$KINNY BRAGG Unleashes His New EP "I announced this off Impulse. Enjoy"

$KINNY BRAGG is a 24 year old rapper from Pearl, MS. Unlike most of his contemporaries, he gets his influence from metal music; in fact when he works on a project, he prefers to listen to nothing except metalcore and hardcore music. However, DO NOT get this confused as you will find a distinct lack of screaming in this metal rapper's music and more emphasis on lyricism and clarity.

This talented rapper has created his own style of music and genre he calls Sludge Rap which stems from Sludge Metal. He still finds a way to embrace his southern influences with his self made production that features slower beats, heavier bass lines, but at the same time will still give you some lyricism that is usually pretty raw, outlandish, and tongue and cheek.

Speaking of touch and cheek, $KINNY BRAGG has released a very DOPE EP filled with cheeky one liners entitled "I announced this off Impulse. Enjoy", which features production from BOZ (Idontknowjeffery producer), joshu, as well as himself. In his own words about the EP, $KINNY BRAGG says, “It is a 6 track EP that is a different vibe than anything out. It's fun and angry, filled with cheeky one liners, and violence”.

We’ve listened to the EP several times already and we’re now big fans of $KINNY BRAGG’s music, and we appreciate what he’s bringing to the hip-hop game, especially as a southern rapper from Mississippi. Check out the "I announced this off Impulse. Enjoy" EP below, and connect with $KINNY BRAGG on his social media. Also, stay tuned to DCWS because our exclusive interview and review of the EP are both coming soon!

Connect with $KINNY BRAGG: Twitter | Instagram

Fort Worth, TX, Rapper J'Moris Releases His Debut Album "Blac February"

Like a suave, street-wise prodigy of Master P and Gucci Mane, J'Moris's style is all killer, dripping with heavyweight swagger and grit.

A self-dubbed 'product of environment', J'Moris has been drawn to music since he was a young boy. While battling the trials and tribulations of life, he's always found music to be an unrivaled outlet of expression. During his college venture at Lamar University, Moris co-founded the organization Tru Misfitz. Continuing to maneuver more into the music industry, Moris found his southern influence played a heavy part in what he does, deeply embedded in his music and persona.

Intending to be more raw and revealing than ever, J’Moris’s “Blac February” is a sprawling 15-track album that is both completely autobiographical and yet universal. Whether he's rapping about street life on “Blue Cheese”, being antisocial on “Venting”, going through frustrating relationships on “Anymore”, being black in America on “Alien”, pre-game partying on “B.I.D.”, or making sense of it all on “Peace” and “Letter to God”, J's story is authentic and real. Those listening to his words about overcoming suicidal thoughts and paralyzing doubt on tracks like the soul-infused Make It Look Easy will reflect on their own struggle.

The result is a proper rap album that flows like a classic. With equal parts finesse and blunt force, balancing southern rap/hip hop, rnb, soul, and trap stylings, “Blac February” is a must listen album for hardcore hip hop enthusiasts. Featured on the album are rappers D. Hewitt, 254 Assassin and Bellafante as well as singer Valance and comedian Ben Jackson.

Listen to J’Moris’s “Blac February” right now and connect with him on his social media.

Connect with J’Moris: Twitter | Instagram

Interview: Northern California Based Rock Artist Tango Talks About His New Single "Days Gone By"

We connected with Northern California based songwriter and musician Tango aka Reid Murray for an exclusive interview to discuss his new song “Days Gone By”. Tango also releases instrumental music under the moniker ChromaTone, so during our conversation we discusses that, as well as how his travels have inspired his music, and his goals for the remainder of 2020.

After reading our Q&A with Tango, be sure to connect with him on his website and social media. Also, check some more of Tango’s great music on Spotify below.

Congratulations on the release of your song "Days Gone By"; describe for us your creative process for the development of the song from start to finish.

Thank you. Writing “Days Gone By” started with the chorus melody. It was the first thing that came through to me. I had the rough chorus melody recorded one day while in my Long Beach garage studio. I didn’t work on it straight away because I was finishing my first EP at the time and then I ended up traveling to Europe for a music venture playing drums in another band. It wasn’t until I returned to California and moved back to my hometown of Ukiah that I developed the song further with verses.

Then while housesitting a friend’s place, I got to develop and record the vocals. I also wanted to get a synthesizer for a good year or two at this point and finally picked up a Yamaha DX7, which I incorporated into the bridge with a synth solo. For some reason most of the ideas I had seemed to fit and work in this song so I was pleased with that. I was able to have synths, dynamic drums, and sharp electric guitars work together for a portion of the song.

You also release instrumental music under the moniker ChromaTone; when creating new music, how do you decide whether what you are working on will end up being a Tango song vs ChromaTone song?

It’s a vibe I get once I come up with some kind of riff or melody. The instrumentals seem to be more keyboard/synth based and a desire to create a beat or a bass line idea. In the end I really want there to be no difference between the two, everything just laying under one umbrella.

You've mentioned that traveling is a big inspiration for you; where has been your favorite destination to travel to?

To date I’d have to say that Berlin, Germany is one of my favorite spots on the globe. It’s a wonderful city for creativity, freedom, love, and adventure. I intend to spend extended time there at some point in my life where I can just be writing new music in a flat in my favorite part of town, playing shows throughout Europe.

Following up on the last question, would you say that the destinations you have traveled to inspire your music at all?

Yes, traveling and the cities I have visited have certainly inspired my music. From the friends I’ve made, instant crushes, ancient vibes, unique geographies; they all play a hand in my lyricism, ideas, or sentiments I wish to express in a song.

