Normani is back with ‘Wild Side’

It’s been a while…

“Wild Side (feat. Cardi B”) – Normani; Keep Cool/RCA Records

Two years after what once was thought of as her breakthrough single “Motivation,” R&B princess Normani has returned to claim the throne that has been waiting her since the aforementioned single’s live performance at the 2019 VMAs.

Finally free from the artistic and personal constraints placed on the singer in her time with girl group Fifth Harmony, Normani spent a lot of time honing in on her sound. Collaborating with names across the Pop music landscape from Khalid to Calvin Harris, Sam Smith to Megan thee Stallion, the singer has released soft to smash hits. Sonically, they were all over the map. “Love Lies” adopted collaborator Khalid’s blend of youthful R&B while songs like “Checklist” and “Dancing With a Stranger” with Harris and Smith, respectively, leaned heavily into the EDM space. Where sonics were scattered, the streamline was Normani’s obvious talent.

“Motivation” was a further complication in the direction the singer would ultimately take. A strong debut solo single, the song was more bubblegum than bass. Its throwback qualities were an exciting taste of what would become of the singer, but fans would have to wait years before they heard new music from the rising star.

Now returning more assured, powerful and daring, Normani leaps from the gate with her latest single that showcases an artist who patiently took the time to develop. “Wild Side” presents a more matured, darker R&B trap pop sound, sampling Aaliyah and placing what will become Normani’s undeniable charisma at center stage.

A simple idea, “Wild Side” spotlights Normani as she invites the song’s subject to unleash themselves and show her their best. Its both an invitation to the subject and those listening. Fully in control, Normani invites anyone who dares to match her energy.

The song’s lyricism and sonics reflect where the artist is in her career. She calmly yet powerfully asserts herself. Normani demands for a seat at the contemporary pop table. The results are astounding, with the artist releasing a single so powerful it instantly guts the listener. Don’t expect to escape this song over the course of the next few months.

The single features the latest Rap Queen Cardi B with a solid guest verse. Nothing more than a deft marketing play to get more ears on the single and eyes on Normani’s new persona, the verse comes much later in the track. With this play, the songwriting team allows Normani plenty of room to express herself independently. She doesn’t waste a bar, insisting listeners focus on her and only her.

Cardi B’s verse, while an afterthought, enriches the song with an added level of credibility. It expertly incorporates the unbridled sex appeal Cardi B has spent the past few years of her career cultivating for herself and the women rising the ranks of pop today (“WAP,” “Up”).

To cement Normani’s return even further is the single’s accompanying video. The video is helmed by Ukranian director Tanu Muino who has been responsible for some of the biggest hits in the last year (“Up” and Lil Nas X’s “Montero”).

Featuring a simple treatment, the clip allows Normani to stand front and center in single room, often muted backdrops. Her multifaceted talent as a performer can’t be missed, with choreography that simultaneously pays homage to yesterday’s R&B while forging new ground from an artist only at the tip of the iceberg that her career will become.

Now that “Wild Side” is out into the world, Normani’s artistry has officially been unleashed. An undeniable track, the single is already a pop highlight of the year and will drive conversation for weeks to come.

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Joji drops commercial ‘Nectar’

What happens when new media meets art?

In the 21st century, each decade has produced new avenues for talent of all kinds to achieve the success they likely would not have achieved without technological advancements. This can date back to the days of Paris Hilton and Kim Kardashian. Utilizing the newly minted “reality television” medium, the two socialites became the original “influencers,” ushering in an Instagram-driven age of the self brand and a type of self employment that required nothing but luxury and style.

Today, this now obsolete tactic has created an oversaturated market for influencers far and wide. In need of a new tactic, the public flocked to YouTube and TikTok. Both free form platforms for users to put out essentially anything they want, it has provided an outlet for stars like the D’Amelios and Addion Raes of the world.

On the YouTube side, artist Joji made a stark transition to music, utilizing his steady following on the platform to seamlessly segue into his new role of genuine artist. His single, “SLOW DANCING IN THE DARK,” was a huge streaming hit. It allowed the singer to shed the skin of his former persona, leaving room for an easily marketable “sadboi” for the kids of Gen Z.

