T$AN DROPS THE ANIMATED NEW TRACK “NEVER MATTERED”
Following the release of his recent EP Farewell, the charismatic Philly born rapper T$AN is back with the lively single “Never Mattered”. At the early age of eighteen, T$AN is constantly proving himself to be one of Philadelphia's brightest.
Today, fast-rising Lebanese artist and songwriter Maro has released his debut single titled “carsick.” The song is out now via Snafu Records and is available everywhere.
A pulsing pop earworm dripping with melodic hooks and the intricate songwriting prowess of a seasoned artist, “carsick” is a bold first moment for Maro as he begins to release his debut original material. On the track, Maro describes, “Carsick is about my on-and-off relationship with a girl. Despite knowing there’s no point in trying again, I still do, which leads me to bad habits and a repetitive cycle.”
Catalyzed by the storm of buzz sparked after uploading a cover of Lil Peep & XXXTentacion's “Falling Down” on his YouTube channel in 2018, Maro's following has grown immensely, with 28 million views on Youtube in the last year alone.
At only 19 years old, Maro is the walking definition of a precocious self-starter. By his early teens, Maro was fluent in 4 languages (French, Arabic, Russian, English) and he currently sings in 7 languages (+ Turkish, Italian, Spanish). He began playing piano in 2nd grade and, by age 15, started writing his own songs. He taught himself guitar from online tutorials and ravenously consumed a wide array of sounds: heavy metal to old-school hip-hop; 90s grunge to Top 40 pop.
Born in poverty-stricken Beirut, Maro moved several times throughout his upbringing amidst war-torn Lebanon. Emerging from his chaotic surroundings was music – a much-needed constant and creative outlet. He describes, “Moving and traveling around during my early teenage years made me feel lonely, and once I started to write songs and be creative, it became the perfect outlet for my emotions.” Born to a Lebanese father and Ukrainian mother, Maro's multi-cultural background is a centerpiece of his artistry. Maro notes, “My parents' taste in music has really contributed to my sound as an artist in terms of deriving inspiration from Lebanese and Ukrainian culture.”
With “carsick” as his first original output, Maro's creative path is only just beginning, though his vision is already well-defined: to create songs that are sonically distinct and authentic to Maro at his core. As he states, ”I want to have something that fans hear and immediately know, this is Maro…The music is raw and emotional, and I just want people to find it real.”
HOLLY HUMBERSTONE RELEASES DEBUT EP FALLING ASLEEP AT THE WHEEL
Today, rising singer-songwriter Holly Humberstone has released her highly-anticipated debut EP Falling Asleep at the Wheel via Platoon. Tipped globally as one of 2020's biggest breakthrough artists, the 20-year-old has proven herself a transcendent talent this year with her acclaimed trio of debut singles “Deep End”, “Falling Asleep At The Wheel” and “Overkill”, which have amassed well over 20 million streams to date.
Influenced by the poetry books she was raised on, and created with producer Rob Milton (Easy Life) in the countryside house she grew up in, the EP blends Holly's dark and moody signature sound with searingly honest lyrics. The songs embrace and translate some of life's most intense feelings in a way that typical conversations all too often fail to capture, from mental health struggles to the dizzying feelings of falling for someone for the first time.
Holly has also debuted a music video for her new single ‘Drop Dead' today, a track which examines the relationships in our lives that we recognize are toxic, and yet can't stay away from. Featuring her Father's car — which can also be spotted in the videos for ‘Deep End', ‘Falling Asleep at the Wheel' and in her television debut performance on Jimmy Kimmel Live! this week — the video embraces Holly's pent up emotions over her multiple failed driving tests. She decides to take vengeance by strapping “L plates” to the car and setting it ablaze!
On creating the video, Holly says: “I wanted the video concept to echo that feeling of something making you want to drop dead… when the rug is pulled from underneath you and you're falling. I kept thinking about my failed driving tests and how awful they made me feel, so I decided to cover my Dad's car in learner plates and burn it down. My way of saying up yours to the driving tests.”
