South Korean Music Project Orey Eyed Shares the Brand New EP "The Last Flight to You"
Orey Eyed, a music project of 18-year-old South Korean producer and singer-songwriter Jaehyun Kim, has just dropped the three track EP “The Last Flight to You”, which combines sound palettes from alternative/indie scenes as well as electronic elements.
Brand new to DCWS is Orey Eyed, a music project of 18-year-old producer and singer-songwriter Jaehyun Kim, who is currently based in Yongin-si, South Korea. Influenced by artists such as Chairlift, The 1975, Perfume Genius, and more, fuzzy synths and mellow vocals characterize his sound.
With Orey Eyed, Jaehyun aims to capture the beauty of various eerie and ethereal soundscapes, conveying emotions through the medium of music. Also invested in exploring different perspectives of romantic relationships and emotional struggles, his lyrics often assume a fictional point of view, providing a fresh and entertaining encounter to listeners.
He has just unveiled his debut three track EP, “The Last Flight to You”, which combines sound palettes from alternative/indie scenes as well as electronic elements. The tracks on this EP are airy and emotional, yet danceable.
With a overarching theme dealing with departure and arrival in relationships, longing for intimacy and tortures of romantic devotion, this EP provides a peek into broader projects that Jaehyun is working on as an artist.
Check out the new “The Last Flight to You” EP right now, connect with Jaehyun on social media, and be on the lookout for our interview with him coming soon!
Interview: Lucy Mayhem Talks About Her New Single/Video "Into Hell"
DCWS connected with Winston-Salem, NC based alternative rock artist Lucy Mayhem for an in-depth interview to discuss her brand new single/video “Into Hell”, her upcoming EP of the same name, and much more.
“I know I’m provocative in how I look, and how I write. That’s on purpose. At the end of the day, I want people to have the same experience I had/have with music.”
Congratulations on the release of your new single/lyric video "Into Hell"; tell us about your and Jamie King's creative process for its development.
"Into Hell' came about fairly similar to any other song I've written. It was really me just personifying my depression, and my relationship with it after dealing with it for 8+ years now.
At this point in time, I've accepted that it's a thing I have. I'm probably always going to deal with it on some level. At the same time, I choose to no longer settle, and let it completely control my life and whether or not I truly live. That's why the song is kinda vengeful. It's also why I call the song my "villain origin story."
How Jamie and I's relationship works, I've always written, and recorded everything at home in my bedroom. Then, when I feel it's ready, I bring it all to him. At his studio I record vocals (he usually gives me harmony ideas because I can't think of good ones to save my life), I give him a few references sound wise for what I want the final mix to sound like, and then he does his magic. With Jamie, that part of the process is really pretty easy. I give him full credit for making my songs sound as high quality and good that they do.
Would you say that your environment in Winston-Salem has influenced your songwriting and the music that you create? Is there a vibrant rock music scene in that city?
I'm honestly still learning about the rock scene around Winston Salem/NC in general, but from my experience so far I've always been pleasantly surprised by it.
Specifically in Winston, it's definitely small from my knowledge; however, the bands and musicians I've discovered and/or interacted with in / around Winston have all been super friendly, kind, supportive people.
I don't know if the environment has impacted my songwriting, but that being said, I've definitely been inspired and motivated by the few interactions I've had with other musicians around the area. I think it being kinda small, relatively speaking, really just makes it so everyone is trying to pick each other up and help one another succeed, which is nice.
How would you describe your upcoming EP of the same name, which drops on August 9th? Is there an overarching theme or concept for the project?
Sonically, I'd say the EP very much sounds like a Lucy Mayhem EP, just taken to the next level. It's guitar driven of course, heavy while still having light elements, darker then anything I've done before, energetic yet has it's more stripped down moments, and overall sad and angry.
Lyrically, it kinda comes across as a breakup EP because a majority of it lyrically I'm talking about my relationship with my brain. It goes through all those emotions from heartbreak, to desperate, to lost, etc.
I think thematically, "Into Hell" EP is really the start of Lucy Mayhem's story. (My story.) I've always had this idea that, as much as I write about things I'm going through mentally, I want there to be some sort of overarching theme and storyline sonically, lyrically, and imagery wise with it. To me, this EP is the start of that storyline and theme. That's why it's so theatrical and symbolic. That's also why it's so dark, heavy, gothic, etc.
I'm not literally going "Into Hell", nor have I met the devil. But mentally, I've been put through hell, figured out more about my brain which can be dark and a bit conniving, similar to the devil.
Will "Save Me" also be a featured track on the EP? Also, how many songs were recorded for the project, and were there any that did not make the cut?
Yes, "Save Me" will be on the EP! The way my whole process is, I probably wrote around 40ish songs for the EP. Of that, I go back and choose which ones I think have something to them, and that I truly like.
My only concern is liking what I put out, so I'm pretty picky. I recorded 7-8 songs, and of those 1-2 were scratched either because they didn't end up working out once I started recording, or because I felt thematically they could go towards future projects. The final EP ended up being 6 songs.
When someone listens to "Into Hell" or watches the lyric video for the first time, what do you want them to take away from the experience?
Really, and this applies to anything I make, I hope they take away whatever they need from it. If nothing else, I hope it makes them feel something, good, bad, whatever. It's no secret my image and my music go hand in hand. I know I'm provocative in how I look, and how I write. That's on purpose. At the end of the day, I want people to have the same experience I had/have with music. If one person can listen to my music and feel understood, supported, helped, and/or inspired by it that's really all I can ask for.
Connect with Lucy Mayhem: Bandcamp | Instagram | Facebook | X | TikTok
Berlin Based Artist Nadine Finsterbusch Releases Her Debut Solo Album "My Space"
Berlin based artist Nadine Finsterbusch has just unveiled her first solo album entitled “My Space”, produced by Ramin Bijan.
Berlin based artist Nadine Finsterbusch does not look back, and she is not interested in expectations for women her age.
With her newly released album "My Space", she wants to make room and take space. For an impetuous feeling of youth, uninhibited fandom and big feelings.
The 44-year-old artist concludes with experiences that have shaped her adulthood. Early menopause, breaches of trust or failed friendships. It is time for something new. With a certain mood for optimism that we probably experienced in our youth for the last time, she makes it clear that it´s about the here and now.
There is this kind of youthful despite in her voice of these 10 electropop songs on her first solo album “My Space”. And opens a door to what most grown ups have buried somewhere between shopping lists and work-life-balance: her revived teenage self, brave, unironically emotional and without any bitterness.