With "Days Gone By" now released, what are some of your goals musically for the rest of this year?

Performing live with a new band, which is halfway put together, and releasing songs that I have wrapped up are a big goal for this year.

I joined my friend's music collective Midwest Coast Records, based in Ohio and I'd like to see that get traction. There's some talent in that roster and we want to do a showcase of all the artists where we come together for a show, despite not being based in the same city.

I'm coming from a different place now than when I began writing actual songs like 5 years ago so ultimately my goal is to be performing songs that I’m currently writing, which have been heading in a groovier, funkier direction than my starting point.

Connect with Tango: Website | Facebook | Instagram

Stream "Under the Veneer", the New Album by Ambient Electronic Artist Jeads

You might find Jeads hiking on a trail in the Pacific Northwest with his field recorder in hand, he will likely be trying to capture the sounds of rustling ferns or leaves falling on moss-covered tree trunks. An accomplished musician who studied classical and jazz guitar extensively, Jeads found electronic music, sound design, field recordings, and natural soundscapes as a new medium. Jeads moved to the forest outside of Bellingham Washington several years ago. The new location provided a fresh source of inspiration and a kind of quiet that allowed for the sounds of the forest to bubble up through his music. His compositions often integrate field recordings with unique homemade sample-based instruments in a musical take on electronic downtempo or idm music genres. His musical phrasing is rooted in jazz and cross-pollinates the electronic music with harmonic complexity to produce a unique sound.

Jeads’ latest release, “Under the Veneer”, is made up entirely of sounds from field recordings taken after a large snow storm in March of 2019 along with a set of sample-based instruments that Jeads created.

Speaking about the new album, Jeads says, “Under the Veneer” started with a giant snow storm in Bellingham, Washington, in March of 2019. I had just finished recording Nocturnal Signal and wanted to dig deeper into using sounds from field recordings and making my own sample based instruments. The snow storm inspired many field recording sessions which ended in the construction of a set of sample-based percussive instruments. I went on many hikes in the snow-covered forests around my house, capturing environmental sounds with my field recorder: fresh snow falling off ferns, snow balls pounding on frozen steel doors, footsteps crunching, fallen tree limbs snapping in the ice cold air, icicles breaking. This set the backdrop for the album; all of the samples have a kind of frozen crispness to them, frozen soundscapes from the forest.

The main instrument on the album is an old rusty music box. It has a rich harmonic resonant sound but it’s also broken and vulnerable. It’s attached to a painting I've had for many years, one that has moved around with me many times. It has hung on the walls in both broken and loving homes and has become a symbol of how important having a peaceful place to call home really is. The painting and the music box represents a complex sense of home for me. A lot of the themes on this album were inspired by that concept; scratch a bit of veneer off the surface and you can often find something twisted and complicated underneath”.

Listen to the 10-track “Under the Veneer” album right now, stream it on your preferred music service and connect with Jeads on his website and social media.

Stream and Share “Under the Veneer” on: Soundcloud | Bandcamp

Connect with Jeads: Website | Facebook | Instagram

Interview: The Terminally Well Founder Rob Runkle Discusses the Band's New Single/Video "Take It Easy On Me"

We connected with Rob Runkle, the founder and lead vocalist of the Philadelphia based indie rock band The Terminally Well, for an exclusive interview to discuss their new single/video “Take It Easy On Me”. We also talked with Rob about his background in the hip-hop group Schoolz of Thought and how developing music for his rock band differs from a creative standpoint, the band’s upcoming full length album, and much more.

After reading our Q&A with Rob, be sure to connect with The Terminally Well on their social media, stream/share “Take It Easy On Me” on Spotify and check some more of the band’s music.

You come from a hip-hop background with your group Schoolz of Thought. How different is it with The Terminally Well, which is a rock band, from a creative perspective when developing new music?

For one, I suppose the most obvious thing is that I'm playing a lot more instruments. I did play a few instruments on the 'Schoolz' projects and on my solo records, but generally they were sampled and looped, etc. - and we had a lot of outside production.

With The Terminally Well I play straight through the song, similar to how it'll be played live. And obviously I'm singing as opposed to rapping, although I did do some singing on the hip-hop projects too - you know, mostly hooks and stuff.

I feel an increased sense of creative freedom now too. Even though the hip-hop stuff I did was on the "underground" sort of alternative side, I feel that what I'm doing now allows for a lot more expression and experimentation. There are really no rules, per se.

You're not just the lead vocalist for The Terminally Well but a multi-instrumentalist as well. What instruments do you play and do you produce all of the band's music?

I've written and played everything on the recordings so far - drums, bass, keys/synth, guitar, etc. I have a few musician friends who have come through recently to prepare for playing the live shows, as it'll need to be a full band - some of them will probably also play on future recordings.

And yes, I've produced, recorded, engineered and mixed everything so far in my own studio - I send it out to be mastered, then distributed. Thank you for this opportunity to be interviewed - it really is much appreciated!

Congratulations on the release of your new song/video "Take It Easy On Me". Tell us what initially inspired you to develop the song and who directed the music video.

Thank you! Well, the song and the video are both heavily inspired by real life events - “Take it Easy on Me” is fundamentally a song about recognizing that we never really know the hidden struggles others are going through, and being mindful of this when dealing with one another - to take it a little easier on each other - told from the perspective of a personal relationship.

The video, I think, really captures that storyline, incorporating representations of the bad situations I'm going through and how they're affecting my personal life and relationship. The video was directed by Andrew Figueroa for SMWAM - the same director as the first video, 'Mighty Empires Fall'. He'll be doing all of the videos for the foreseeable future. He's really great at what he does!

