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These talents emerged very early in Crawford’s life as he was something of a child prodigy, becoming the accompanist to the St. Peter Claver Catholic Church choir at the tender age of 10, while at 11 he was working with multiple choruses at the St. Joseph Baptist Church. That gospel passion remains in every note he plays and sings. Crawford releases his latest album, My Gift to You, this June 11th via Basin Street Records and we are proud to premiere the funky tune “Southern Woman” today.

Draper’s latest record is Edgewise, which released last week and notably rekindled her musical passions. “With this album, I feel I’ve come full circle,” she says. “I feel myself returning to the roots that originally sparked my enthusiasm for music.” Today we present the premiere of her second single from the new record, “Shadow of a Coal Mine”.

With Memorial Day the official start of summer, it’s time for another playlist to indulge in over the long weekend (along with the long awaited, new episodes of Arrested Development). Highly anticipated albums by Vampire Weekend and The National were released this month, along with new music by Deerhunter and Dale Earnhardt Jr. Jr. Newcomers such as CHVRCHES and Hands fill out the list with new tunes from Yo La Tengo, Foals and Telekinisis and more. Time to fire up the grill and crank the tunes.

In the past several years, Dylan Ettinger has carved his place out in the electronic music world with a dark, post-punk indebted style that embraces a range of analog equipment, hacking a new path out of well-worn devices. His newest, bass-heavy, ringing “The Pale Horse”, found on a new split 7” with Goldendust, sees Ettinger yowling in borderline-Ian Curtis desperation over cut-up, static-y percussion. The song’s video consists of VHS footage from Michael Almereyda ‘s Lynchian 1994 vampire masterpiece Nadja, including a scene of David Lynch himself in a turn as a morgue receptionist, cut up into a stuttering, nauseous, color-altered smear (courtesy of the Tachyons+ Video Art Machine) that complements Ettinger’s icy electronic excursions. The same weighty, pixelated pulse drives both song and video, resulting in an claustrophobic, immersive viewing and listening experience.

Last time we heard from Candy Claws, 2010’s Hidden Lands, the band showcased a soft, dreamy, layered style that was easy (and often quite pleasant) to just get lost in, letting it carry you off to its titular lands. Their newest song, “Transitional Bird (Clever Girl)”, from Ceres & Calypso in the Deep Time, due out June 25th, retains the same layers and a measure of the dreaminess of Hidden Lands, while sounding a good deal more propulsive and energetic. Instrumental and vocal hooks are also much more clearly audible, and the bite of shoegaze guitars buzzes through the candy-colored haze.

//Blogs

'Herald' Attempts the Troubled Waters of the Colonial Narrative

// Moving Pixels

"The “colonialism” at play is not between nations, rather it seems more interested in how it influences a man recently come of age.

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