I’ll be honest: On Logan Hyde‘s debut single “My Only Friend” I was too busy taking note of all his little psychedelic touches to notice what he was doing with his vocals, aside from those moments where he was hanging out in the rafters of his higher register. “Bloated”, the second single from Hyde’s forthcoming debut full length Innocence, was enough to make me immediately notice that.
Unlike “My Only Friend” which arced and craned both in regards to the instrumental melodies and Hyde’s vocals, “Bloated” spends its time on the ground, stretching out horizontally instead. The cosmic flourishes that served as the backbone of “My Only Friend” in this case are kept to a minimum – little flashes of flavor to Hyde’s lilting melodies and shuffling guitar lines. There’s also the notable introduction of the synth as the guitar’s equal instead of merely an ornament. While Hyde still uses it for textures, there’s moments when he strips the effects away and it gets to be deployed as another melodic device; occasionally leading instead of playing back seat to guitar.
If “My Only Friend” served as the proper introduction to Hyde’s solo project, “Bloated” builds on it. Everything on “Bloated”, from how Hyde use of layering to his vocals, is a level up from “My Only Friend” and shows Hyde’s growth as an multi-instrumentalist more or less in real time.
Previously: Logan Hyde: “My Only Friend”
Gosh Pith, the Detroit duo with that inexplicably-weird-to-say name, are doing their really promising R&B-dunked electro-pop thing this Saturday at Brooklyn’s Baby’s All Right. See you there?
Self-described as “trip hop meets electro pop,” Belgian foursome Lohaus are the latest European group making waves for their innovative and genre-bending musical style. On first listen, the band’s latest single “Overwhelm” will undoubtedly conjure Alt-J comparisons, particularly the vocal style and brooding electronic overtures, but it’s hard to ignore just how effective the amalgam is. I’ve never been a huge fan of trip-hop which has always seemed too meandering, too ponderous, but this is darker, sneaking around with purpose. “Someone’s coming in, silently, oh so still.” How deliciously creepy.
Check out another track at Lohaus’s soundcloud page »
Yoko Yuko weaves idyllic jangle-pop across the pond in the Netherlands with a homespun weirdness in the Mac Demarco blinded-by-cigarettes-falling-from-the-sky sort of way. “Seventeen and Melting” is a perfect introduction, pairing a too-jaded-to-be-angsty teen lyric set with awkwardly endearing guitar notes that are just the right amount out of tune.
Yuko Yuko’s Babes and I <$ U EPs dropped last year. Grab them and more from his bandcamp page »
The debut music video from Florida based electronic artist Sur Back is every bit as ambitious as the track that accompanies it. Directed by Derek Mitchell, it’s a mysterious thriller that relies on non-linear storytelling to create a sense of suspicion and unease. It doesn’t start off that way – and that’s probably the most impressive bit of the twist right there. After readying herself in a mirror, Sur Back’s Caroline Sans steps into the back seat in a station wagon. It’s odd but doesn’t immediately set off any alarms; it’s not until the unbuckling of the seatbelt and her attempts to get out of the car while it’s still in motion that you realize something is very clearly wrong. And that’s where the narrative splinters and obscures itself. What is real? What is fantasy? What is happening? These are the questions that spring to mind as the video barrels forward.
The video takes a lot of its cues from “Jane Eyre” – the lead single from Sur Back’s forthcoming record Kitsch. Its stuttering melodies and asymmetrical rhythms create a sort of natural tension that the video feeds off of. Sans’ vocal affections, similar to Olga Bell and Regina Spektor, also add to the dreamy quality. It’s a track that almost calls for some big artistic statement befitting of its quiet grandeur and luckily Sans paired up with just the right people to see that come to fruition.