Clearly an ingenious tactic, the single resonated with users of this demographic. The song was appropriated into one of the first TikTok trends of its kind. Users utilized the song to film their own videos, expanding the already viral nature of the single.

With Nectar, Joji’s second studio album, the artist triples down on this tactic. The sweeping 18 track set features enough melancholy and hip hop influenced beats to dominate TikTok feeds for the fleeting days of the app’s reign.

It’s impossible to analyze Nectar from a purely artistic standpoint. The strategy is too on-the-nose. This, though, doesn’t necessarily discredit the quality of the often high quality record. Is it a few songs too long? Yes. Does it repeat themes to the point of monotony? Definitely. Is it, above all else, emotionally compelling and entertaining? Absolutely.

Nectar is made up mostly of love tunes across the spectrum of pursuit, loss, and the instability between those two benchmarks. The opener, “Ew,” immediately sets the tone of the project. Lamenting the loss of a love and wishing for one more longstanding and true, Joji sounds exasperated. This exhaustion only continues throughout most of the tracks.

The singer goes beyond the science of love to discuss the trappings of fame and the business side of his industry. Standout “MODUS” deals directly with labels and publicity teams forcing an image on him.

“I don’t feel the way they programmed me to feel today,” he sighs. The chorus of the song plays like an eboy version of Adele’s “Someone Like You,” and it’s actually one of the best moments on the album. It’s an interestingly self aware moment for a project seeped in its own commercialism and business oriented structure, actually including a song titled “Tick Tock.”

Another highlight is the Diplo assisted single “Daylight.” It’s a rare uptempo bop in a sea of mid tempo pieces of introspection.

Should Nectar have been abridged to about 12 songs, it would play as a much better album. Joji’s talent as both a songwriter and performer is undeniable since BALLADS 1. He’s shifted his sonics to inconsistent success. Though this work is a symptom of the maneuvers that got him to this point, the strength of the work often shines through the cracks.

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Dominic Fike’s ‘What Could Possibly Go Wrong’ is some superstar shit

What Could Possibly Go Wrong, Columbia Records

“Call me what you want, when you want, if you want,” Dominic Fike stated in his breakthrough single “3 Nights.” Aloof, monotonous, and oh so cool, the single instantly shot the singer into the realm of artists to be born out of the Frank Ocean incubator.

Drawing inspiration from the likes of the aforementioned mogul and his group Odd Future, Fike is one of many contemporary artists to blend pop, rap, and R&B in a way that feels like what can only be described as Gen Z punk. It’s brash, rebellious, and manic.

This cocktail of carnage continues as it’s spread across the sporadic and emotional tracks on Fike’s debut album What Could Possibly Go Wrong. Dropping the question mark, the album title is less a question than a powerful statement of what, exactly, has gone wrong for Fike throughout the early years of his still steadily progressing career.

Thematically weaving together tales of toxic relationships, family and self destruction, the project is, for better or worse, a concise, raw glimpse into the mind of the Florida artist. It plays largely like demo tapes, with Fike adopting an often jarring blend of rock, rap, R&B and pop. Its a free flowing stream of consciousness, decidedly messy and intentionally imperfect.

Opening with “Come Here,” Fike doesn’t grip the listener so much as he forces their attention on him. Like The 1975’s “People” off their recent project Notes On A Conditional Form, it’s an urgent, impactful introduction to the project.

Fike’s self destruction continues most notably on tracks “Superstar Sh*t,” “Cancel Me” and “What’s For Dinner?” On the former, Fike outlines the ongoing loss of a relationship that directly resulted from his sudden success and the pitfalls associated with fame in the digital age. Doubled down by the production, Fike sounds like he’s literally underwater, trapped and drowning in a bottle of his demons.

On “What’s For Dinner?” Fike perpetuates this narrative, discussing his struggles with drugs and alcohol and its influence on his personal relationships. “I just got back from the gastroenterologist. He told me that I can’t drink, so now I be high and shit,” he concedes, disappointed.

“Cancel Me” combines this mental strife with the family theme. The stickiest track on the album, “Cancel Me” is one of the strongest singular statements Fike offers. It’s an often tongue and check declaration of his apathy towards the Hollywood machine. Not only that, it influences thoughts of nostalgia and longing for a past life outlined on “Good Game.”

