Rose Tiger

Rose Tiger: “Seapop Music played by cyborgs from the great city of Archaeopolis”

Rose Tiger

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French artist Wendy Killmann has a new EP, Top To Bottom, out next week under his Rose Tiger name. A romantically vicious image, the music also uses beautiful synths and new-wave inspired pop to create aggressive, sometimes frantic sounds. And there are dinosaurs.

To hear all his music, check out his SoundCloud.

More info:

“ROSE TIGER is the brainchild of French artist Wendy Killmann, a young man who dreams of a parallel world where humans coexist with dinosaurs and whose musical taste is inspired by 80’s British new-wave (Tears For Fears, Depeche Mode), 90’s video games (Final Fantasy VII, Pokémon Blue) and favourite Manga theme music from his childhood (Dragon Ball Z, Gundam Wing).

His first EP/Comic titled « From Top To Bottom » will be released November 17th along with an 8-page comic book by famous Instagram artist Sibylline Meynet. A video for the song ‘Submarine (Where Have You Been?) will be released on the same day as the EP.”

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FIM

FIM: Panama Pop-Punk and Emo a la Early Brand New

FIM

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Brand New finally released a new album this year, one that’s very dark and just feels heavy, so I’ve become nostalgic for Your Favorite Weapon-era emo pop-punk that’s upbeat and full of great riffs and passionate singing. Panama’s FIM fills that void for me. Every track on the excellent new Memorias EP is a winner, each song enjoyable on its own and filled with several singalong moments that all good catchy punk songs need. Bonus points for the shark album cover. Also, check them out via Instagram and YouTube.

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Nadah El Shazly

Nadah El Shazly: Abstract Mythological Sounds from Egypt

Nadah El Shazly

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Think of anything that sounds as strange and avant-beautiful as Egypt’s Nadah El Shazly. The closest I get is early Björk, though she hasn’t made anything sounding this urgent in years. Portishead too, but there’s more color in Shazly’s voice and Miles Davis-like cut-and-paste instrumentation. Maybe it’s what this photograph sounds like. All are true to me, and I believe Nadah El Shazly is one of my new favorite Egyptian musicians.

From Bandcamp (also check out this great interview with Bandcamp Daily):

“Starting out singing Misfits covers in a local punk band, then moving onto producing her own electronic tracks and making a name for herself in Cairo’s underground scene, Nadah El Shazly’s backstory is not that unusual. Her debut album on the other hand, is an entirely unexpected story.

Two years in the making, Ahwar (Arabic for marshlands) is an otherworldly record, not unlike an abstract mythological story-tale. Opening with the mangled and filtered vocals of the album’s lead track Afqid Adh-Dhakira (I Lose Memory) like an alien dream, the drones of a bowed double bass lead us into a drum groove that lays the groundwork for El Shazly’s sultry and captivating presence, singing: “(I am) coming, from a time far away. Going, escaping. Alone in the wilderness”.

The Arabic prose lingers over interjections of slap-back delayed guitar twangs and an avant-garde arrangement of dissonant winds, horns and seemingly random drum fills, ending with an eerie soundscape that wouldn’t feel out of place in a Giallo classic. A daring and potent statement that sets the foundations over which the rest of the album can unravel.

Composed, written and produced by El Shazly herself in collaboration with The Dwarfs of East Agouza’s Maurice Louca and Sam Shalabi on co-composition and arrangement duties, the album was crafted across two continents, between Canada and Egypt, and features the crème of Montreal’s contemporary-classical and improvised music scene, most of whom are members of Shalabi’s own Land of Kush ensemble.

In between El Shazly’s five original tracks, we are treated to an abstract cover version of Sayyid Darwish’s classic Ana ‘Ishiqt (I Once Loved). El Shazly’s haunting vocal floats over broken Kalimba and Harp arpeggios which slowly intertwine with a free, bowed double bass improv to nestle within the breaks between Younes Al-Qadhi’s early 20th century verses of love and betrayal.

More than that, it is difficult to really describe, but imagine the worlds of Nico, Björk and Annette Peacock with the Arabic language as their mother tongue, re-approached through acoustic avant-jazz harmony and re-constructed with a dash of Kamilya Jubran’s modern styling of Arabic maqam and you may be somewhere close.”