In her first single "You Make me Forget", Nadine makes it clear who is in control of her life: herself. "Don't tell me what to do now" she proclaims in the album opener. Framed by steady beats of an electronic snare and accompanied by a prancing electric guitar, Finsterbusch's voice makes its way through the increasingly dense thicket of synths - "No, I don't look back" - until at the end she lets herself be taken in by a booming and glowing soundscape. Sound backdrop.
She repeats "I've been around" like a calming mantra, as if she is now focusing her strength before launching fully into the album. Nadine's vehement and innocent-sounding vocals are not accidentally reminiscent of Björk. The singer was Nadine's earliest and most formative inspiration: "I secretly watched MTV when I was 13. When I saw Björk for the first time, I knew: that's what I wanted to do that," she says.
Most recently, Nadine had lived out her love of electronic avant-garde pop in the band project Phinsterbush. "Magnets", the project's first and last album, was released in 2017. Now it's time for Nadine to do her own thing. And it's poppier, more playful, more honest. "As a solo artist, I can express myself differently than in a band context," says Nadine. This is how her songs for the album emerged from her gut.
"What comes out, is right," thought Nadine during the creative process. The songs are snapshots, created impulsively. "I only understood the meaning of some of the songs in retrospect." Disappointments and hurt feelings have flowed into the songs, but also the dealing with the early onset of the menopause, the accompanying mood swings and the finality of childlessness. She found the right musical framework for this together with producer Ramin Bijan, with whom she has already realized several projects and who, among other things, worked with the band "Die Türen" or Robert Forster.
Nadine greatly appreciates working with Ramin Bijan because he gives her the space to trust and express herself. But perhaps the most important influence on Nadine's current creative work is K-Pop. "Without the band BTS, the album probably wouldn't exist," says Nadine. Discovered during seemingly endless corona lockdowns, the guys from BTS dug themselves deeper and deeper into Nadine's heart. The fact that she would feel so much fan love again in her early 40s surprised herself.
So much so that she lists all the BTS band members in the song "Make Some Time". "That was actually a spontaneous improvisation that we then left in the song," she says. So there it is again, the unspent joy of experimentation that characterizes Nadine’s "My Space". And speaking of "My Space": the association with THE musical social network of the noughties is unintentional but fits in well with the youthful just-do-it vibe. The album is intended to make it much clearer: This is my space, my feel-good place. And that Nadine would also like to create for others.
Nadine doesn't need advice from supposedly serious music experts. On the contrary: "Why so serious?" she asks in the song of the same name. "My Space" is an invitation to indulge in all feelings without irony. Just like we did as teenagers.
Slum Village Announces Tracklist, Cover Art, and May 3rd Release Date for New Album "F.U.N"
As Slum Village pushes through the second half of their second month-long Europe tour in the past year, T3 and Young RJ have unveiled the tracklist, cover art, and official May 3rd release date for their forthcoming album “F.U.N”.
As Slum Village pushes through the second half of their second month-long Europe tour in the past year, T3 and Young RJ unveiled the tracklist, cover art, and official May 3rd release date for their forthcoming album “F.U.N” in a recent Instagram post.
With guest features from Robert Glasper, Cordae, Eric Roberson, Larry June, Sango, and many others, “F.U.N” will serve as the first new Slum Village album since 2015's critically acclaimed “Yes!”.
TRACKLIST:
"Welcome" feat Brittney Carter
"All Live" feat Abstract Orchestra
"All Live Pt 2" feat. Sango, Phat Kat, Daru Jones
"To The Disco" feat Abstract Orchestra
"Request" ft. Earlly Mac, Abstract Orchestra
"Yeah Yeah" ft Karriem Riggins
"Just Like You" ft. Larry June, The Dramatics
"F.U.N"
"So Superb" ft Cordae, Earlly Mac
"Keep Dreaming" ft Karriem Riggins, Fat Ray
"Factor" ft. Eric Roberson, Elijah Fox
"Since 92" ft Robert Glasper
“F.U.N” will be available on all major digital streaming platforms via Ne'Astra Music / Virgin Music Group on Friday, May 3rd. Pre-order/save the album here.
Following their 28 date FUN Since 92 Tour, Slum Village will join SZA and Jack Harlow in Louisville, Kentucky for the Gazebo Festival next month. The duo will also join Rakim and Talib Kweli for Panic In La on May 15.
MORE ABOUT SLUM VILLAGE:
Born from the vibrant energy of Detroit's Conant Gardens, Slum Village is more than just a group-- it's a brotherhood bound by friendship and music. Founded in the early '90s by T3, Baatin, and the legendary J Dilla (a.k.a. Jay Dee), the group debuted as "Ssenepod" on 1996's Fantastic Vol. 1, before blossoming into the iconic name we know today. Their early recordings, crafted in the intimacy of Dilla's basement, pulsated with the raw energy of the Detroit underground. By 1998, their talent landed them a deal with local label Barak Records, thrusting them onto a path of critical acclaim. Backed by the underground imprint, Slum Village released their seminal 2000 album Fantastic Vol. 2.
While Vol. 2 was a significant breakthrough for the group, it wasn't until Barak and Capital Records teamed to issue Slum Village's Trinity (Past, Present and Future) in 2002 that the group saw mainstream success. With the Dwele-assisted hit "Tainted", the album remains the group's highest-charting album to date. Though J Dilla left the group to embark on a solo journey in 2000, his influence remained deeply ingrained in Slum's DNA through his protégé, and now Grammy-nominated producer, Young RJ, who served as co-producer and engineer for much of Slum Village's transitional work.
Slum continued to push boundaries, scoring their second commercial smash "Selfish" (featuring Kanye West and John Legend), from their 2004 album Detroit Deli, which peaked on Billboard's Hot 100 in 2004. After 2010's Villa Manifesto, Young RJ officially joined Slum Village as a rapper. RJ and founding member T3 reinforced Slum Village’s legacy as a duo with two critically-acclaimed albums, Evolution (2013) and Yes! (2015)-- the latter of which features posthumous Dilla production. Together, T3 and Young RJ have continued to carry the torch for 12 years, honoring their group's original vision while continuing to evolve its legacy with fresh new energy and infectious enthusiasm.
Toronto's Trash Pop Trio Mad Ones Unveil Their New LP “What it Takes”
Toronto's leading purveyors of Trash Pop and Garage Rock, Mad Ones, have just dropped their highly anticipated new vinyl LP "What it Takes" on Fortune Stellar Records.
Toronto's leading purveyors of Trash Pop and Garage Rock, Mad Ones, have just dropped their highly anticipated new vinyl LP "What it Takes" on Fortune Stellar Records. This marks Mad Ones' fifth studio album, through a joint effort between Fortune Stellar Records, The Orchard, and F.A.B. Distribution.
