Tag Archives: Pop

Album of the Day: Brijean, “Walkie Talkie”

 

Percussionist Brijean Murphy is perhaps best known for her collaborations with Toro Y Moi, Poolside, and U.S. Girls, but on Walkie Talkie, she steps out on her own. The result is a smooth, sumptuous, and soulful record—one that feels like a journey through tropical house. 

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Hidden Gems: Vendredi sur Mer, “Marée Basse”

In our series Hidden Gems, writers share their favorite Bandcamp discoveries.

Born and raised in Geneva, Charline Mignot, aka Vendredi sur Mer, now resides in Paris; it’s a fitting home for a musician who makes electro-pop indebted to Serge Gainsbourg, Renaud, and other chanson superstars. The title of her debut EP, Marée Basse, translates to “low tide” and, like her own nom de plume (which translates to “Friday on the seaside”), it captures the sensuous nature of these six tracks. Producer Lewis OfMan is a crucial part of this success; his synths are as elastic as they are assured, radiating with a pastel glow that suits Mignot’s poised delivery. While the 21st century has seen French artists like Fauve, Luciole, and Grand Corps Malade utilize spoken word, Mignot is far more intentional, ensuring that her voice is neatly woven in with the rest of the instrumentation.

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Hidrogenesse’s “Joterías Bobas” Is Delightfully Campy

Hidrogenesse

Photo by Alicia Aguilera

On a balmy evening in February, hundreds of spectators gathered at the Casa del Lago bandshell in Mexico City’s Chapultepec Park to witness Hidrogenesse’s first Latin American show in years. As the sun began to set, singer Carlos Ballesteros emerged dressed in an extravagant sequined kimono, which sparkled in vibrant pinks, purples, and yellows under the lights. He was followed by synth wizard Genís Segarra—a monochromatic dream in nude bodysuit, pumps, and matching tulle cape, with the faintest wisp of a veil draped across his face.

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Album of the Day: Kythira, “Cut Through”

“I caught you reading my diary last night but I didn’t mind, I knew you’d find it,” murmurs singer-songwriter Alyssa Gengos, aka Kythira, on a spoken word interlude during “In the Attic Room.” The song arrives halfway through Kythira’s full-length debut Cut Through. It’s a telling line on a record that unfolds like a series of diary entries written not only to be read, but explicitly understood—its lyrics are plain-spoken and stripped of flowery metaphor, and its gently strummed, guitar-based indie pop songs are straightforward and uncomplicated. 

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Certified: Aldous Harding’s Spacious, “Clock-Like” Avant-Pop

Aldous Harding


Certified is a new series on Bandcamp where we spotlight artists whose work we think is worthy of additional attention.

Aldous Harding is front and center onstage at Rough Trade in Brooklyn on the first night of the tour for her soon-to-be-released third LP, Designer. For the majority of the show, she’s been backed by a five-piece band—a necessity to replicate the fuller sound of the new material. Right now, though, the New Zealand musician is on her own, sitting in a silver chair with an acoustic guitar in her lap, about to launch into an elegant new ballad called “Treasure.” The audience’s pin-drop silence is typical of Harding shows, which are known for the intensity with which she commands the audience and the reverence with which they respond.

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Hidden Gems: Lifafa, “Jaago”

HG-Jaago-1244In our series Hidden Gems, writers share their favorite Bandcamp discoveries.

Surviving in New Delhi, India’s capital city, is no easy feat, especially considering its dismal air quality. The realities of modern life (crop burnings, idling cars, industrial emissions that often go unenforced), combined with certain geographical and meteorological misfortunes keep the city constantly in the red zone; on many days, you can’t make it too far without coughing or wiping your stinging eyes. It is against this backdrop, with his harmonium at hand, that producer-singer Lifafa, aka Suryakant Sawhney, opens his second album Jaago (which means “wake up” in Hindi). His diagnosis is less than optimistic: India is drowning not just in atmospheric toxicity, but existential dread: “Doob raha hai / Yeh desh yahaan,” which translates to “This country is drowning out here.” Continue reading

Accidental “Vocal Acrobat” Sequoyah Murray Is Art Pop’s Next Big Thing

Sequoyah Murray

Photo by Amber Felix

Vocalist Sequoyah Murray’s sophisticated, three-octave baritone mesmerizes from the moment he picks up the phone and says, “Hello.” It’s a voice he’s been nurturing and developing like an athlete since he was a teen. And now, the musician and producer—who’s been self-releasing much of his music since he was 15 years old, not to mention collaborated with respected avant-electronic producers James Ginzburg (Emptyset) and Dave Corney (Hyetal)—has made his first power move with his inaugural EP, Penalties of Love, newly arrived on Thrill Jockey.

None of this was in the original plan.

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Album of the Day: Emily Reo, “Only You Can See It”

Emily Reo spent the last five years working on her latest project, Only You Can See It. The album is focused on the idea of perception and intimacy, and is full of songs about the issues closest to Reo: mental illness, heartbreak, and recovery. Reo’s lyrics run from whimsical to ghostly—album opener “Phosphenes” mixes a deceptively upbeat melody with darker verses. Only You Can See It’s songs retain the vocal prominence of Reo’s previous release, Spell, but here, she’s upped the ante with reverberating vocals and sweeping melodies. 

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