cinematic mesmerism, Kahn stridently stepped into her own through the untamed echoes of empowerment and vulnerability in her latest release.

The summons to embrace authenticity, regardless of how messy that reality can be, draws you into a trip-hopped and spiritually awakened vortex of sound where ethereal vocal lines fuse with intricately frenetic drum patterns and strobing synth lines, crafting a soundscape swarming with evocative power and the divinity of dark feminine energy.

Each note demands emotional investment under the duress of Kahn, who has recently stepped off a major international festival tour and amassed a series of accolades that include airplay on BBC Radio and nods from critical platforms like Earmilk and Music Week.

With millions of views on TikTok and skyrocketing streaming numbers, Kahn is at the vanguard of a new movement, one which tempts her cult following into living unapologetically.

Badlands will be available to stream on all major platforms from October 25th; check out her Spotify and official website.

Review by Amelia Vandergast

MINERVA SYSTEM synthesised an installation of stylistic sublimity with their alt-rock/trip-hop hybrid, Undermind

Posted on 9 October 2024

MINERVA SYSTEM is a fractured yet symbiotically tight collective, threading their diverse life strands into the dense fabric of their latest single, ‘Undermind’. With members scattered from London to Devon, from St. Petersburg to the indeterminate coordinates of their drummer, the online outfit crafts sonic installations that are as expansive as their geographical spread.

‘Undermind’ is a descent into the ethereal, echoing the otherworldly aura of Bjork with an execution that plays havoc with rhythmic pulses. MINERVA SYSTEM manipulates time signatures with trip-hop precision while maintaining a mellifluous melodicism that binds the chaos into coherence. Discernibly, few artists know how to create equilibriums of sonic serenity and visceral intensity as adeptly as MINERVA SYSTEM with their skill in soaking sounds with raw emotion.

As the track progresses, it metamorphoses; midway, it shifts gears into a 90s-alt-rock-tinged crescendo that wouldn’t be amiss in a Garbage tracklist. This crescendo is a stark, gritty counterpoint to the track’s smoother beginnings, illustrating the band’s versatile command over their sound palette.

If they continue to produce hits in the same vein as Undermind, their rise from the underground is inevitable. They’ve clearly mastered the dark art of sonic scintilaltion; watch this space.

Stream Undermind on SoundCloud now.

Review by Amelia Vandergast

Confront the introspective abyss with Locian’s kinetic darkwave art-rock release, Shadow on the Wall

Posted on 25 September 2024

Dance with the darkness within to the tempo of Locian’s most affectingly kinetic electronic art-rock release yet, Shadow on the Wall. The rhythmically augmented earworm from Australia’s most introspective solo artist is so much more than just a sonic drop into the oversaturated airwaves. It intensifies the anticipation for Locian’s forthcoming LP, Fears, Reflections & Shades of Time, as the solo artist continues to define his distinctive electronic rock style, weaving his signature synthesis into the rhythmically charged compositions of philosophical reckoning.

Emotionally charged revelations about facing the hidden aspects of one’s identity diaphanously drift through the installation of dark etherealism as the track’s pulsating synths and sharply defined guitar lines inject a vibrant, high-energy feel into the release which offers a scintillating study in contrasts. It juxtaposes the vulnerability inherent in introspection with the robust instrumental forces that symbolise the tumultuous battle against inner demons.

Originally envisioned as two separate pieces, Shadow on the Wall evolved into a unified narrative that advocates the importance of acknowledging and embracing one’s darker sides. After winning audiences across Sydney and Melbourne over with the single, the core message is set to enlighten the darkwave domain while setting a high bar for cerebral lyricism.

Shadow on the Wall was officially released on September 13; stream the single on all major platforms, including SoundCloud.

Review by Amelia Vandergast

Step into the ethereal with Slender Dan’s leftfield trip-hop release, Field of Reeds

Posted on 16 August 2024

In their latest single, ‘Field of Reeds,’ the breakthrough duo, Slender Dan, affectingly intertwined ethereal strands of pop with the gritty undercurrents of leftfield electronica and the rhythmic complexity of trip-hop.

From the outset, this melodiously rendered explosion of style and beguile sinks its teeth into your senses, weaving shadowy notes with luminous beats to create a soundscape that spans the full emotional spectrum. The deep and resonant hooks pull listeners into a weightless, transcendent production, showcasing Slender Dan’s potential to hold dominion over the alt-electronica scene.