The album boasts 10 infectious, high-energy tracks, brimming with catchy hooks and straight-to-the-chorus melodies. Recorded with the band performing and singing live in the studio, often with no separation, "What it Takes" captures the raw essence of Mad Ones' electrifying performances. Listeners can expect a unique yet familiar blend of influences, likened to a fusion of Ramones meets Hendrix, CCR meets Nirvana, or The Replacements colliding with The Kinks.
Often drawing comparisons to The Replacements and a grittier Big Star, Mad Ones hails from the heart of Toronto's Rock 'n' Roll scene, delivering tight song structures infused with the untamed energy of their dynamic live shows. Exclaim! Magazine called the trio "Crunchy, garage-tinged rock'n'roll done right," noting their refreshing departure from the overly earnest indie rock scene. Mad Ones has garnered significant support from Canada's esteemed media outlets, including The Verge, Indie88, CBC3, Stingray, and Earshot campus charts. With their latest album, Mad Ones are poised to further captivate their expanding fanbase and connect with an even broader audience.
In reflecting on the journey of the band thus far, Andrew DeVillers, the singer, guitarist, and bandleader of Mad Ones, remarked, "We have experienced all the usual dumb stuff an underrated powerhouse of our stature should…slippery steel staircases that go all the way to the top… being told we should have listed “no cats” on our rider…et cetera, but we’ve had the chance to tour with some of our favourite artists, had a lot of fun making records, and feel pretty lucky we still get to do this at all”.
The band has enjoyed some unique tour moments, electrifying performances at a rave in Serbia, a roller derby in Alberta, the odd roof top and so many more. Andrew, who also co-manages Fortune Stellar Records with his wife, Shiloh Harrison of HotKid, has overseen the release and/or distribution of albums by acclaimed artists including By Divine Right, Ace of Wands, HotKid, Rusty, The Mark Inside, The Mercy Now, and others. Notably, much of the material for the new Mad Ones album was crafted in Toronto, within the confines of an alley space off Queen St. West, once home to the legendary Shadowy Men On A Shadowy Planet (known for their iconic Kids in the Hall theme). However, it's worth noting that two tracks, "Drone" and "Mess," emerged from a transformative weekend at The Tragically Hip's renowned Bathouse Studio near Kingston.
Listen to the incredible new album by Mad Ones right now, stream it on your preferred music service and connect with the band on their social media.
Super American Announce Forthcoming Album "Gangster of Love", Dropping May 31st
Super American has announced their third full length album, Gangster of Love, to be released May 31 via Wax Bodega. They’ve also released the first single and music video for “Hopefully Pitchfork Doesn’t Hear This”.
Super American has announced their third full length album, “Gangster of Love”, to be released May 31 via Wax Bodega. They’ve also released the first single and music video for “Hopefully Pitchfork Doesn’t Hear This”, a tongue in cheek track that rides palm-muted guitar chunks into a soaring, anxiety-fueled chorus.
Produced by Sam Guaiana (Neck Deep, Bayside), “Gangster of Love” follows 2021’s SUP and 2018’s Tequila Sunrise and found the duo fleeing Buffalo for Los Angeles, where the push and pull between the two songwriters – the real magic at the heart of Super American – was allowed to flourish and grow in a brand-new environment.
Since forming in Western New York in 2016, Patrick Feeley and his musical partner Matt Cox have blurred the line between absurdism and existentialism, swirling ‘90s melodicism, new-millennium pop-punk energy, and heartfelt emo into a wry, smirking rock sound.
Super American feels like the equivalent of their hometown Buffalo Bills’ tailgate scene: gleefully rowdy and best enjoyed with a beer in hand (with the non-zero chance someone might end up leaping through a flaming table when all is said and done).
“SUP was basically a record filled with anxiety as a survival mechanism,” Feeley explains. “This time around, it was less of a victim mindset. Thematically, I feel like it’s more about yearnings and desires and what you want for yourself.”
“We wanted this album to feel like you were stepping into this little world, and working with Sam helped us accomplish that,” says Cox.
“Gangster of Love” will be released on May 31.Pre-save it here: https://go.mhe.fm/sup_gangsteroflove
Tracklisting:
MOMMA, I’M GONNA BE A STAR
Manager Haircut
Mental Karate
Okay. Eat Me Alive.
Hopefully Pitchfork Doesn’t Hear This
Drowning
Limerence II
IDWLG
TOXXXIC BLOODSTREAM
Who’s Gonna Get Me High?
Ugly Cryin’ With My Dog
Admirer
Altima Song
Between the release of SUP and the upcoming album, the band have endeared listeners on tours with the likes of Hot Mulligan, Taking Back Sunday, and Neck Deep and just finished a run with Free Throw and Carpool. They’re poised to go even wider now, bringing Super American’s brand of slacker rock to brand-new audiences.
“We’ve always approached the band from a very innocent, youthful place despite not actually forming as kids,” Cox says. “I think that’s been a little bit of how we’ve lasted so long, by not really being beholden to hindsight. It keeps us moving forward and able to find new listeners.”
Adds Feeley: “Whatever audience gets it and enjoys it, god fucking bless their souls because they must be sick.”
Interview: REPTIEL Discuss Their Newly Released Fifth Album "Down Below World"
San Francisco based prog rock band REPTIEL has just unveiled their fifth album “Down Below World”, and DCWS connected with them for an in-depth interview to discuss the release, Ritual musick, and much more.
“Ritual musick recognizes music as a type of magick, something that is willed into existence from places deep inside our minds or souls (or maybe even beyond) that we would otherwise not have access to.”
Congratulations to the band on the completion and release of your fifth album "Down Below World"; describe for us your creative process for the development of its 14 tracks, and whether there were songs that were recorded that did not make the final tracklist.
Thanks. It was a long time coming and it’s very satisfying to have it finally finished and out in the world. There is never really a defined creative process for us other than going into our rehearsal space and allowing the songs, sounds and stories to come about via jamming, singing, chanting, imagining and vibrating. Somehow the songs, story ideas and lyrics emerge this way. Sometimes ideas or tunes get stuck in our heads and one of us will work out the lyrics at home or bring back to the rehearsal space a part of a song, a new riff or a plot twist. Or sometimes we will collaborate on lyrics or the story over email or text. But the bulk of the 14 tracks were composed together in the rehearsal space.
And no, there were no songs recorded that did no make the final tracklist.
"Down Below World" is the third in your series that began with "Hobbitozz … A Land That Never Was" and then "The Planet of Progkp"; was it difficult to pick up where you left off in 2018, when you started writing for this project?
No, because we already had written the first song, “A Really Deep Groove (Aleph to Bet),” which describes the main characters in the Temple of the Avian Aliens after the ceremony in which Sine becomes Aleph Adept, which takes place at the end of the previous album, The Planet of Progkp. “A Really Deep Groove” is about an earthquake that strikes the temple and splits it in half, and Sine and the Spirit Usher fall into the deep groove/crevasse that opens up. So we knew the story would be continuing inside the planet.