The singer-songwriter continues to win fans across the globe including NME, Billboard, Coup De Main, Beats 1, Radio 1, KCRW and The New York Times, who praised the EP as “an absorbing affair” in their expansive profile on Holly earlier this week. Holly has also landed herself on the cover of Apple Music's coveted New Music Daily playlist, Spotify's hugely influential TGIF playlist and Rolling Stone's Breakthrough 25 Chart, signaling her emergence as one of the fastest rising artists of the month.
This week, Holly was named the most recent Apple Music Up Next Artist, a monthly artist program geared towards identifying, showcasing and elevating rising star talent and following in the footsteps of artists including Billie Eilish, Clairo, King Princess, Stefflon Don, Juice WLRD, Summer Walker, Tierra Whack, Koffee, Megan Thee Stallion, Conan Gray, and BENEE.
Holly recently performed “Overkill” and “Falling Asleep At The Wheel” for Vevo's DSCVR At Home series, an intimate live performance program that spotlights emerging talent shaping the future of music. With a performance at Glastonbury 2019 and an extended European support tour alongside Lewis Capaldi already under her belt, she's currently gearing up for a pair of upcoming sold-out headlining shows at Omeara.
16-YEAR-OLD HIP-HOP PRODIGY GUWOP REIGN BACK WITH NEW SINGLE & MUSIC VIDEO “DEMEANOR”
16-year-old Boston-born and Atlanta-based rapper Guwop Reign releases a new single and music video entitled “Demeanor.”
Over a skittering beat, his melodic street flow immediately takes hold. In the music video, he rocks a Jack Skellington t-shirt as he raps in the spotlight of an empty warehouse between footage of high-octane street racing as revved up as his rhymes.
“Demeanor” arrives on the heels of his independent anthem “Mulan 2,” which raked in over 601K streams. Lyrical Lemonade proclaimed, “The Atlanta native’s massive range shines and he is able to easily manipulate pitch and cadence to keep his songs continually interesting and simultaneously sonically pleasing.” Meanwhile, The Daily Chiefers commented, “Atlanta’s own Guwop Reign is in the fast lane and firing off nothing but bangers in 2020.”
Right now, Guwop Reign is hard at work on his debut EP. Get ready for more very soon. Music encodes life’s most important lessons. Beneath the beats and between the bars, Guwop Reign confronts the struggles of youth, depression, anxiety, friends-turned-into-foes, and relationships with a level of wisdom and perspective that belies his 16 years. The Boston-born and Atlanta-based rapper flows with the intensity of an open wound as he tightly grips each melody. Streamed nearly four million times on Soundcloud, Reign built an avid fan base with one independent anthem after another including “Money Talk” [58.7K plays] and “Fly” [205K plays], and “No Love” [896K plays] and tastemaker praise from Lyrical Lemonade, Elevator Magazine. Landing a deal with Galactic Records in partnership with Republic Records the young prodigy released his single “Mulan 2” [965K plays] in 2020 and prepares to make his full-length debut for the label. Drawing on diverse influences such as Tupac, Future, Young Thug, and Rihanna, he asserts himself as a melodic hip-hop force ready for the spotlight.
COUNTRY ARTIST ORVILLE PECK RELEASES NEW EP SHOW PONY FEATURING DUET WITH GLOBAL ICON SHANIA TWAIN
Columbia Records is proud to share Show Pony, the eagerly awaited EP from country artist and songwriter Orville Peck. Listen to the EP, which is available worldwide everywhere. The self-produced 6-track EP features new songs including a duet with reigning Queen of Country Pop and Global Icon Shania Twain, “Legends Never Die,” as well as a cover of Bobbie Gentry’s “Fancy.”
No Glory in the West
Drive Me, Crazy
Legends Never Die (duet with Shania Twain)
In addition to the release of “Show Pony”, the official video for “Legends Never Die” is now live.