You couldn’t listen to the arcane yet soulful production half-heartedly if you tried. The glassy celestial vocals demand undivided attention as they drift through the soundscape which oscillates between chilling and warming the soul by echoing the intricate balance of light and dark.

Behind Slender Dan are Heather Dickson and Patrick Ahern, a duo whose previous collaborations have seen them grace stages and studios from Los Angeles to Nashville, alongside notable names like Portugal. The Man and David Z. The band first caught the public’s attention with a debut on KEXP in early 2021 and has since expanded their discography with the full-length album ‘GESTALT’, along with several impactful EPs.

The official music video for Field of Reeds premiered on August 9th; stream the video on YouTube or check out the track on all major streaming platforms via this link.

Review by Amelia Vandergast

David Rey Will Reign Over the Manchester Music Scene with His Grime Hit, Call Me King, ft Abnormal Sleepz

Posted on 9 August 2024

David Rey gave Manchester a place on the grime map with his latest single, Call Me King, featuring Abnormal Sleepz. Think of the Manchester music scene; The Smiths, Oasis and Stone Roses will immediately spring to mind, but if any artist can steal the psyche away from those luminaries, it’s Rey with this raw, cultivated track which pairs his hypnotically smooth flows with dark alt-electronic trip-hop-tinted beats which syncopate to the rhythm of the artist’s creative volition.

David Rey, originally hailing from Bermondsey and now a product of Manchester’s vibrant culture, has crafted his identity around the influences of UK grime legends like Ghetts and the resonant beats of American artists like Nipsey Hussle. His globe-spanning inspirations are evident in his music, which combines poignant introspection with visceral vitality.

Having graced the stages of over 35 venues domestically and abroad, Rey’s commanding presence is well-documented and celebrated, from performances that resonate with authenticity to airplay on platforms like BBC Radio 6 and Capital Xtra. His debut EP, Before I Begin, garnered notable praise for its lyrical depth and rhythmic sophistication, traits that continue to thrive in Call Me King.

The single itself is a study in contrasts: dark yet soulful, it delivers a mind-bending lush backdrop for Rey’s sharp, melodic flows. The track dives deep into the core of human connection and desire, rejecting the commonplace narratives of fleeting pleasures to focus on what truly resonates with the listener. George the Poet couldn’t have versed it better.

Call Me King will hit all major streaming platforms, including SoundCloud, on August 9th.

Review by Amelia Vandergast

Georgina White became Trip-Hop’s most arresting chanteuse in ‘LOVE’

Posted on 8 July 2024

Georgina White’s recently re-released single, LOVE, is an aching reflection on the darker shades of affection. As the PJ Harvey-esque trip-hop aesthetics mirror the turbulence of a mind gaslit into accepting abuse by nefarious actions running under the guise of passion, the indie alt-pop framework ensures that White is doing far more than simply following in the footsteps of trip-hop pioneers, she’s synthesising a sound that is irreplicably her own.

The sepia-tinged production by the hand of Dan Myers brings an aura of old-school spectral soul to the soundscape which harnesses the haunting vocal delivery. Delicate yet commanding, White’s voice embodies the complexities of maleficent love, delivering each verse with a chanteuse’s grace and an insurgence of empowerment. Angel Olsen herself couldn’t have performed LOVE better.

Penned after drawing inspiration from the Cruel Intentions soundtrack, LOVE lends from the melancholic depths of the OST; despair pulsates throughout the progressions in the luxuriantly arcane production that melds gritty guitars with syncopated beats that mimic the frenetic rhythms of a heart beating out of sync.

Whatever the Brit-Austrian artist and actress turns her talents to next, it is going to be the epitome of iconic.

Stream LOVE on Spotify now.

Review by Amelia Vandergast

Spotlight Feature Pulsative post-punk meets trip-hop in Dissolved Girl’s 3rd spectrally filmic release, I’m a Beast

Posted on 28 June 2024

From their debut, we knew London’s ‘Trip-Rock visionaries, Dissolved Girl, possessed a locked and loaded arsenal of potential. Their third single, I’m a Beast, is definitive proof of their ability to eclipse the airwaves with their lustrous presence which is a phenomenon in its own right.