With “Good Game,” Fike creatively adopts the perspective of his father. A slower, sunnier track, it illustrates the flawed, encouraging support from Fike’s father. More important, it’s a depiction of his father’s ploy to motivate Fike away from suffering a similar fate. The safety of the guitar riffs envelopes Fike as he smoothly delivers the goods, free from the corruption and fraught nature of the LA music scene.

Fike takes a play from the book of John Mayer for “Vampire,” drawing inspiration from Mayer’s “Neon” and “Vultures.” The track’s opening guitar riff is immediately reminiscent of the former, with the titular bloodsucking nature of LA culture lending itself to the latter’s lyricism. The track is an evidently tired metaphor only forgiven by Fike’s charismatic delivery and sticky vocals.

What Could Possibly Go Wrong also outlines the facets of Fike’s romantic life through the lens of several relationships. The brilliance of this comes in the dichotomy of tracks “Why” and “Chicken Tenders.” On “Why,” Fike challenges his partner to think more deeply on why she navigates her suffocating job, relationships and colleagues with such complacency.

“You ever wonder why?” he asks her.

That rumination quickly resolves into one of the album’s more positive tracks “Chicken Tenders.” Living lavishly in a hotel room, Fike outlines the gluttonous glee of constant food and sex within the solace of a private environment.

That euphoria is proven fleeting, as outlined on one of the final track “Wurli.” Coming in towards the finish line, this gem of a song is easy to overlook, but it features some of the most emotionally palpable lyricism on the album. Painting the portrait of a relationship where Fike lacks all control, it adds another layer to the album’s toxicity.

The only main pitfall of the record is its length. Many of the songs feel unfinished, leaving the listener dissatisfied and longing for more.

Perhaps it was never meant to be finished. Rather, it’s a choice on an album where no decision feels rushed or accidental. Listeners are put in the frame of mind of the artist behind the curtain, feeling exasperated, fleetingly thrilled, and emotionally effected.

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Taylor Swift outdoes herself on ‘folklore’

folklore, Republic Records

Taylor Swift wasn’t kidding when she exclaimed, “I promise that you’ll never find another like me!” The hook to her 2019 album Lover‘s laughably bad lead single, the statement has never reigned more true than it does today.

Gone is any trace of that pop star. In her place is a daring songwriter unafraid to explore the depths of her emotion and mastery of narrative.

On the eve of its release, Swift announced folklore, a 16 song collection of indie folk songs birthed from the imagination of an indefinitely quarantined Taylor Swift. In describing the album, Swift states, “I found myself not only writing my own stories, but also writing from the perspective of people I’ve never met, people I’ve known, or those I wish I hadn’t.”

This diversity of perspective and point of view enriches Swift in a way listeners have yet to hear. In reflecting on her own life, Swift thinks of a childhood friend with a difficult home life (“seven”), cloaks herself in a fable of a woman seeking vengeance on a town that has wronged her (“mad woman”), and celebrates unconditional love (“invisible string”).

Swift extends her talents beyond herself, applying her imagination to the folklore that aptly titles the record. Blurring the lines of history and fiction, Swift creates a trilogy of nostalgic tracks. These songs (“cardigan,” “august,” and “betty”) play with time and perspective, depicting a high school love triangle and its permanence in the memories of each party.

Further expanding the already quietly epic saga are songs alluding to history. On “the last great american dynasty,” Swift tells the story of Rebekah Harkness and her Holiday House, the Rhode Island mansion Swift would come to own. Like “mad woman,” Swift delicately sprinkles herself in the story, weaving her own mistakes into the fabric of Harkness’s life and story. Similarly, one of the most poignant moments on the record comes in “epiphany,” during which Swift pays homage to her grandfather while empathetically thinking of health workers working on a new kind of front line.

Much of the strength of folklore lays in the proof that overexposure and fame taint even the strongest of creative minds. In fact, the singer’s strongest musical statements were created from the privacy of her several homes across the globe. From reputation‘s “Delicate” to Lover‘s “Cornelia Street,” Swift has come into her own as a private person.

This newfound seclusion has really given Swift the necessary space to thrive in her exploration of the craft that brought her so much obsessive scrutiny and attention.