We also had written the first part of the second song, “It’s an Alternate World,” which is a reference to the song “It’s a World” on The Planet of Progkp album. So everything just flowed from there.
How did you come up with the overall story for Sine and his transgalactic guide the Spirit Usher back in 2015, and have there been any other SciFi/Fantasy, Psychedelic Prog Rock projects that have inspired your work?
Really, the whole thing was inspired by the made-up word Hobbitozz (which reminds me of the first line of Genesis, “In the beginning was the Word”), which came from a discussion in our rehearsal space about Black Sabbath, The Lord of the Rings and a hobbit version of Ozzy Osbourne.
The word Hobbitozz had a magical effect on us. It seemed we had discovered the name of a fantasy world or distant planet. Then the characters came to us: Forest Boy, the Woodland Witch, JackOh the Green, the Druid of the Wood, etc. The songs and story soon followed, continuing for three albums so far. It is unclear when the story and the songs will cease to reveal themselves to us.
Aside from the above mentioned inspirations, some others during that time were Patrick Rothfus’ books in The Kingkiller Chronicle, David Lindsay’s classic science fiction novel A Voyage to Arcturus, and Jon Anderson’s LP Olias of Sunhillow. Aside from Jon Anderson’s masterpiece, I would cite Warp Riders by The Sword, which is more metal than psych/prog, but its SciFi/Fantasy concept and Dan McPharlin’s amazing artwork have long inspired me.
Tell us about the incredible accompanying album artwork that is featured on the Libretto page, and how did you connect with the artists who provided their illustrations?
Thank you for noticing the artwork and asking about it and for referring to it as incredible. I also think it’s incredible. I’d also like to point out that in addition to the artwork on the CD digipak and the accompanying libretto booklet, there is web page that includes more artwork for all the songs on the Down Below World album (cubby.net/ccr/dbw). I’ve done this for each of the albums in the Hobbitozz/Progkp/Down Below series: ask artists to illustrate a song or songs from the album. This time around the artists are all people I’ve collaborated with in the past. A few of them (Doug, Rani, Tristy, Chris and Cyane) have been collaborating with us since before REPTIEL, when we were all part of the Cubby art collective here in San Francisco. Doug, Rani, Daniela, Anselm and Cye have contributed artwork to all three of the Hobbitozz/Progkp/Down Below albums. Dru, who did the cover, is the newest collaborator, but he also did the cover art for our Cubby Preachers 6 project (released two years ago on Cubby Control Records).
I love these artists, because not only are they very talented and create unique work, but they do it for the love of creating art. The way it works is I provide them with the lyrics and the storyline, provide them with unmastered versions of the songs, ask them to pick a song (or songs) that they’d like to illustrate, and leave it up to them to interpret in their own way. They never cease to amaze me.
With "Down Below World" now released, what's next musically for the band?
We actually have a sort of punk rock/post-punk side project we’re preparing to record. We’re not sure yet what we’re going to call it, but look out for it on Cubby Control Records in the next year.
As for REPTIEL, we have composed a prequel to the Hobbitozz/Progkp/Down Below series of albums called The Broadcaster, which is about a band that starts receiving strange radio signals through its amplifiers in their rehearsal space from an entity called The Broad caster, who is perhaps from another dimension, or from across space and time, and who provides instructions to the band to write songs about a distant world in order to save that world from destruction. But there are forces that don’t want the band to achieve its goal.
We haven’t yet begun recording the songs, but plan to resume rehearsing them soon and preparing them to record soon.
Back in 2009, as members of various Bay Area based bands, what led you to come together and form REPTIEL, and how would you describe the concept of "ritual musick" when creating new music?
Three of the members of REPTIEL (myself, Alec and Jason Y.) had been playing in The Druggles, so when our lead singer fled San Francisco in 2009 to live in an aluminum foil-lined cave in Saguaro National Park outside of Tucson (read more about that here: http://cubby.net/ccr/spacegodpills.html), The Druggles’ drummer also left the band. I had played in The Cubby Creatures with Jason G., and I knew he was no longer playing drums with Thee More Shallows, so I asked if he’d be interested in playing with myself, Alec and Jason Y. Alec suggested the name REPTIEL, which he saw in a dream, and here we are 5 albums later.
I alluded to our creative process, or the lack of a defined creative process, in the answer to the first question. But we do have means by which we stimulate creativeness, a process which we call “ritual musick.” The addition of the “k” in Crowleyian terms differentiates the practice from other types of music that are meant purely for entertainment.
Ritual musick recognizes music as a type of magick, something that is willed into existence from places deep inside our minds or souls (or maybe even beyond) that we would otherwise not have access to. I am not at liberty to convey the entirety of the rituals but I can say that they involve manipulating sound waves and vibrations; altering our minds in order to discover the stories imbedded in the substances we have ingested; finding ourselves in states of ecstasy or torment; chanting nonsense and singing in tongues; interpreting the visions received and converting them to music, sounds and lyrics that are able to be comprehended by other human minds.
Read our review of the “Down Below World” album HERE
Stream and Share “Down Below World” on Bandcamp
Connect with REPTIEL: Facebook
Oakland’s Fog Lamp Drop Haunting Synthpunk LP with Single/Video “You Prove Yourself Wrong”
Oakland, California’s premiere synth-punks Fog Lamp have released their sophomore LP “Anxious Stargazing” on The Bucket Records with their latest video-single “You Prove Yourself Wrong.”
Oakland, California’s premiere synth-punks Fog Lamp have released their sophomore LP “Anxious Stargazing” on The Bucket Records with their latest video-single “You Prove Yourself Wrong.” With their refusal to conform to traditional norms, exemplified by their choice to incorporate a drum machine instead of a drummer, Fog Lamp continues to push boundaries and challenge expectations.
Their music has garnered praise from both seasoned goth enthusiasts and newcomers alike. In 2022, Willow House Records introduced Fog Lamp to the world with their debut album, Conversation?, showcasing the band's penchant for discordant arrangements and introspective lyrics. Following this successful debut, The Bucket Records have unleashed their sophomore effort, Anxious Stargazing, further solidifying Fog Lamp's presence in the Bay Area punk scene. "We played some great shows in 2023," says vocalist Aaron. "I like to pick up things in DIY spaces and dance with them. We played at a vintage clothing store and danced with a woman’s boot covering my hand. We used it to twirl around the Valentine’s Day flowers that were hanging from the ceiling. We also opened for some great bands including Combo, Warp, and Sick Thoughts."