I’m a Beast explores the emotional wreckage left by sociopaths and narcissists, creating a darkly cinematic atmosphere through dissonant rhythms and ethereal vocals that paint power into vulnerability.

The blend of trip-hop, post-punk, and indietronica ensures the cold, monochromatic aura seeps into the listener’s psyche, with hooks that pierce deeply and crescendos that provide a cathartic release. Dissolved Girl’s latest single transcends mere alt-90s homage; their intricate instrumentation, driving post-punk basslines, and vocals reminiscent of Shirley Manson establish them as masters of refined, dark soundscapes.

Before forming Dissolved Girl, Nick (guitar, songwriter) and Claire Edbrooke (vocals, songwriter, producer) were involved in various musical ventures, always with the goal of succeeding with original music. Their collaboration led to the creation of a unique sound, bolstered by the addition of Arthur Keys (bass) and Dom Chandler (drums).

Despite their recent formation, Dissolved Girl has already garnered significant radio play on stations such as Amazing Rock & Metal, MM Radio, Radio Wigwam, WDNF-Philly, SLE Radio, Prospect Radio, and Krac Radio. Their fanbase is steadily growing as they prepare for the release of their debut LP later this year.

Dissolved Girl Said

“This song touches on a few concepts, but in its original form, it was about people with personality disorders. They wreak havoc in others’ lives and simply move on to the next victim without remorse or feeling. There is a certain irony that the person inflicting the damage finds moving on so easy, and yet the person affected by their behaviour is left reeling, wounded, and confused about how or why this has happened. It is about feeling resilient as a victim in the face of all that and coming back stronger.”

After being mixed by Dani Castelar – who has three number 1 albums with Paulo Nutini – and mastered by Matt Colton, I’m a Beast was officially released on June 14; stream it on all major platforms, including Spotify now.


Review by Amelia Vandergast

Post-Punk Pulsates Through Dissolved Girl’s Latest Alt-90s Spectral Sonic Shadow, I’m a Beast

Posted on 22 June 2024

Dissolved Girl is back for round three; the gloves are off, and teeth are bared in their latest single, I’m a Beast, which blasts past alt-90s pastiche and scathes the rhythmic pulses with killer hooks, sharp enough to tear through the monochromatically cold atmosphere of the release which aches for redemption.

Ornate gothic instrumentation carves its way through the production while the basslines pulsate with post-punk volition under the vocal lines which blend raw power with haunting vulnerability. If Garbage released this single at the zenith of their career, the spectrally sensuous soundscape would have darkened the top of the charts for weeks. We may be living in a new sonic epoch, but the London-based four-piece is unflinching in their determination to keep bands relevant in the modern music industry.

With their refined approach to bending minds through esoteric alchemy and their ability to linger in the psyche for long after the final shadowy note, it’s only a matter of time before they take the alt-music underground by storm.

I’m a Beast was officially released on June 14; stream the single on Spotify now.

Review by Amelia Vandergast

Nathalie King – More: A Sensory Trip-Hop Revelation

Posted on 5 June 2024

Toronto’s ethereal electropop enchantress, Nathalie King, has recently unleashed ‘More’; a sense-awakening cinematic score of scintillating trip-hopped electropop and deep house waves of euphoria that pull you right into the gravitational force of this paralysingly lush soundscape.

The track delivers vocal lines that are just as melodiously luxuriant as the pulsating progressions in a style that will never go out of trend. It’s safe to say King has broken the spell of throwaway pop culture with this seminal release The sensory staying power will stand the test of time as a monument to King’s ability to render catharsis into her staunchly accoladed serene productions, which reverberate with arcanely rendered audial bliss. Nathalie King’s music is noted throughout the industry for its cinematic gravitas which envelops her dynamic vocal range which is just as comfortable in a sultry low register as a soft and melodic upper range.

King is currently working on her new EP, PTSD, which is slated for release in 2024 and has become a therapeutic means to overcome childhood trauma and enduring depression. Collaborating with Bristol-born producer Joseph Snook, PTSD promises King’s fans a more electronic and UK-centric sound.  Away from her solo music, King has garnered attention with placements in commercials and TV shows; she also continues to contribute to Universal Production Music UK and perform throughout Toronto and Europe.

Watch the official music video for More on YouTube now.

Review by Amelia Vandergast