With folklore, Swift takes this isolation a step further, veiling once on the nose songwriting in freshly tinged metaphor. With the help of The National’s Aaron Dessner, longtime collaborator Jack Antonoff, and indie king Justin Vernon (Bon Iver), Swift begins again.

For the first time, Swift desolves beneath the surface of these stories. The music is no longer the diary of a naive suburban girl. This is a fully matured woman collecting scattered memories and stories, weaving them together in an intricate tapestry broadcasting the emotional spectrum. At its center, as it always is with Swift, is love.

This is an album Taylor herself needed to write, but the constraints of superstardom, pressures of pleasing the masses and those who dare lock her in a box prevented that, until now. Drawing inspiration from artists like Lana Del Rey (“cardigan,” “seven”) The Cranberrys (“august,” “mirrorball”), and sprinkles of her own past work (“Safe & Sound,” “Holy Ground”) Swift amplifies her songwriting. She shatters the magnifying glass that is the modern media’s exploitative infatuation with women in power.

In this deconstruction, Swift finally sheds the image she’s been running from since 2017’s reputation. With Lover acting as a necessary palette cleanser and closure to the pop chapter of the singer’s career, folklore is a new beginning in so many ways.

Many albums of this length, including some from Swift’s discography, unavoidably include a few duds. With this album, though, not a single song is worth skipping. While the final third of the album is noticeably slower, it only brightens the spotlight on Swift’s astonishing, unparalleled lyricism. Closing the album with “peace” and “hoax,” Swift challenges listeners to think of a better songwriter in the industry today, and they’ll likely struggle to muster one.

For anyone to doubt the limitless talents and constantly impressive metamorphosis of Taylor Swift at this point is as fleeting as the romance the singer relates on “august.” Unlike that subject matter, it will take more than a bottle of wine to sip away folklore.

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LA serenader jame has a lot to offer on ‘If U Want Me’

“I’m inspired a lot by atmosphere – scenery, colors. Every time I write a song I think of a place,” jame says over the phone on a Wednesday afternoon from the walls of his Los Angeles apartment.

This imagery, inspiring and enveloping, is the fabric of the singer-songwriter’s debut project, Harmless. A delightful 8-track collection dedicated to loss and letting go, it’s a taste of more to come from the mind of a consistently evolving artist.

Born Patrick James Minogue, jame grew up in Perth Amboy in New Jersey. His father is from Kilkenney, Ireland, and his mother is from the Dominican Republic. jame’s interest in music came to him at an early age. Noted by his parents, this penchant was always present to those around him, even when it may not have been to himself.

“My parents say when I was a little kid, I used to get all the pots and pans in the house, pick off tree branches outside and pretend to play drums on them,” he tells me. The subtle makings of a burgeoning producer, these early moments alluded to what would soon encapsulate jame’s life; music.

At 15, he began writing his own music. Inspired by popular punk bands from Green Day to My Chemical Romance, jame utilized his inspirations as entry points for learning instruments. By high school, he started working with other musicians, playing talent shows mostly as a drummer before assuming his role as a lead singer.

The earlier years of his pursuit of the craft were not free of struggle. Growing up in a completely Latinx town, jame’s passions were often met with criticism from those around him.

“My town definitely had those kinds of people who would say things like, ‘You’re Hispanic/Latino. It’s impossible to make it in music, you need a plan b,’” jame explains. These obstacles only fueled the fire, encouraging the artist to move out of his hometown and into somewhere more suitable for his musical growth.

That environment came in the form of the Berklee College of Music in Boston, MA. Securing a spot in the prestigious program, Minogue soon joined forces with a few peers to form The Penthouse, an indie pop trio. The group decided to take their act to LA to keep evolving and be closer to the action.

5 months into the coast to coast move, the band broke up.

Now a solo act in a big city, Minogue worked to curate a stage persona that was singular, impassioned, and true to himself. In June 2019, jame was born. The first piece of Harmless came shortly thereafter in the form of standout single “Freefall.”

“‘Freefall’ felt like being in a humid room with a lot of plants and windows, having a fan blow on me the whole time,” jame illustrates in describing the images and colors that inspired the songs on the project. “[When I think ‘Freefall,’] I think about the color blue.”