Fog Lamp's latest music video, "You Prove Yourself Wrong," is a haunting synthpunk creation that defies genre boundaries. Drawing inspiration from cyberpunk, darkwave, and goth influences, this visually-stunning production promises to captivate viewers with its surreal imagery and 80's VHS quality aesthetic. Directed by cinematographers Paul Abueg-Igaz and Niki Selken, the video transports audiences into a realm where reality and fantasy intertwine. Live footage of Fog Lamp's electrifying performance sets the stage, capturing the raw energy and intensity of their music. Against a backdrop of pulsating beats and ethereal melodies, scenes unfold featuring technicolor skeletons, their fluorescent hues casting an eerie glow in the darkness, blurring the lines between the organic and the synthetic.
"You Prove Yourself Wrong" invites viewers on a journey through the depths of imagination, challenging perceptions and defying expectations at every turn. Whether you're a die-hard fan of synthpunk or simply intrigued by the allure of the unknown, Fog Lamp's music video promises an unforgettable experience that transcends the ordinary.
Review: "Down Below World" by REPTIEL
Check out our exclusive, in depth review of “Down Below World” by San Francisco Psychedelic Prog Rock band REPTIEL right now!
San Francisco’s REPTIEL use a mind-melting blend of styles, textures, and timbres in their otherworldly “Down Below World” album. Sunburnt psychedelic rock with a neat twist of progressive rock dilates time, slowing it down and speeding it up at a moment’s notice. By keeping things so strange, they keep the listener guessing, refusing to clarify anything. This mysterious tenor defines the entire journey through the album. There’s a gleefulness they take in being so willfully obscure.
Acid alliteration is akin to that of Van Dyke Parks' levels of abstraction and poetic, given the sheer opaque number of references. The broken nursery rhyme cadence draws from early Pink Floyd, specifically Syd Barrett's era “Piper at the Gates of Dawn.”
Utterly disregarding the usual, REPTIEL morph their tones into something akin to Faust’s early 70s relentless experimentation. For all these touchstones, there’s a strong sense of community that helps to give the “Down Below World” album a well-deserved mysticism, as if things are just continuously residing on the edge of perception. Messing with listener expectations feels refreshing, as they refuse to play it safe.
Vocals bloom on the tone-setting “A Really Deep Groove (Aleph to Bet).” The sprawling “It’s an Alternate World” explores a whole universe, which feels like a series of suites connected through the narrative. “Deep(er) Below” has warped wonder from the strength of the guitar riffs to the celebratory keyboards that adorn the experience.
Wordless is the interlude of “Searching for Thos” and “Ja’roque” completely baffles with retro synthesizers and a chorus borrowed from the criminally underrated Cromagnon, whose general vibe continues with the following “Ja’vere’s Theme.” Glam rock with a sci-fi aesthetic runs through the swagger of “Obsidian City.” “Preserved in Amber” feels like a long-lost classic transmitted from another universe. A pure drone on “Turbulent Blobs” makes it one of the more straightforward pieces of the album.
Keyboards intersect on the slow-moving gait of “Introit”, while twisting and turning “Thos Unearthed” has a grandeur. Patterns intersect, giving “Post-synergistic, Atmospheric Explosion” a celebratory sensation that underpins the message. Like a hazy late-summer afternoon is the dazed “Chamber of Reflections.” A more minimal “VITRIOL” ends the album on an eerie note.
Done with a sense of whimsy and charm, REPTIEL delivers something genuinely divine in “Down Below World”.
Interview: bleed moxie Talks About His Track "out on my own" and Upcoming Album "women's society"
Big thanks to Denver based rap artist bleed moxie who connected with DCWS for an indepth Q&A to talk about his track “out on my own”, upcoming album “women’s society”, and a lot more!
“I get excited about things and have a really hard time being patient and taking my time with the creative process, but I’ve forced myself to do that with this album.”
Congratulations on the release of your new track "out on my own", which features fellow Denver based musicians Kate Fern and Sarah Hubbard. How did you connect with them initially and what made them the right fit for your song?
I've been working on my new album, "women's society", at CCM Studios in Denver with Engineer/Producer Hayden Hallatt. As we were crafting "out on my own", Hayden had the idea to bring a female vocalist to the track as a means of giving it some depth and adding some layers to the song. I absolutely agreed and Hayden contacted Kate, who's band May Be Fern is making big moves in the Denver scene recently, and she came in the studio and knocked it out of the park, so much so that we decided to feature her on several songs on the record. She's amazing.
Then, as we were in the final mix/master of the song, Hayden had another brilliant idea to add some live violin (as you can see, Hayden is a genius in the studio) and we got connected with Sarah. She came in, laid down some terrific violin for us, and the song really came together.
I love that it's such a collaborative piece of music featuring all Denver musicians, especially as someone new to the scene out here, it feels really great to make those connections with fellow musicians.
Tell us about your creative process for the development of the track from a lyricist's perspective and how you decided on the beat.
This new album mostly came together out of nowhere, I really wasn't expecting to write another solo record and honestly hadn't thought about making any new music, possibly ever again. But I came across some beats from a friend of mine who used to DJ for me back in the Twin Cities, DJ Hayes, who is now DJ'ing for Nur-D who's making a lot of noise in the scene. I started listening to some of Ryan's beats and started writing to one of those beats in particular, suddenly had a new song written and it really took off from there. I started scouring for beats, came across a bunch I really thought were dope from a lot of producers, and before I knew it I was fully writing my first solo rap record since 2015.
This particular beat for "out on my own" comes from Black Lions Beats and as soon as I heard it, the idea for an anthemic, emotional roller coaster of a breakup song came to me b/c that's how the beat felt as I listened to it, it almost forces you to feel the highest of highs and lows as you're moving through the beat, so the song topic came pretty naturally.
"out on my own" will be featured on your upcoming album "women's society". What can you tell us about the project and is there an overall theme or concept for it?
I've really taken my time with crafting "women's' society". Like I mentioned, I didn't have any plans to make new music at this point in my career, I have been focused on a lot of other things outside of music the last few years, so as this process came together, I've really wanted to take my time and enjoy it, be patient with it, and create the absolute best album of my career.
I get excited about things and have a really hard time being patient and taking my time with the creative process, but I've forced myself to do that with this album. And I really wanted to make a hip hop album, back to my roots and back to where it all began. A straight up rap record.
Now, the album definitely blends a lot of elements of pop throughout, that's just how it developed as I wrote and Hayden and I created in the studio, but at it's core, its a rap record with pretty dope ass lyrics and some killer beats. And the album touches on lots of themes that I experience at this point of my life (in my early 40s): aging, relationships, death, regret, optimism, pain, and ultimately, hope.
What does your name bleed moxie represent for you at this stage of your musical career?
