The brainchild of Philadelphia native Chad Lightbody, Honeychrome offers a minimalist take on pop music, combining the chilliness of electronic with the more rosy-hued sounds of the new nomantic era. Composed and performed entirely on a laptop and a Korg synth, the forthcoming self-released EP All the Right Places evokes chillwave and Depeche Mode at once (what Lihtbody brands as “neopop”) as the new single “Machine” attests, and which you can hear below.
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Featuring sultry singer Joanna Teters, New York eight-piece Mad Satta marry funk, soul, R&B, and jazz in a way that hearkens back to the ‘60s but still keeps its sights set forward, bringing an old-school sound into the modern era. Because it’s so organic, backed by a brilliant horn section, the temptation to call the band a throwback is there, but in actuality this music is timeless, especially when it’s done as well as on the dreamy, languid “Simpler Times”, selection from the band’s upcoming EP Break Me Free.
With Father’s Day coming up this Sunday, there’s no better time than the present to debut the new tune by the singer-songwriter Jackie Greene, “A Face Among the Crowd”, which PopMatters is proud to premiere. The track features on his forthcoming record Back to Birth, his first studio outing in five years. The sentiment in the title Back to Birth is reflected by the music on the album, which Greene describes as “a return to the simplicity that I started with, although,” he adds, “I feel like I have a much better idea of what I’m doing now.” The reflective, inviting quality of “A Face Among the Crowd” is more than enough proof to affirm his estimation.
Following a remix of their tune “Here is the Place” by Thomas Datt, London synth-pop duo Empathy Test has had its music put in the hands of others once more, this time the Parisian dark synth-pop outfit Minuit Machine (“Midnight Machine”). That French band has taken up the task of re-inventing the Empathy Test number “Throwing Stones”, adding a distinctly M83-esque vibe to the music.
If you want to attract attention in today’s pop music, which is more ephemeral and virally driven than ever before, the more enormous and attention-grabbing the hook, the better. In the case of Daisha’s percussive new single, “Hiyah, bitch!” is certainly that.
The stripped-down, pulsating track, which is cut from the same cloth as Rihanna, M.I.A., Santigold, Azealea Banks, and Kanye West’s Yeezus, is murky, confrontational, and playful, its in-your-face chorus countered by some whimsical stream-of-consciousness wordplay. And wait, is that the Florida State War Chant in there as well? Either way “Hiyah (F.O.H.)” is as catchy as all get-out, and we’re pleased to premiere it here.