Directed by Cameron Duddy of Midland, with narrative and creative direction by Peck and his creative director Carlos Santolalla, the video is chock full of cameos including Jaida Essence Hall (winner of RuPaul’s Drag Race), singer Evil and acclaimed filmmaker John Waters who serves as the narrator to the introduction. The true stars of the video are Orville and Shania Twain; clad in an extra long fringed mask and animal print respectively, they take the already kicking Nashville party into overdrive.
Orville Peck and Shania Twain will perform “Legends Never Die” on The Tonight Show Starring Jimmy Fallon on August 17th. Fans can tune into NBC on August 17th at 11:35 pm EST for the performance.
Says Orville Peck, “Show Pony is the EP I’ve always wanted to make. Having spent the past year on the road and then in quarantine, I was able to reflect on all that had happened since the release of Pony and expand upon it. This is a collection of stories and I hope listeners will join me in them. I cannot thank Shania enough for being part of this; she has always been a hero of mine and her music made me feel so empowered growing up. As cliché as it sounds, recording with her and getting to get up on stage and sing with her in Nashville is a dream come true. No words really.”
Prior to the release of Show Pony, Orville shared two tracks: “Summertime” which explores hope and the belief of perseverance and patience and “No Glory in the West” which examines how exhausting that can be.
Auckland-based newcomer deryk returns today with the staggeringly moving track “One Star,” hot on the heels of her debut single “Call You Out,” and announces her debut EP WOMb out on October 2nd.
The new single from the 24-year-old singer and songwriter explores themes of loss and recovery with deryk’s stirring vocals journeying us through this unsettling and trying landscape, as she sings, “if you never treat the wound, like coffee it’ll brew.” The shadowy video for “One Star” was created, shot and directed by deryk during lockdown.
Speaking on “One Star,” deryk says, “Loss and betrayal can stop time, I swear. The moment you find out, it’s like your whole body deflates and while you’re trying to come to terms with it, the rest of your world carries on, judging you for not recovering in 2 minutes. It can be very isolating, and in that headspace I wrote ‘One Star.’”
The sound of deryk is unique and captivating, moulding distinctive, rhythmic vocal phrasings and visceral lyrics around craftily submerged melodies and ghostly modular tones. Slow music for fast times, space and solace amongst the confusion, a gentle reveal in the age of instant gratification, mordant lines over sumptuous melodies—deryk is something special.
It’s all too rare to discover a new artist who doesn’t acquiesce to the current penchant for in-your-face introductions, but instead chooses to aim squarely at your heart. deryk is one such exception. While the world moves at a dizzying pace all around her, she manages to summon space and instil stillness in her music, as well as deliver a few surprises along the way.
Born in the UK and now based in Auckland, deryk is heavily influenced by British culture in all aspects of her creativity thanks to her mom. Musically, she draws inspiration from powerful female artists, like PJ Harvey, Fiona Apple, Esperanza Spalding, Kate Bush, Joni Mitchell and Bjork, as well as her love for Bristol and its culture in the 90’s. deryk has crafted her own sound that feels utterly contemporary while still retaining a hazy, timeless quality. Contributing to that is her production and writing spar, Justyn Pilbrow, whose extensive experience with artists like The Neighbourhood, Chelsea Jade and Halsey helped deryk capture her vison.
CITY MORGUE RELEASES NEW VIDEO FOR “YAKUZA” FROM RECENT MIXTAPE TOXIC BOOGALOO
Today, City Morgue releases SosMula’s new video for “YAKUZA” via Hikari Ultra/Republic Records.
“YAKUZA” is a solo effort by SosMula on City Morgue’s recent TOXIC BOOGALOO mixtape. He energetically attacks the beat while raging with his crew in the new video.
TOXIC BOOGALOO was another massive success for New York’s grimiest duo trailblazing their own lane at the intersection of rap and rock, proving their consistency. Upon the release, the 10-track project charted #96 Billboard 200, #9 Billboard Top Album Sales, #6 Billboard Alternative Albums, #13 Billboard Top Rock Albums, and #4 Nielsen Music Digital Albums.