Where did the band's name "The Terminally Well" come from? What does it represent?

"The Terminally Well" is just something that came to me one day while I sat around "thinking too much," as I'm told I'm prone to doing - I enjoy exploring concepts that are paradoxical (which most things seem to be when considered deeply enough), and somewhat ironic and unusual.

The idea is a nod to the fact that life is temporary - everything is temporary - and I like to think, at the same time, it's a reminder to both not take it too seriously, and to make the most of it while we can. Plus, I just thought it was a really cool band name!

What can you tell us about the full length album you are working on?

It'll be a collective of our first 10 - 12ish songs, released as singles, then compiled into a playlist called "Meaningful Nonsense" - that'll be the album.

Will "Mighty Empires Fall", "Take It Easy On Me", and "Get Through Tonight" all be appearing on the project? Yes, they are the first 3 songs - in order.

Connect with The Terminally Well: Instagram | Facebook

DCWS BattleSound Music Competition Champion For February is... Andrada's "Unbreakable"

Thanks to L E A, Blank Face, Roshy and Andrada who all participated in the DCWS BattleSound music competition’s Championship Round for the month of February. When the votes were tallied, it was clear that we had ourselves a champion, and that artist is… Andrada, with her song “Unbreakable”!

Andrada’s “Unbreakable” came in first place and Blank Face’s “25th Floor” came in second place. She will be receiving a $75 cash prize, free access to our artist subscription service DCWS Access, Dopecausewesaid merch, and a free copy of our e-book “My Music is Dope, But Now What!?! The Strategies For Success in the Music Industry”.

Congratulations to Andrada, and all of the artists who participated in this contest during the month of February. We look forward to crowning our champion for March at the end of next month.

Watch Andrada’s “Unbreakable” music video below, stream the winning song on Spotify and connect with her on her website and social media.

Stream and Share “Unbreakable” on Spotify

Connect with Andrada: Website | Instagram | Facebook

Interview: Paul Kaiser of Kaiser and the Machines of Creation Talks About Their New Music Video "Flowers and Lies"

We connected with Paul Kaiser, the founder and lead vocalist of Australian hard rock band Kaiser and the Machines of Creation, for an exclusive interview to discuss the new music video for their single “Flowers and Lies”. During our conversation with Paul, we discussed several topics, including the music video’s treatment, what he enjoys most about playing live for a crowd, the status of hard rock/metal in Australia in 2020, and much more.

After reading our Q&A with Paul, be sure to connect with Kaiser and the Machines of Creation on their website and social media, stream “Flowers and Lies” on Spotify, and check out a lot more of the band’s music!

Congratulations on the release of the music video for your single “Flowers and Lies”, which you co-directed. Tell us how you and the other director came up with the video’s treatment.

Jason, the videographer from JLM Studios in Adelaide, was very natural in moving with developing shots I had preconceived and discussed with him prior to the shoot. I had sent him drawings, photos and all sorts to enlighten him to my vision and he was all over it in a good way.

Being a totally independent video, we needed to fund the entire budget ourselves as well as produce every aspect of it. This came down to getting all the suits, instruments and set up to create the feel we wanted for the interior filming, as well as scouting the locations and getting in touch with the respective parties in charge of both places.

The factory component was the most difficult as, when we saw it we knew this had to be the location for the exterior shots but it took a long time to track down a contact for the premises. We had to literally scale a few fences prior to making the initial contact :) and were so close to filming those shots guerrilla style (!), when finally we had a call back and were approved to film on the site. But we think the hard work really paid off and are very happy with how it turned out.

There have been several iterations of the band since you started it in the early 2000s. What makes the current lineup special to you?

Personally, I am much more focused on the commercial distinctiveness with as little compromise as possible, in terms of Hard Rock becoming too soft. Also, the band members are very cool guys and everyone has the same goal and directional focus.

Steve Anderson my bassist and myself have put a lot of invaluable hours into promo work. All that makes for a good team.

What would you say is the state of hard rock/metal music in 2020, especially in Australia?

I am very sorry to say, it is not very good. There are always great bands and artists out there wanting to do it, but they do soon find that the band has to move overseas in order to succeed.

The whole rock scene... is mostly an underground scene. When overseas acts turn up, it can bring on a little hype. Unfortunately, they don't all come over here! We are too far away... costs and time. But we have always known that and worked it the best we can. Aussie are pretty creative and industrious and there is always a way!

What is your creative process when it comes to the development of new music? Do you create the prospective song’s melody first before writing lyrics?

Many ways... it can be from a guitar riff, or any instrument that is doing something, or a sound not necessarily musical. Sometimes a lyric might prompt an under lying riff or rhythm... then things generally work out in relative arrangement models depending on the feel.

I have always tried not to be pretentious in my writing, however this can sometimes, not be avoided and just might be best for the song. I always, ensure a song is relative to itself as many songs do not need writing per say, they kind of write themselves.

What do you enjoy most about performing live for an audience? Do you have a go to song in the band’s catalog that always gets the crowd riled up?

There is nothing that really compares to playing your own music live and being appreciated. That buzz is Eeeeenormous! Watching people sing your lyrics is always amazing.

There are a few songs our audiences get off on - 'Being You' and 'Possession' are really popular with the heavier crowd... they make more noise! Haha Repertoire construction is an important deal.