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Ma-Te Lin

Ma-Te Lin: “Complex, profound, yet delicate”

Ma-Te Lin

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This Ma-Te Lin song is so delicate I’m afraid it’s going to break in my hands. What a gorgeous song. Lead singer Asha whispers in Mandarin and English over a simple composition over someone she wishes to come home. She sounds sad but grateful to know such a person. His or her return would still be bittersweet, but at least a good memory. The group’s last full album came out in 2015, so hopefully “Please Come Home” is a sign towards the next release.

From Bandcamp:

“The artists of electronica music from Taipei known as Ma-Te Lin was formed in 2012.Their sound is soft, yet complex, profound, yet delicate.”

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Silk Cinema

Silk Cinema: Sade in Space

Silk Cinema

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When someone describes your music as “Sade in Space,” you listen. It’s not a perfect analogy (no one but Sade can sound like Sade in space), but it’s great for us how close London duo Silk Cinema gets with its latest single “Disappear.” Music to feel lonesome and beautiful to and to live for tonight. Looking for trouble but already found beauty. Reminds me too of Rhye’s mysterious grooves. Beat-driven music you can enjoy in a club and also in a car. Would love to hear more new music soon.

Check out a more upbeat band remix of “Disappear” here.

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Marley Muerto

Marley Muerto: Sad and Weird Songs for the Club

Marley Muerto

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I’m a little late to Ecuador’s Marley Muerto, but I’m glad I got here. A towering yellow suited man with a disco skull writes sad songs for the clubs. The music, especially “Dorado Salmón Violeta (feat. Frances Possieri),” also sounds good in the morning-after light after a night of bad or even meh decisions. My favorite release of his so far is 2012’s Pararmar; Not quite freak folk, and in 2017 this can qualify for legitimate mainstream pop music, but it’s definitely a far-out take on traditional Latin songwriting. The weirder, the better. And what a great website.

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Mu Zein Wallah

Mu Zein Wallah: Ambient Desert-Like Sounds From, Uh, The Desert?

Mu Zein Wallah

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I can’t tell you much about Mu Zein Wallah or this Semuta Music release, mostly because I couldn’t find anything. A total mystery. There seems to be a sort of connection to Dune (never read or watch it). In any case, and freaky album cover aside, I really dig these ambient sounds that could inhabit the same desert as the monster on the cover. The music makes me feel dry and uncomfortable, which I’m sure was the intention. Only five tracks, but they seem to go on forever. Listen to more on Bandcamp.

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GDJYB

GDJYB: Indie “Math-Folk” From Hong Kong

GDJYB

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What starts out slow and dreamy turns into sharp and precise, as Hong Kong “math-folk” group GDJYB ease you into their world before punching you softly with great riffs and incredible vocals sung in “Honglish” (Hong Kong English). The bass playing throughout is especially excellent, and it’s refreshing to hear it mixed so that you can actually hear it. And the video is top notch – it appears to be shot using film and anything goes in this all-white space. The group has much love in their home, though it’s time they break through here in the states.

Check out more of their music via SoundCloud.

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Lokal Affair

Lokal Affair: Experimental Sound System Music from Tunisia

Lokal Affair

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Lokal Affair is a Tunisian producer with a new EP call Seremunia out now via the experimental sound system label Boomarm Nation. This short collection is something I can put on and get lost in – random sounds are sampled over steady, groovy beats that take me to Tunisia.

The EP is getting some rightfully good traction, especially with a shout out by Tiny Mix Tapes: “[The EP] contains the soothing everythingness of daytime city noise, and the echoes of the blacklight nighttime stars blotted out by the rising sun during the walk home from the club.”

From Facebook:

“Ethnic – Hypnotic Sounds – spiritual – Melodic – MultiCultu – Downtempo”

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May Roosevelt

May Roosevelt: Greek Composer, Producer, and Thereminist

May Roosevelt

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Now that Blade Runner has entered my mind again, I’ve been in that dark, synthy mood lately and have been seeking out music that takes me to a future LA in which I feel despondent and dreamy in the snow. Greek producer May Roosevelt takes me there. The way she builds her songs and gives them room to grow is excellent, and I found myself getting lost and repeating “Air” several times, never wanting it to end. Influenced by Massive Attack, Bach, Bjork, traditional Greek, and Byzantine chants, her electronica is haunting in the best way.

Her latest release Junea came out this week via Inner Ear and is available via Bandcamp.

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