On TOXIC BOOGALOO, City Morgue flexes their storytelling like never before and hint at a deeper, darker, and deadlier narrative. Previous to then, the last time we heard from City Morgue, they crushed two Rock Albums Charts. Their second full-length offering, CITY MORGUE VOL. 2: AS GOOD AS DEAD, captured #1 on the Billboard Top Rock Albums Chart and #1 on the Apple Music Rock Albums Chart. The project and its recently released Deluxe Edition featured the legendary Mike Dean as executive producer. As always, they infiltrated rock and rap generating upwards of 100 million streams and 100 million views.
Having last month announced news of her new albumApril / 月音 that will be released on October 9th via Bella Union and shared the track “Dandelions / Liminal”, today Emmy The Great has shared new single “Mary”.
Of the track Emmy says: “Mary is named for a Hong Kong fortune teller I met in Kowloon, who gave me the wrong fortune when I mixed up my Cantonese words. It was written in 2017, when I wandered Hong Kong’s neon-lit streets looking to explore my relationship with the city of my birth, unaware that this was the last moment of calm before the city changed beyond recognition with the protests that began in the summer of 2019. Maybe that’s why the song is about a fortune teller who can’t tell the future. The song was later recorded in Brooklyn, with Jo Lampert, my friend and an astonishing singer who played the lead in David Byrne’s Joan of Arc, as ‘Mary’.”
“My story begins with the moon. In September 2017, I travelled to Hong Kong from New York, where I’d lived for three years, for the Mid-Autumn festival. I was planning to visit my parents and take some time off to write my fourth album. I arrived in time for the full moon – Chang-E’s moon – at a time of year when the heat breaks and the city seems alive with possibility.
That Spring, I’d visited China and accidentally become somewhat fluent in Cantonese again, though the goal had been to speak Mandarin. I was there for a music residency, and had expected to feel an instant click. Instead, I realized that Hong Kong had an identity quite separate from the Mainland, and with my mother tongue reinstated, I was beginning to come to terms with that identity being a part of mine. This was tough – I was born in Hong Kong but I’ve always felt complicated about it.
Still, that Mid-Autumn, everything felt simple. Under the guidance of the moon, I walked the city – its neon-lit alleyways, its escalators and mountain paths. For a brief, precious moment, I fell into synch with Hong Kong. I felt its complex legacy and its tangled future. I felt the sorrow, alive in the buzz of neon and the drips of air-conditioner units, of a city caught between two destinies. It was twenty years since the Handover and the beginning of ‘One Country, Two Systems’. Everywhere I went, I saw people seeking to define their shared identity before it was too late. I hope some of that spirit has found its way into the songs, which were mostly written during that time.
The album was recorded over two weeks in February 2018 in the Creamery in Greenpoint. It’s the fastest record I’ve ever made, which is ironic because its release was later delayed to accommodate a year’s maternity leave. I produced it with Bea Artola and Dani Markham, who was in my US band and also played drums. Jeffrey Fettig, our guitarist, also engineered, and the rest of the players were mostly friends as well as musical collaborators. These sessions became a kind of goodbye, and I left New York for Hong Kong permanently a few weeks after they finished.
I’ll never know why the city called me back, but I know what it gave me. In return, I want to give it this album. That Mid-Autumn, nobody could have predicted what was to come, neither the atomization that began with the anti-Extradition Law protests in June 2019, nor the struggle for democracy that continues now, through the Covid-19 pandemic. To witness your birth city in its greatest moment of need is a powerful, humbling event, and I know I watched Hong Kong’s destiny shift into something turbulent and uncertain. I’m glad I recorded what I felt there, during a precious, peaceful time, when life was so good that all I had to do was trust the moon. May it be just one small piece of witness among many, and may the voices of Hong Kong never stop speaking, and asking to be heard.”