Connect with Kaiser and the Machines of Creation: Website | Twitter | Instagram | Facebook

Interview: Anthony Brand of Cultivated Mind Discusses His New Album "No Quarter For Thieves"

We connected with Anthony Brand, the Hampton Roads, VA area based founder of reggae, dub, jazz, and blues project Cultivated Mind, for an exclusive interview to discuss his recently released album “No Quarter for Thieves”. During our conversation we got a chance to pick Anthony’s brain about several topics, including a breakdown of the process of recording an entire album on Garageband, his introduction to reggae music, the music scene in the Hampton Roads region, and much more.

After reading our Q&A with Anthony, be sure to connect with Cultivated Mind on his website and social media, read our in-depth review of the “No Quarter for Thieves” album, and vibe out to it yourself on Spotify.

What was your initial introduction to reggae music? Was there a specific reggae artist or band that caught your attention and inspired your creativity?

Reggae is definitely my main art form, though I do like a lot of different music styles. I think the ability of reggae to be blended with other genres is one of the main reasons I really got hooked early on. My parents listened to some British Bands like The Police and The Clash, who had experimented with reggae, and I was introduced to Bob Marley and Steel Pulse through my parents as well, though they were not what you would call massive reggae fans.

I got into punk and ska in my early teens from visiting two uncles who were heavy into classic punk and two-tone, and then was introduced to dancehall artists like Capleton and Sizzla in my senior year. Back then there were actual music shops with a "Dancehall" section and you could go pick up new music from Jamaican artists and international dancehall artists.

As I entered the world of education and faced other new life obstacles, I started listening to Vaughn Benjamin of Midnite (Rest in Power) and still consider him my lyrical hero. His music is timeless. I also like some of the American reggae bands like Groundation, John Brown's Body, and The Expanders, two of which I've been lucky enough to see live.

How did you get started as a musician? What was the most difficult instrument for you to learn?

My mother bought me an acoustic when I was 15, and I've been obsessed ever since. Trumpet, however, is the most difficult instrument I've had to learn so far, and I am FAR from mastering it.

Congratulations on the completion and release of your album "No Quarter for Thieves". Tell us what you are most proud of with this project, and what the title means.

What I am most proud of with this project is the lyricism and experimentation. I didn't try to write anything to please anyone, I just dove in to my personal struggles head first and put them to music. Concerning the sound, this is one of the first efforts where I used predominately real instruments, and I learned to play trumpet for this album (though I’m still pretty rough and by no means a professional horn man yet).

I also used a lot of blues, spaghetti western and flamenco elements on this album that were not on previous works, which hopefully blend well with the old school roots reggae rhythms on most of the tracks. Jahvin Purnell (Baritone/Melodica) and Mark Kohlman (Tenor/alto) also really help to make the album groove harder, and the horns throughout the album are one of the highlights I think.

The title refers to People in Power as well as people in our own lives abusing our good nature and taking honest, hard-working people for granted. It is more of a statement of standing one's ground in the face of corruption than anything else.

From start to finish, how long did the album take to record? Also, tell us about the process of recording an entire album on Garageband, especially with so many different instruments.

Seeing as I was in a bit of a rut financially, I went with Garageband (as I have on most of my other albums and EPs) and a single Shure beta 58 A to record everything, even drums. This took about six to seven months of recording, mixing and mastering, with drum mic positioning being a real headache due to the limitations.

I layered the instruments usually starting with piano, drums, and bass, then mixed from there. Once I had a good Idea where the structure, transitions, and vocals were going to be placed on each tune, then the Sax guys (Mark and Jahvin) came in to lay their parts. Once all the ingredients were there, I spent about half the 7 months mixing/mastering.

Digital kick drums were overdubbed to fatten the drum tracks, but instruments were often left with only light compression and limiting on their individual tracks; I figured if things were going to be a bit raw, maybe leaning into that aesthetic more was the way to go.

I like older styles of music typically, especially when it comes to reggae and Latin music, and while it made things a bit rough around the edges recording it this way, it also is hard to completely pinpoint in what era the album was made sonically at times. This isn't necessarily a bad thing to me, and I think it gives the album a little character.

Describe the music scene in the Hampton Roads area for your specific type of music. Are locals there supportive and are there a lot of venues available to perform at?

The Hampton Roads and Virginia Beach reggae scenes are really starting to boom; for years it was a bit of a scramble for reggae artists in particular. However, I think people are starting to hear the spiritual and intellectual power of roots music and are not longer seeing it as a "seasonal" thing.

People in the area are extremely supportive, and our friends/family/fanbase, who call themselves "The Cultivators," have been a very positive force in getting the music out to folks. There are groups and companies like VB Reggae and Vintage Rootz Wear that help local artists stay connected and promote shows, Festivals like Big Bear, Second Sundays and Chesapeake Bay Reggae Fest that help to promote Hampton Roads Reggae Acts, and venues like Chicho's Backstage and The Bunker that have been pivotal in giving upcoming acts a platform alongside national ones. I'm definitely excited to see Southeastern Virginia's musical family grow in the future.

With the "No Quarter for Thieves" album now released, what are some of your goals musically for the remainder of the year?

My goals are currently to continue touring and producing new music. I have another album in the works set for release this summer with modern production and a dub version of the album as well.

I plan on filming some kind of video to go with each tune, and am taking my time on this project to make sure it comes out proper. My other goals are to improve at trumpet, as well as pick up some new production skills as I work on the new songs.