The name bleed moxie came pretty naturally to me as I started writing this album. I put out music under the moniker of Moxie for over a decade, then retired that character as I moved into working on other projects. As I wrote this album, it felt like going back to the start of my career in many ways-- wanting to make a straight up hip hop album. It felt very nostalgic to me, like I was experiencing writing some of those first records of mine way back in the 2010s. So I wanted to bring pieces of the Moxie character with me but the full character no longer fits at this point in my life, he's slowly bled out of me over the years as I've gotten older. But I still have that moxie to my personality, it still oozes and bleeds out of me at times, so the character bleed moxie was born. An homage to my past and an encapsulation of the enigmatic parts to my being at this point in my life.
You now call Denver home; would you say that the city inspires the concepts that you write about and how would you compare the hip-hop scene there to Minneapolis/St. Paul?
Denver has been great for me. I moved here about a year and a half ago and it's definitely been an inspiring journey. The mountains, the landscapes, the activities, the energy and the people, moving to Denver has provided a lot of new perspectives on life and motivation to do lots of things. It's also been a straight up refresh and reset in relation to my love of music and creating that was necessary.
The music scene in the Twin Cities is amazing, especially the hip hop scene, but I had grown out of it in my ways. Moving to Denver has allowed me to start over, feel energized with a new scene and new people and new venues. I didn't dive into the scene right away when I moved here, I'm only now slowly starting to get myself in the mix, so I don't know a ton about the scene here yet but I've already met a lot of wonderful musicians.
The Twin Cities hip hop scene is legendary and established, I'm not sure that Denver has the same established scene yet, but that might also be b/c I haven't fully immersed myself yet.
I'm excited to get this album out, make some moves, and see what the full scope of the scene is here in Colorado. It's a new chapter for me, a new journey and it seems as if Colorado is the perfect location at this point in my career.
Watch the “out on my own” Lyric Video
Connect with bleed moxie on: Website | Instagram | X | Soundcloud
San Francisco's REPTIEL Release Their Fifth Album "Down Below World"
“Down Below World” is San Francisco based rock band REPTIEL’s fifth album and third in their SciFi/Fantasy, Psychedelic Prog Rock series that began with 2015’s “Hobbitozz … A Land That Never Was”, and proceeded with 2018’s “The Planet of Progkp”.
San Francisco based REPTIEL was formed in 2009 by members of Bay Area underground indie rock bands The Cubby Creatures, Thee More Shallows and The Druggles.
The REPTIELians claim to practice “ritual musick” in order to summon their stories and sounds, and only rarely do they perform live due to the various members’ agoraphobia, superstitiousness and excessive stage fright.
The band has just released their fifth album “Down Below World” and third in their SciFi/Fantasy, Psychedelic Prog Rock series that began with 2015’s “Hobbitozz … A Land That Never Was”, and proceeded with 2018’s “The Planet of Progkp”. “Down Below World,” resumes the story of protagonist Sine and his transgalactic guide the Spirit Usher. This time they have found themselves *inside* the planet of Progkp as they confront Progkp’s deity, Thos, after a journey to the planet’s core.
Fans of Pink Floyd, Radiohead, and The Borschlatts will be blown away by this “Down Below World” album, so listen to it below, delve into the story of the album HERE, connect with REPTIEL on FB, and be on the lookout for our exclusive review and interview, both coming soon.
Stream and Share “Down Below World” on Bandcamp
Connect with REPTIEL: Facebook
BLACKOUT PROBLEMS Announce UK and European Headline Tour for Autumn 2024
Munich-based electronic rock band BLACKOUT PROBLEMS have announced a UK & European headline tour for autumn 2024 in support of their recently released new album “RIOT” out now via Sony Music. The tour will find them performing the album in full alongside fan favourites from across their back catalogue.
BLACKOUT PROBLEMS have announced a UK & European headline tour for autumn 2024 in support of their recently released new album “RIOT” out now via Sony Music. The tour will find the Munich-based electronic rock band performing the album in full alongside fan favourites from across their back catalogue.
The tour will start in October with 14 dates across Europe with support from Sperling and Lake Malice, before hitting the UK in November for eight dates. UK support announcements will follow soon.
Full dates are listed below and tickets go on sale at 9am GMT Friday 1st March via http://www.blackoutproblems.com/
HEADLINE RIOT TOUR 2024
Europe
02.10.2024 DE Frankfurt, Batschkapp
03.10.2024 DE Köln, Carlswerk Victoria
04.10.2024 FR Paris, Supersonic
05.10.2024 BE Aarschot, De Klinker
06.10.2024 NL Amsterdam, Paradiso
10.10.2024 HU Budapest, Dürer Kert
11.10.2024 AT Wien, Chelsea
13.10.2024 CH Winterthur, Gaswerk
18.10.2024 CZ Prag, Rock Cafe
19.10.2024 POL Krakau, Hype Park
20.10.2024 POL Warschau, HYDROZAGADKA
31.10.2024 DE Leipzig , Conne Island
01.11.2024 DE Berlin, Festsaal Kreuzberg
02.11.2024 DE Hamburg, Markthalle
UK
08.11.2024 UK Brighton, Manchester Street Art Club
09.11.2024 UK Birmingham, O2 Academy 2
10.11.2024 UK Glasgow, Cathouse
12.11.2024 UK Leeds, Key Club
13.11.2024 UK Manchester, Academy 3
14.11.2024 UK Nottingham, Rescue Rooms
15.11.2024 UK London, The Dome
16.11.2024 UK Bristol, Thekla
Europe
07.12.2024 DE München, Muffathalle
BLACKOUT PROBLEMS new album “RIOT” is a potent record bursting with socio-critical, political, apolitical, personal and soulful themes. RIOT finds the balance with searing riffs and emotive choruses, paired with pensive moments and melancholic electronics, alongside frontman Mario Radetzky's thought-provoking lyrics which rain down on the harsh world of reality.
The album is available now HERE
Connect with BLACKOUT PROBLEMS: Website
Interview: Mike Collins of Rooftop Screamers Discusses His Single/Video "Dead In The Water"
DCWS and NxtNow Music connected with Portland, OR based musician Mike Collins for an exclusive interview to talk about his music project Rooftop Screamers, his latest single “Dead In The Water”, its accompanying music video, and much more.
“ I do have a core group of musicians I like to work with that I know will always bring something fresh and exciting to the music. But I also like to branch out from that circle and reach out to musicians who’s work I admire.”
What is the origin of the Rooftop Screamers music project, and what does the name represent to you?