– Emma-Lee Moss, London, July 2020
Since her third album was released in 2016, Emma-Lee Moss has worked as a critically-acclaimed composer for radio, TV, film and stage. Her credits include original songs for Starlee Kine’s groundbreaking US podcast ‘Mystery Show’, Sara Pascoe’s ‘Out of Her Mind’ for BBC2 and Mia Lidofsky’s ‘Strangers’, which featured Girls’ Jemima Kirke as a singer-songwriter called ‘Emmy’. She also wrote music and libretto for Sara Pascoe’s stage adaptation of ‘Pride & Prejudice’ at the Nottingham Playhouse, and is working on HEEL, a new musical about female wrestling with the playwright Isley Lynn. As a journalist, she contributes writing to the Guardian, Vice, British GQ, Wired and others, and presented and composed music for ‘A Sailor Went to Sea Sea Sea’ for BBC Radio 4, nominated for the Prix Europa in 2019.
Today Keaton Henson is very pleased to announce details of his new album Monument, that will be released on the October 23rd, 2020 through Play It Again Sam. It will be Keaton’s first album since 2016’s Kindly Now LP. Alongside this news he has shared new track “Prayer” and its haunting video by Stink Rising director Geej Ower. The video uses footage provided by Keaton to illustrate the song in simplistic reflective terms. Watch and listen BELOW.
“Prayer” is the album’s vulnerable centerpiece, arriving in two distinct parts; firstly, there’s the preparation for loss that, in truth, will never truly prepare you at all, and then the orchestral second half, a final goodbye to his father.
Keaton elaborates: “Prayer is a meditation on the act of preparing to lose someone, in whatever form that takes. It’s about the feeling of helplessness, and the realisation that there are no words you can say to someone before they leave that will make it less painful when they do, as much as we feel like there must be. The orchestral section is a more personal statement; I didn’t know what to say to my dad before he left and I don’t really know what to say now, so it is, for once in the record, just simply goodbye”
Keaton Henson’s new album Monument is a rare thing. It is an album about loss, and dealing with losing the ones we love, but told, in incredibly candid detail, through the aspects of our lives that surround the trauma itself, about love, aging, recovery, life, seen through the prism of grief.
With the posting of an enigmatic and cryptic goodbye in 2016; Epilogue, Henson’s next project ended up becoming Six Lethargies, a complex and ambitious symphony for string orchestra, dealing with the minutiae of mental illness. He put away the guitar and retreated to his home for three years to compose it. Monument now finds Keaton re-emerging with an album of songs about grief, and how it permeates our lives.
The record began when, having recovered from both Six Lethargies and the circumstances that inspired it, Henson moved from London to the wilds of the English countryside, spending long days outside chopping wood, tending to the grounds, and watching birds of prey soaring above. It was from this remote outpost that he finally felt ready to look at a subject he had been avoiding for his entire songwriting career; the decades long illness, and imminent death of his father, who passed two days before he finished recording the album.
Keaton says: “I suppose it is, at its heart, much like my first record; a collection of things I wanted to say, just so they’re out of my system, and not necessarily for anyone else to hear. I made it at home, mostly alone, to the sound of birds and rainstorms, at strange hours of day and night. But, once the bones were recorded, I was somewhat unexpectedly joined by an amazing group of people, who came to musically lift me on their shoulders, and take these unsaid feelings to another plain in terms of sound.”
These people came in the form of Radiohead’s Philip Selway providing drums and percussion, guitars provided by Leo Abrahams, saxophones from composer Charlotte Harding and at one point a full string section.
It culminates in a record that is at once intensely intimate and vulnerable, but carries with it a confidence and elevation in its musical language; the simple up-close picking of Henson’s guitar lifted on a soft bed of electronics and lo-fi tape sound, the moments of joyful acceptance punctuated by soaring drums and woodwinds, that feels like jumping in a cold pool on a warm day.
The sound of tape and VHS are a crucial vein that run throughout the album, carrying the feeling of memory and nostalgia, family and childhood. The subtle recurring use of home video sounds suddenly brings the biographical nature of the album to life, before receding again into the background.