Read our review of the “No Quarter for Thieves” album

Stream and Share “No Quarter for Thieves” on Spotify

Connect with Cultivated Mind: Website | Twitter | Instagram | Facebook

Black Native Darkwave/Synth-Pop Trio Lindy Vision Prepare to Drop New EP "Adult Children Part II"

Albuquerque, New Mexico darkwave/synth-pop trio Lindy Vision are preparing to release their new EP, ‘Adult Children Part II’, produced by Enrique Tena Padilla (Thee Oh Sees, Wand, GOGGS). Since announcing the record, the trio—comprised of three Black Native sisters, Dorothy (Dee Dee), Natasha (Na), and Carla Cuylear—have been steadily dropping singles and have been featured at numerous media outlets including Blackbook, New Noise Magazine, Native Max Magazine, The Autumn Roses and most recently mxdwn who called their latest single "Gamblers," "Swirling darkwave...rounded out by thundering percussion that adds a bit of a primitive element to the indie rock sound." Adult Children Part II is out March 6th.

For Lindy Vision, family casts a shadow over everything. The trio has spent the last six years honing their unique sonic palette, a mix of dark ‘80s new wave, bouncy synth-pop, and ethereal indie-rock that has drawn comparisons to Santigold, M.I.A., Devo, Yeah Yeah Yeahs and more. In that time, their music has landed them on bills supporting Spoon, Durand Jones and the Indications, A Tribe Called Red, Magic Giant & more. On their new EP, ‘Adult Children Part II’, Lindy Vision continues to create sweeping, synth-heavy soundscapes that provide a foundation for their introspective, emotionally raw musings on adult life after a tumultuous upbringing.

‘Adult Children Part II’ was recorded at the legendary Sonic Ranch outside of El Paso, Texas, a residential recording studio complex that has generated records from Bon Iver, Jenny Lewis, Parquet Courts, Big Thief and more. Lindy Vision enlisted producer Enrique Tena Padilla (Thee Oh Sees, Wand, GOGGS) for both Adult Children EPs, as well as engineer Gerardo Ordonez (Bon Iver, Deerhunter, Parquet Courts) to create a record as sonically expansive as it is explosive.

The new EP is a companion piece to the trio’s 2019 EP, ‘Adult Children Part I’, and continues the band’s exploration of life as adult children of alcoholics. Inspired by Dr. Janet Woititz’ book, Adult Children of Alcoholics, Lindy Vision has crafted two strikingly honest records that serve as pillars of empowerment and acceptance. “We were hesitant for a long time to talk about being children of alcoholics, because that can be a really shameful thing for families,” says Dee Dee. “When we were growing up we were always taught to not talk about it or social services could come take the family apart. With these records, we’re coming out as adult children of alcoholics, but also showcasing how far we’ve come and not letting that limit us.”

Throughout the record, Lindy Vision discuss different everyday aspects of life and how their upbringing as children of alcoholics affected the way they respond to the world as adults, primarily when it comes to concepts of trust and stability. The EP kicks off with the noisy, distorted “Gamblers,” a blunt investigation of the dangers inherent in sexual relationships. On “Abandonment,” Dee Dee explores the sense of desperation that can accompany intimacy. “A large part of Adult Children of Alcoholics is about not feeling safe and the way that can lead to feelings of abandonment. If you get into an argument and don’t have that clarification that the relationship is still okay despite the fight, you end up feeling abandoned,” says Dee Dee. On the back half of the record, standout track “Poison” perfects the art of pairing dark lyrics with upbeat music. Carla’s pounding rhythm section lays the foundation for Na’s understated but mobile guitar lines and Dee Dee’s candid lyricism as she sings, “I got habits, I got some bad habits / I got things I need, I need everything / I’ll kill you if you stay long enough.”

The driving force behind Lindy Vision is the trio’s bond as sisters, a tight-knit solidarity formed during childhood that has carried through their lives and into their career as a band. “The instruments we play are reflective of our family dynamic. Dee Dee is the oldest and the lead singer; she’s our leader. She’s always been that way for our family. Na plays guitar, she’s the accompaniment & flair—the middle child. As the youngest, I pick up the rest of the pieces, making arrangements and doing accessory synth and drum parts. It’s very symbolic of our family order,” says Carla.

‘Adult Children Part II’ stands as Lindy Vision’s most fully-realized project to date, showcasing the trio at their most sonically versatile and emotionally honest. It’s an uncompromising look at the ripple effect of alcoholism from a stark bare first-person perspective. “As we’ve grown as a band, we’ve learned more about ourselves and what we’re willing to talk about. We’ve opened up more and have become more honest. This is our most authentic piece, both as a band and as sisters.” Adult Children Part II is out March 6th.

Connect with Lindy Vision: Website | Instagram | Bandcamp

Review: "No Quarter For Thieves" Album by Cultivated Mind

A laid-back, easy going rhythm permeates the gorgeous dubbed-out bliss of Cultivated Mind’s “No Quarter for Thieves” album. The lush sound surrounds the listener with a low-end that simply will not quit. Bass rumbles have a gorgeousness to them with melodies that waft up seemingly into the sonic ether.

Full of a quiet celebratory spirit, the communal nature of the “No Quarter for Thieves” album works wonders. Every track plays off the last making the album a fully realized whole. With such a grandiose journey the whole of the album opts for a unique narrative. Firmly rooted in the reggae tradition, Cultivated Mind also draws heavily from dub as shown by the many dub versions that close it out.

References abound throughout the whole of the album’s luxurious sound. Drawing from the earlier era of reggae and dub, Wackie’s label proves to be a good starting point for what they accomplish. A playfulness to the lyrics, it points to Clive Field Marshall and Wayne Jarrett influences. Done with such care, they keep things spacious. Also, the usage of the melodica throughout further gives the album a crystal clear, classic feeling. Vocals have a honeyed quality to them as they roll through Cultivated Mind’s instrumentals.