Rooftop Screamers is an outlet to write and record my own original music. I play in a few bands in the Portland (Oregon) area and do a fair amount of session/studio work as well. That keeps me pretty busy. But as a songwriter, I need a vehicle to express myself and Rooftop Screamers is that vehicle. Prior to Rooftop Screamers I was the drummer and predominant songwriter in the Power Pop band Throwback Suburbia. Once we disbanded in 2013, I had about a dozen or more songs I had written and instead of trying to form a new band to record and perform those songs, I decided instead to invite some of my favorite local musicians and singers to make guest appearances on the songs. I also tested my luck and reached out to some of my musical heroes and as luck would have it, I got positive feedback and several of them expressed interest in working together.
I've had the honor to work with some heroes, including: Cy Curnin (The Fixx), Tim Smith (Sheryl Crow, Noel Gallagher, Jellyfish), Earl Slick (John Lennon, David Bowie), David Paton (Pilot, Alan Parsons, Elton John), Ken Stringfellow (The Posies, R.E.M.), Mark Plati (Prince, David Bowie, The Cure), Dan Reed (as mentioned before) and local producers like Rob Daiker, Kevin Hahn and Gregg Williams, to name a few.
As far as the name goes, I think it conjurs up an image of getting something off your chest and that pretty much describes the therapeutic value of songwriting for me.
How do you go about deciding which artists and musicians you will work with creatively?
That's a good question. I do have a core group of musicians I like to work with that I know will always bring something fresh and exciting to the music. But I also like to branch out from that circle and reach out to musicians who's work I admire. Especially in the vocal department. I guess once the song is written and demoed (before taking it into a nice studio), I try to hear in my head what kind of voice would be the right fit.
Whether it's a man or woman, a clean voice or a more gravelly voice. It's like casting someone for a role. So far I've been very happy with each musician and singer that has leant their talents to this project.
How would you say that your surroundings in Portland impact and/or influence the music that you write and record?
Well, it rains here a lot and can get pretty dreary in the Fall/Winter seasons. So that lends itself to more inside activities and maybe a little bit of self reflection. I tend to be most productive during those seasons and write a lot more than say the Spring/Summer months. It's fun to tinker in the studio and be creative when you don't feel like you're missing out on much. And when the Spring/Summer rolls around, then you have material to take into the studio and start the process of releasing new music. It works for me!
Congratulations on the release of your new single "Dead In The Water"; tell us about your creative process for the song itself, and how you connected with featured artist Rob Daiker.
“Dead In The Water” was one of those songs that came fairly quick, and those are usually the best ones. When the song practically writes itself and all the components such as the chord structure, melody and lyrics are aligned.
This song is a bit more in the modern rock genre and less like the power pop stuff I typically write. Although there are certainly pop sensibilities in the song. I think I was listening to a fair amount of Porcupine Tree and Muse when I started working on the song and those influences crept in. Knowing that this particular song was a little bit darker than some others I have written, it made sense to me to reach out to my friend Rob Daiker. Rob's productions for other artists (Dan Reed Network, Royal Bliss, Loyal Order, etc.) as well as his own material have a bit more modern and darker pop/rock vibe to them. I knew “Dead In The Water” could benefit from his touch.
This is actually the third Rooftop Screamers song Rob has produced as well as sang and played the bulk of the instruments on. We have also played in Dan Reed's solo band together and I have played drums in Rob's band in the past. So, working together is comfortable and familiar. His work on “Dead In The Water” is no exception to his amazing artistry.
The "Dead In The Water" animated music video is incredible. How did you and the director devise the visual treatment and how long did it take for it to be completed?
The video was done by Daphne Ang at TCOMAS Studio. This is the second video she has done for me. The first being for the previous single: “Another Life”. I discovered her work last year and was blown away! Her videos are visually stunning and her vision was perfect for “Dead In The Water”.
I had some basic ideas of how the video should look, but she definitely ran with it and brought the song to life with her multimedia approach, using animation, stock footage and her imagination. The video ended up looking like a mini disaster movie with some dystopian undertones that serviced the song well.
With the "Dead In The Water" song and visuals now unveiled, what is next for you and Rooftop Screamers musically?
Next is getting back in the studio and recording new songs. I have about a dozen or so, but have narrowed it down to 4-5 that I want to record first. I'm really excited about the direction of a few of the songs. They represent a little bit of a departure from the previous, more pop based stuff. There's some Pink Floyd and more progressive rock vibes that I'm playing with.
In the meantime, I'll be releasing a five song EP that includes “Dead In The Water” alongside four previously released singles. Stay tuned!
Stream and Share “Dead In The Water”: Spotify | Bandcamp
Connect with Rooftop Screamers: Facebook
HARD Summer Music Festival Announces Dates and New Venue for 2024 Edition
HARD Events has announced the dates and new venue for the 2024 edition of HARD Summer Music Festival. For the first time, HARD Summer will take place at Inglewood’s Hollywood Park, adjacent to SoFi Stadium, on August 3 and 4, 2024.
HARD Events has announced the dates and new venue for the 2024 edition of HARD Summer Music Festival. For the first time, HARD Summer will take place at Inglewood’s Hollywood Park, adjacent to SoFi Stadium, on August 3 and 4, 2024.
Since its debut edition in 2008, HARD Summer has remained as a staple of the Southern California festival scene, growing steadily while showcasing its signature multi-genre curatorial ethos and Y2K aesthetic. The festival is now the largest electronic music event in Los Angeles and a stronghold for the city’s diverse melting pot of musical styles and influences.
This year, HARD Summer is relocating to the expansive Hollywood Park, situated on the renowned grounds of SoFi Stadium and YouTube Theater. Spanning 300 acres, this mixed-use development promises a fresh experience for attendees. With its spacious layout, Hollywood Park offers ample room for dancing and exploration, interactive features, and innovative activations, ensuring a fully immersive music festival experience.
“We are thrilled to partner with HARD Events to bring another festival featuring diverse programming to Inglewood,” said Adolfo Romero, VP, Programming and Booking for SoFi Stadium and Hollywood Park. “This partnership not only amplifies Hollywood Park’s influence in the festival space but also solidifies our dedication to curating global entertainment that authentically mirrors our vibrant local community.”
The HARD stage will play host to the festival’s marquee mainstage acts, while you can find the scene’s most in-demand house and techno names at the Pink Stage. The HARDER Stage will continue to place a focus on acts spanning multiple genres, while the Green Stage leans heavily into bass and dubstep. The always evolving and forward-thinking Purple Stage will shine light on high-energy, club-minded DJ sets and larger than life live performances.
HARD Summer’s 2023 edition featured a return to Los Angeles with an array of electronic and hip-hop headliners including Kaskade, John Summit, Skrillex, Four Tet, Kid Cudi, 21 Savage, Dillon Francis, Ludacris, Black Coffee, Oliver Tree, DIESEL, and more in the festival’s milestone 15th year. Fans can expect the same level of world class talent to grace HARD’s stages for this year’s edition, with more details on the 2024 lineup to be announced in the coming weeks.