In essence, Monument is an album about death, but in exploring that theme, becomes an album about life. It is singular in its vulnerability, and an unmistakeable artistic arrival for Keaton. With songs that are clearly speaking intimately from personal experience, but with an eloquence and artfulness that make it feel universal. An astonishing record by a singular talent
Also due for release from Keaton Henson is a new poetry book called Accident Dancing which details his life in fragments, from the extreme to the mundane. Accompanied by evocative pencil illustrations, it is an intimate and unapologetically personal insight into this extremely emotive artist.
Keaton writes Accident Dancing is everything the way I remember it; i.e. fragmented, chaotic and often grammatically incorrect. I hope it feels authentically like a memory if nothing else. It was just something I needed to shake from my head.”
Accident Dancing is to be published on October 22nd by Faber Music and is available to pre-order.
New Zealand’s sensation BENEE unveils her new single “Snail” today
On the feel-good summer hit, an upbeat bass line bounces between keyboard bliss as BENEE’s vocals groove into a chantable hook, “I’m like a snail, you’re a guy, kinda mad I can’t fly.” Electronic production, quirky nuances and entrancing delivery make this yet another unpredictable and undeniable anthem from the Platinum songstress.
Written and recorded with Josh Fountain shortly after New Zealand opened up from lockdown, BENEE was inspired to write the song after spending weeks in isolation. She says, “When we were in lockdown, I was fascinated by snails. There wasn’t really a lot to be doing, so I would spend a lot of time outside looking at snails and would think about how they’re doing their own little thing and they’re all free. I just played around with the idea of being kind of like a snail and how I come out in the rain. Being stuck inside because of COVID, it’s kind of my lockdown song.”
“Snail” follows BENEE’s recently released enchanting single “Night Garden” feat. Kenny Beats & Bakar, which has been praised by press across the globe, including Billboard, E! Online, Clash Magazine, Coup De Main, DIY, The FADER, HYPEBEAST, NME, Stereogum, The Sunday Times, Teen Vogue, UPROXX and many more. BENEE performed a stunning, stripped-back version of the song for MTV PUSH.
“Supalonely” feat. Gus Dapperton, which is now Certified Platinum in the U.S. in addition to seven other countries including New Zealand, Australia, Canada, Mexico and more, has amassed over 1.7 billion streams worldwide and is currently climbing up the U.S. Top 40 Radio Chart and sitting at #8 this week.
Earlier this summer, Apple Musicannounced BENEE as the newest Up Next artist, as she made history as Apple Music’s first Up Next artist from New Zealand. BENEE also made her U.S. television debut performing “Supalonely” on The Tonight Show Starring Jimmy Fallon and The Ellen DeGeneres Show, and she was selected as MTV’s PUSH Artist for the month of June.
JESSIE REYEZ SHARES NEW VIDEO “BEFORE LOVE CAME TO KILL US”
Colombian by way of Toronto Grammy-nominated singer-songwriter and Polaris Prize nominee, Jessie Reyez returns with her poignant new video for title track “Before Love Came To Kill Us”, one of the standouts from her critically acclaimed debut album, available now across all DSP's via FMLY/ ISLAND.
The video directed by Claire Edmondson features Reyez paying homage to her home-town as the city serves as the backdrop in the video. “Before Love Came To Kill Us” anchors and enmeshes the concepts of love and longing, hope, second chance, and life and death found throughout Reyez's debut album. The new visual arrives ahead of Jessie’s special “Before Love Came To Kill Us” performance next week Wednesday on The Tonight Show Starring Jimmy Fallon, and follows her cameo in Beyoncé's Black is Kingvisual album out now on Disney+. Reyez makes a menacing appearance 19 minutes into the film and during the song “SCAR” originally from Beyoncé's The Lion King: The Gift soundtrack, which featured Jessie Reyez and 070 Shake. Reyez’s debut albumBefore Love Came to Kill Us garnered high-praise from the likes of The New York Times, Rolling Stone, NPR, E!, Variety, Vice, and more. Watch Black Is King on Disney+, stream the debut album below, check out “Before Love Came To Kill Us” and stay tuned for more news to follow.