Starting things off on a high note the commanding title track “No Quarter for Thieves” sets the tone. Dreamier with a loveliness to the storytelling, “Miss That Girl” expands out into the infinite. Things are stripped down to the essentials on the nostalgia of “Sunday School”. Colorful keyboards intermingle on the psychedelic origins of “Can’t Get Enough”. Quite ornate, it all blends to become a virtual stream of consciousness.

With a lilting, tropical ambiance to it, is the bubbly “Another Man’s Cologne”. Incredible chops emerge on the spry “A Good Man in Prison (Acoustic Version)” where the horns add to its stately presence. Quite trippy “No Dub for Thieves (No Quarter for Thieves Dub)” goes for a cavernous zeal. Effortlessly touching upon all that proceeded it is “Crooked Son (Hidden Track)” which closes out the album.

Cultivated Mind paints a colorful portrait on the simply stunning riddims of “No Quarter for Thieves”. Listen to this incredible album right now on Spotify below.

Stream and Share “No Quarter for Thieves” on Spotify

Australia's Ocean Alley Announce Their North American Headline Tour

Australia's beloved Ocean Alley have revealed dates for part one of their North American headline tour taking place this summer. Making their way through the eastern United States and Canada, the band are set to captivate even more audiences with their soulful melodies and infectious blend of indie, funk, and psych-rock. Last week, Ocean Alley also announced their first Australian headlining tour since 2018 taking place this May/June, already selling out Sydney’s 5,500 capacity venue Hordern Pavilion with a second date now added. Launching into the new decade, Ocean Alley are fresh off Australia’s Laneway Festival and a stint in New Zealand, including playing to a sold-out crowd of 52,000 as direct support to Six60 at Auckland’s Western Springs Stadium. After a thrilling 2019 ending with 30 sold-out performances around the world, the band have played their biggest shows worldwide to date.

The tour announcements follow the release of the reflective new video for their latest single "Tombstone" which chronicles standout moments from the 12-month journey of Ocean Alley’s breakthrough year.

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Tickets for the tour are on sale here on Friday, February 28th at 10AM local time, with an exclusive 24-hour pre-sale via Spotify Fans First starting today at 2PM EDT.

Get your tickets for the tour this Friday and watch the new music video for Tombstone right now. Also, connect with Ocean Alley on their social media.

Connect with Ocean Alley: Website | Twitter | Instagram

Interview: Queer UK Based Pop Artist Le Fil Discusses His New Single/Video "Boyo"

We connected with Le Fil, a British-Chinese androgynous gay male pop artist based in London, for an exclusive interview to discuss to his brand new single and music video, “Boyo”. We also picked Le Fil’s brain about how his sexuality is reflected in the music that he creates, his fashion sense and how it intersects with his music, and what we can expect from him musically this year.

After reading our Q&A with Le Fil, be sure to connect with him on his website and social media, and listen to more of his music on Spotify.

Congratulations on the release of your new single "Boyo", and its visual. Tell us about your creative process for the song itself; also, who produced it?

Thank you, I’m so thrilled to release it finally. I had the hook and chorus in my head for a while, and really focused on getting the lyrical balance right so that it felt joyful and optimistic. It’s meant to look towards a time where we do actually question our choices around masculinity a bit more, but I also wanted it to be a summery song you can move to too.

It’s pop music with a message! It definitely felt like the song to lead the new chapter with as it really sets the tone for the next couple of releases, which are all songs I produced with a London team called The Animal Farm.

The music video for "Boyo" looked like a lot of fun. Where was it shot? Who directed it? Also, who were the guys that appeared in it?

The “Boyo” video was directed by me, and we filmed it back in my hometown of Brighouse, which is a small Yorkshire town in North England. As the song references my seven year old self and the process of learning about masculinity and my identity, I wanted to go back to the streets where I played as a kid and explore that literal journey of growing up. It was so much fun being back at home and the guys were absolutely amazing. I took them all to my parents house for lunch and my parents loved it. It was really important for me to cast a local team because back when I lived up there, all the creative jobs would always be in London or the big cities. I wanted to create some fun opportunities up there, so I put the word out on Facebook and through recommendations from my friends and even my past school teachers, we created this fab team.

How would you say that your sexuality is reflected in the music that you create?

My lyrics are all really personal and come from my experiences of relationships and interactions with people. As a gay man, I write about those experiences - whether it’s about the voyeuristic feeling of watching boys kick a ball around cars in Boyo or dating a straight man who has a partner already, like in my song “Nightlife”. I’m not scared to explore those feelings because I want to be honest.

Like most of my music references such as Kylie, Gaga, Madonna - I am strong with my sexuality, but most men in pop just shy away from the flamboyance of it. It’s so sexist, like you always see Jay-Z as the covered up guy, dad-dancing around a sexualised scantily clad Beyonce. Or even this year's Superbowl, J-Lo is in her nude illusion bodysuit dancing suggestively while both the rappers were fully covered, dancing around her. That gender power balance is the norm, for all of mainstream media. You never see a covered up female rapper dancing around a sexualised, scantily clad gyrating male singer in a nude illusion bodysuit, I want to be that! Let’s challenge the rules a little!

Following up on that last question, tell us about your fashion sense and how it intersects with your creativity as an artist?

Fashion, or more importantly, style, is a huge part of my work and communication with people. It’s how I express myself and how I try to find new ways of defining what it is to be a man. There’s so much more to play with than just a basic t-shirt and a pair of jeans to represent masculinity.