Two-day GA, GA+, and VIP festival passes will be available for purchase beginning February 16th at 10am PST. Fans will also have an opportunity at an early jump on passes via the SMS presale beginning February 16th at 9am PST. Visit HARD’s official website for more info and to sign up for presale. Additionally, in celebration of the festival’s relocation to the 310 area code, HARD is also offering a $3.10 deposit available only on February 16th.
Connect with HARD Summer: Website
SoCal Alt Rock Band The Disassociates Drop Their Debut Album “No Reason This Can't Be Fun”
The Disassociates are an electrifying alternative rock band emerging from Southern California who have just unveiled their debut album “No Reason This Can’t Be Fun”.
SoCal's The Disassociates have just released their debut album “No Reason This Can't Be Fun”.
Vocalist Brie Marie says, “No Reason This Can’t Be Fun is a fun, wild, and completely open & honest look into coping with life and all the struggles that come with it. Whether you want to laugh, cry, or rage, No Reason This Can’t Be Fun has a song for you.”
The Disassociates are an electrifying alternative rock band emerging from Southern California, fusing elements of alternative rock, power-punk, and catchy melodies with relatable, authentic, and at times hilarious lyrics. Debuting in 2023 with their singles "I Don't Wanna" and "30mg", this enigmatic band is comprised of longtime friends vocalist Brie Marie, guitarist Jordan Sutton, drummer Michael Bonanno, and bassist Justin Pittman, each bringing a unique musical perspective to the table.
Known for their thought-provoking lyrics and dynamic instrumentation, The Disassociates navigate the realms of introspection and rebellion through their music with influences ranging from from pop punk to classic rock to metal. The band creates a sonic tapestry that is both familiar and groundbreaking.
The Disassociates' debut album, “No Reason This Can't Be Fun”, showcases the band's ability to push boundaries both lyrically and musically. If the clever yet true-to-life lyrics don't grab you, the melodies will be stuck in your head for at least 3-5 business days.
Listen to the new album below, stream it on your preferred music service and connect with the band on their social media.
Rezz Announces Upcoming Album "CAN YOU SEE ME?" and Releases New Collaboration "DYSPHORIA" With HOLLY
Electronic visionary Rezz has announced her forthcoming album “CAN YOU SEE ME?” with a new collaborative single “DYSPHORIA” with HOLLY out now via HypnoVizion.
Electronic visionary Rezz has announced her forthcoming album CAN YOU SEE ME? with a new collaborative single ‘DYSPHORIA’ with HOLLY out now via HypnoVizion.
A foreboding introduction to CAN YOU SEE ME?, ‘DYSPHORIA’ echoes the eerie outliers and desolate tones that soundtrack Rezz’s self proclaimed “bass era”. Complex and enigmatic, ‘DYSPHORIA’ distends the usual curves of electronic music with its perilous basslines and cryptic drum patterns. As galvanizing slow builds give way to catastrophic drops, ‘DYSPHORIA’ brings listeners to the brink before catapulting back to reality.
“HOLLY sent me this idea for a collaboration and I immediately knew I wanted to work on this record. This is the perfect entry to this new bass music era for my project.” – Rezz
“This one means a lot. I’ve been looking up to Rezz since I came across her music in 2015. I have always respected the world she has built with her art and how true to herself she has been since day one. There’s a lot I learn from Rezz as a fan and now I am very grateful for the opportunity to create together. I hope this is our first of many records!” – HOLLY
Quickly following the release of ‘Black Ice’ with Subtronics, ‘DYSPHORIA’ marks the latest piece of Rezz’s forthcoming album CAN YOU SEE ME? due out March 14th. Shifting gears from 2023’s goth-themed IT’S NOT A PHASE EP, CAN YOU SEE ME? encapsulates Rezz’s ever-evolving sound and new bass era. Fans can get a live taste of CAN YOU SEE ME? at Rezz’s upcoming headline shows in Miami and Phoenix and festival performances at EDC Mexico, Beyond Wonderland, Project GLOW, and more.
Portuguese producer/DJ HOLLY is a magnetic force on the music scene. Having racked up accomplishments since 2017, HOLLY’s production discography includes collaborations with artists like CL, Danny Brown, 24hrs, Machinedrum, Zeds Dead, and Baauer, the latter of which earned him a Grammy nomination for his work on Planet Mad. In 2023, HOLLY unveiled the first two installments of his EP trilogy, collectively known as Minha Vida: Love, Hope, and Sadness and also released his collaborative 天の川 (River of Heaven) EP with Machinedrum on Vision Recordings. Featured as one of Dancing Astronaut’s ‘Artists to Watch in 2024’, ‘DYSPHORIA’ marks HOLLY’s debut release on HypnoVizion with more to come this year.
Stream Rezz and HOLLY’s new collaboration ‘DYSPHORIA’ available now on all platforms and pre-save Rezz’s upcoming album CAN YOU SEE ME? due out March 14th.
Rezz Upcoming Tour Dates
January 19 – Igloofest – Montréal, QB
February 10 – Brooklyn Hangar – Brooklyn, NY
February 24 – EDC Mexico – Mexico City, MX
March 9-10 – ILLfest – Austin, TX
March 22 – Beyond Wonderland – San Bernardino, CA
March 23 – MANA – Miami, FL
April 20 – Phoenix Raceway – Phoenix, AZ
April 27-28 – Project GLOW – Washington, DC
May 2-5 – Sol Fest – Ponce De Leon, FL
September 2-8 – Dancefestopia – Kansas City, KS
HOLLY Upcoming Tour Dates
January 19 – The Fonda Theatre – Los Angeles, CA
January 20 - Regency Ballroom – San Francisco, CA
January 22 – Revolution Hall – Portland, OR
January 23 – Vogue Theatre – Vancouver, BC
January 24 – Neptune Theatre – Seattle, WA
January 26 – Sonia – Boston, MA
January 27 – Gothic Theatre – Englewood, CO
January 30 – First Avenue – Minneapolis, MN
January 31 – Metro – Chicago, IL
February 1 – Majestic Theater – Detroit, MI
February 3 – The Concert Hall – Toronto, ON
February 6 – Royale – Boston, MA
February 7 – Webster Hall – New York, NY
February 8 – Union Transfer – Philadelphia, PA
February 10 – 9:30 Club – Washington, DC
February 11 – 9:30 Club – Washington, DC
Buy/Stream “DYSPHORIA”: https://hypnovizion.lnk.tt/DYSPHORIA
Pre-Save “CAN YOU SEE ME?”: https://hypnovizion.lnk.tt/CYSM