Los Angeles singer-songwriter Vinnie Ferra creates haunting, minimalist folk music that remains rooted in the past but also keeps its vision steadfastly ahead. Traditionalism and experimentation share equal space on his new album arc en ciel, which we’re proud to premiere here today. From the hushed tones of “Dreamer”, to the explosive, two-part “Ghost Town” suite, to the wistful title track, to the gorgeous ten-minute epic “House on the Hill”, the arc of this album is a tremendous strength.
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Often credited to King Louis XV of France, “après moi, le déluge”, or “after me, the flood”, has become an idiom meaning that whatever happens when the speaker is gone means nothing to them. That feeling permeates the passion and poetry of Sad Robot’s latest album of the same name. The Los Angeles duo of Kat Pawlak and Nicolas Perez have created another album that marries the languid post-millenial sounds of Goldfrapp and Lamb with more overt pop touches—at times the new record reaches Sia levels of melodrama—that moves with grace and wallows, revels even, in sorrow and romanticism.
Led by singer and musician Nicole Turley, Swahili Blonde featured such guests as John Frusciante and members of Devo, Duran Duran, and Warpaint on past releases. For the new EP Deities in Decline, however, Turley has set off on her own, helming the entire project, and one of those end results, “Discover Aurora” can be heard below. Featuring a mix of electronic and afrobeat influences, it’s art pop that remains grounded without becoming lost in pretension.
If you don’t know the story behind Hydrogen Child, here’s a refresher. The Shreveport, Louisiana band, under the name Super Water Sympathy, put out a pair of albums in 2011 and 2013, but in late 2014 announced they were changing the moniker to the same title as their second album, Hydrogen Child. Seven months after the release of the new track “Sirens”, the band is set to release a five-track EP bearing the same name, which we’re pleased to premiere here at PopMatters.
Ebullient, lavish, and with huge crossover appeal, Sirens combines modern alternative pop with a wonderful “Big ‘80s” influence. Singer Ansley Hughes leading the way with her charismatic, appealing singing. These tracks, produced by Frequency (Eminem, Rihanna) sound massive, and best of all, the hooks are incessant.
Good Field, based out of Austin, Texas, came to be when Paul Price (of Brazos, the Early Tapes, and Voxtrot) created a set of songs that he envisioned for a full band, rather than a simple solo configuration. Rounded out by Michael McLeod (bass), Kyle Robertson (keys), and Esteban Cruz (drums), Good Field draw from a wide range of genres, dream pop and shoegaze being two regularly mentioned ones. With their new single “Business”, which will feature on the forthcoming Future Me LP, Good Field take up the mantle of ‘90’s indie rock, with just the right amount of grit and distortion to give textural contrast to the song’s melodies.