Like in ancient times, men had long hair or wore robes, which are basically dresses. We could do that now too, though if we do, the majority of public would call you a drag queen straight away or refer to you as a woman. I’m not trying to emulate a woman, I’m just trying to redefine what it means to be a man, hence me writing “Boyo”!

There’s so much drag in pop culture at the moment, with the majority of drag pastiching the opposite gender with fake boobs and fake hair, that when I appear with my long hair and eye make up, most people assume I’m woman, or in drag or transitioning.

There’s less about the fluidity of gender and androgyny which is what I try to do with my own style. I loved the androgyny of Boy George and David Bowie’s Ziggy; it felt creative. Even when I perform for Sink The Pink (a London LGBTQ collective), I always say I’m a boy whether or not I’m in my day looks or dressed up for the stage.

Unless I’m dressed specifically like Posh Spice for a Spice Girl performance, my stage look is basically an extension of myself. I’m not trying to become someone else, I’m just trying to be my very own superhero, an amped up me!

What are some things musically that you look forward to accomplishing this year?

I’m really excited about releasing the new music. Everything in this industry is all about the song. The power of that 3 minutes can launch shows, projects and bring new people together. So I’m looking forward to putting the new songs out and seeing what happens.

Previously I released two EPs, but this time I’m so excited to release them as individual singles instead, as there’s so much creative mileage you can have around each release.

Connect with Le Fil: Website | Twitter | Instagram | Facebook

Indie Pop Duo CLAVVS Release Their New Extended EP "No Saviors"

Brooklyn-based indie pop duo CLAVVS have shared their new extended EP for their acclaimed project “No Saviors”. The “No Saviors (Extended)” EP includes two new singles, "Half Moon" and "Dark Thoughts" as well as their double singles "Keeps" and "Fade" released last year.

Last week, the video for "Half Moon" was premiered, and featured two dancers falling in and out of love, like stages of the moon. Using juxtaposing settings of a bright sun-lit abandoned building and an empty neon nightclub, "Half Moon" explores all of love's complexities, it's perpetuity and it's transience.

On the video, Amber describes, “Half Moon” is about the hope of returning to lost love and the cycle of that never-ending dance. In the same way that the moon disappears just to reappear, this song is about that perpetual movement of feeling— joy into pain, loss into love. For the video, we wanted to express that circular pattern through a dance narrative. 

I’m bisexual, and since that part of my identity often gets erased, I chose to feature two female dancers as a way to make space for that part of myself. This song and its story also have a strong feminine quality to me, and the dancers, Matilda Sakamoto and Eloise Deluca, captured that feeling with such tenderness and urgency. It’s a story about forgiveness and redemption. Ultimately, love is a dance we all do over and over again, whether with our partners or with ourselves."

Listen to the “No Saviors (Extended)” right now on your preferred music service, watch the “Half Moon” music video below, and connect with CLAVVS on their social media.

Stream and Share “No Saviors (Extended)” on: Spotify | iTunes | Soundcloud

Connect with CLAVVS: Instagram | Twitter

Interview: Pop Singer-Songwriter Tina Tara Talks About Her New Single/Video "Maybe"

Tina Tara is a talented pop singer-songwriter, originally from Vienna, Austria, who now calls Los Angeles home. Tina recently dropped her incredible new single/video entitled “Maybe”, so it was only right that we connect with her to discuss this new release, as well as what we can expect musically for the rest of the year, her creative process for new music development, and much more.

After reading our Q&A, be sure to connect with Tina on her website and social media, and check some more of her music on Spotify!

Congratulations on the release of your new single/video "Maybe". What inspired you to write the song and who produced it?

Thank you. I am so happy the song is finally released and out for everyone to hear. The song was produced by my co-writer Anthony Goldsbrough who is incredibly talented and so much fun to work with. He played a beat to me he thought I'd like and I immediately got a confident but oddly cheeky vibe from it. There was not a systematic “theme” I followed, it all happened kind of instinctively and the lyrics started flowing. Whenever Anthony and I are writing we enjoy ourselves and have fun and I think that reflects in the music too.

Tell us about your incredible visual for "Maybe". How did you and the director come up with its treatment?

The dating scene in this day and age is bizarre. We wish for the big, true love but we are always aware that we have the option to find someone else if this one doesn't work out. We get over relationships fairly easy and use looks and attributes to compare our dates. I thought it was quite a fun theme to be portraying in the video. On one hand the craving for a significant other who will be there for you to support and love you no matter what. On the other hand the sheer impatience to accept flaws, build what is broken but instead look for a new, better version that fits the ideal. The topic “robot” has been around for a while and I simply chose it as a metaphor for how our society ticks, even if we sometimes don't want to admit it.

Visually it was challenging as I had never seen the apartment in person until I was there. We tried to plan ahead as much as possible and I was very happy but also super thankful for how everything turned out. The actors also really brought the story to life and I was so glad I had chosen them for the various roles, especially Darren who made shooting the scenes so much more easy going and fun.

Describe your creative process when it comes to the development of new music.

Energy is everything to me. There is no specific structure as such involved in my writing process, however when I write with Anthony he usually starts with an instrumental that I write to and we develop the rest of the song together. I also write on piano and sometimes to my own acapella melodies and record them on my phone for future development.

I also write to random melodies in my environment, e.g. I once waited on a Skype call and since the person did not pick up I started writing to the Skype melody. So no rules here. Just fun :D

If you had to describe your music to a stranger using only three words, which ones would you select?

Good Vibes Only

You recently moved from London to Los Angeles; how would you compare the cities when it comes to opportunities for artists, especially in pop music?

I haven't been in LA for too long yet, but I have already met so many amazing people and built some real friendships. I would say the difference for me is, that people in LA are a little more outgoing than in London so it becomes fairly easy to make new connections.

In terms of pop music, LA is definitely the place to be when you want to break into show business, be bold and outgoing and try new things. I feel free and ready to take on new challenges and this feeling is mirrored by the people I have around me.

What do we all have to look forward to this year when it comes to new music from you?

I cannot wait to write and release more music. When and what is still up to the universe. I am also wanting to collaborate with other artists, producers and DJ's because I love the creative influence different people bring to the writing process.

Live performing is definitely on the agenda as I have spent a lot of time in the studio these past months. Next to all that I am launching my Merch brand “TARADDICTED” very soon so that's something to watch out for.

Stream and Share “Maybe” on: Spotify | Soundcloud

Connect with Tina Tara: Website | Instagram | Twitter

Los Angeles Musician Cory Becker Shares His Debut Album, "ONE"

Cory Becker's debut album, “ONE”, came to life in a one-room studio in the dirt floored basement of his Echo Park rental, which he built from ground up. The album embraces the authenticity and experimentation of analog recording - engineering and producing the album himself, he experimented with a variety of techniques and performed nearly every aspect of the album himself, aside from select musical guests he invited to play on select tracks. Despite being Becker's first try at recording and producing everything on his own, he was able to create a unique sonic footprint that encompasses modern indie rock and folk, and the values and traditions of the canon of American roots music.

Despite this album being Becker's first release as a solo artist, his impressive accolades include performance and co-writing credits with artists, producers and songwriters regarded and revered as being on the forefront of the industry as a whole. Some of these accomplishments include co-writing with Max Martin, Alex Ebert and Jade Castrinos (Edward Sharpe and the Magnetic Zeros), performing with Sean Lennon, Rodriguez, Living Things and has worked on studio recordings with critically acclaimed, veteran producers such as Steve Albini (Nirvana, PJ Harvey) and Michael Ilbert (The Cardigans, The Hives, Robyn).

Notable featured artists include drummers Aaron Sperske (Elliot Smith, Ariel Pink) and Josh Adams (Beck, Devendra Banhart). Jade Castrinos (Edward Sharpe and the Magnetic Zeros, Echo in the Canyon Film) is the featured vocalist on the duet "Haunt." Alex Ebert (Edward Sharpe and the Magnetic Zeros) co-wrote "Virgin Of The World", contributing the bridge of the song. The album was mixed by Noah Georgeson (Devendra Banhart, Charlotte Gainsbourg, Cate Le Bon, The Strokes).

Listen to “ONE” below on Spotify and connect with Cory Becker on his social media.

Stream and Share “ONE” on Spotify

Connect with Cory Becker: Twitter | Instagram

Interview: Colorado Rapper Paridox Discusses His New Song "Take Another!"

We connected with Paridox, a 19 year old rapper, producer, and vocal engineer from Aurora, CO, for an exclusive interview to discuss his new song “Take Another!”, which was produced by Dylan Kusch. During our conversation with Paridox we learned more about his creative process for the “Take Another!” song, his musical inspirations, what his mask and cover imagery represent, and much more.

After reading our Q&A with Paridox, be sure to connect with him on his social media and check out some more of his music on Spotify.

What are some things/people/places that inspire your creativity as an artist?

Inspiration is one of the scarcest feelings for me to come by. I mean, I do have a few artist in my playlist that I either grew up on or am naturally drawn to, but this early on, I'd rather not say who because that just makes it easier for people to compare me to them, you know?

We're really intrigued by your new song "Take Another!"; tell us how the song came together from a creative perspective. Also, how did you connect with the song's producer Dylan Kusch?

Creatively, the song spawned from a deep-seated resentment I've felt for years at some of the people I grew up with. I went through a period of time where I tried to build real friendships with these people but it always felt one-sided, like I had to go out of my way to include myself in their plans and such. Once I got tired of doing all that I sort of became a recluse and fell into a deep sadness at how lonely I was. That sadness turned into anger, and that anger is what you hear in my voice on this song.

At the same time, I want to throw out a disclaimer; this song is only a product of my raw and unfiltered emotions at the time, and I don't actually hate or blame or hold anything against these people for what I experienced. I just felt like I had to get it out.

As for Dylan Kusch, he and I have actually been internet/producer friends for years, at least since 2014 I think. I want to say I don't know why it has taken so long for us to make a song together, but if I'm being honest we've had a couple that I never put out because I ended up hating my part of the track. It took me quite a while to find myself musically.

Do you plan on dropping a music video for "Take Another!"? If not, what can we expect next from you musically?

I wasn't planning on a music video, no. I don't have enough funds right now to pull one off the way I see it in my head.

Right now I'm just taking things one step at a time, trying to build somewhat of a fan base and go from there. I'll tell you what not to expect though, and that's a linear, one-dimensional catalog of music as far as my sound goes. I want to be flexible.

If you could pick any artist to be featured on a remix to "Take Another!", who would you select?

Honestly, I'd say XXXTentacion if he was still among the living. Either way, that's just a fantasy.

From a visual perspective, the mask you wear adds a really intense element to the song, as does its cover graphic with the haunted house and floating figures. Why is this "spooky" imagery important to you and what do they represent?

For some reason, I am just drawn to that aesthetic. I find beauty now in the sort of things that used to scare me as a child. I think it might have something to do with the fact that most dark imagery or art is misunderstood and I feel like I relate to that to a point. I just know that once you start to give some of these things a genuine chance, there's a lot to admire.

Connect with Paridox: Twitter | Instagram