The remainder of Harmless doubles down on the themes of processing grief – that of relationships, friendships, past selves. Just when that catharsis felt near completion, the ongoing pandemic hit. For many like jame, this newly suffocating reality gave way to struggles in creativity and songwriting.

“I had to learn to go [more deeply] inside myself and write from there,” jame admits. “Halfway through quarantine I taught myself to write music from a different place. I’m at a super creative place now vs the beginning [of the pandemic].”

“If U Want Me,” jame

This creative place is the incubator for the artist’s latest single, “If U Want Me.”

A bit of a departure from his earlier work, the new single grows from the narrative of Harmless, providing the lens for a new chapter – one filled with closure and moving forward. It deals with the all too heavy reality of love in the digital age, even more overwhelmingly pressurized by the Covid-induced digital dystopia many find themselves trapped in today.

“In this new stage, I’ve let go of everything,” jame expresses in describing the wake of Harmless. “[If U Want Me] is a lot more upbeat – it sounds a lot more positive. The song focuses on online dating and how our form of communication has changed from in person to online.”

From a supplement to a driving force, online dating has evolved into a now integral aspect of modern relationships. Through “If U Want Me,” jame captures this development.

Earthy and summer ready, the mid tempo jam is, for better or worse, one of the most relatable tracks to come out of quarantining as a twenty-something. jame beautifully captures the collective unease of being a young adult pursuing romance today.

What’s next?

Time will tell, but if “If U Want Me” is any sign of what’s coming from those apartment walls, listeners are in for a treat.

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Feature: Ambitious pop act Tamara is cookin in quarantine

TMusic

From Fairfield, Connecticut, emerging talent Tamara has worked tirelessly to grow as an artist in today’s pop music landscape. The confident creator was brought up largely in New York City where she attended high school.

During her later years in school, Tamara’s passion became clear. Recording, writing, and collaborating with producers around the city, Tamara landed a spot in the coveted Bandier Program within the S.I. Newhouse School of Public Communications. Now a junior, Tamara continues to grow her sound and her network.

With dreams of continuing to master her sound and dip her toes in the production space, Tamara works to get to the next level after she finishes her degree next year. I had a chance to chat with the ever-evolving artist. We talked inspirations, goals, and what it means to be an artist in today’s industry.

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UNSOLICITED: How has isolation been going for you so far?

Tamara: Worst question of the summer (laughs)! I just came back from a trip to Vermont about three days ago. My life was significantly different before I left. I had this online class I hadn’t started yet and when I came back things started picking up, but its a good thing.

U: How has the songwriting/recording process been throughout quarantine? 

T: Whether it’s in this time period or not, my creativity comes in waves. Obviously before COVID it was a lot easier to have access to recording, but I mostly write songs late at night during sad boy hours. What I write isn’t necessarily in that space, but when my night owl instincts come in I just go.

I record all my singles with my producer, Joey Auch, who lives in Brooklyn Heights, but I can’t see him right now. I have another friend, Lucas Dell’Abate, in Greenwich who has equipment – we go to my pool house and record from there. If you’re passionate about something, you make it work.

U: Who are some of your biggest musical inspirations?

T: Personally, I’m geared for pop music. The reason I’ve done some EDM and electropop is because I have a lot of friends in that space who I’ve been able to collaborate with.

In terms of inspirations, I love Charli XCX – how i’m feeling now has been on repeat. Another artist I’ve been inspired by is TS Graye. She’s inspired my sound through nostalgia. I exist in a space that’s half nostalgia, half bad bitch. I’m feeling nostalgic, but I’m not to be fucked with (laughs).

U: When did you first start to think about forming a career in music?

T: Junior year of high school. I had a huge epiphany during my sophomore year when I realized it would be really tough, but it was what I was supposed to do. I decided I couldn’t live my life going through a 9-5 and hating my life. From that moment forward I started working on technique to the point where I felt comfortable enough to go to my producer the next year.

I started working with my producer, and he’s kind of evolved with me. Whenever I have an idea but can’t articulate it, he catches my vibe and helps me continue to find my sound. Every time we go in and finish a session, I come back out more fulfilled.

U: What do you see as the pros and cons of the current music industry?

T: With this virus, the live music scene is definitely missed. The touring industry makes up so much of the revenue of this industry. There’s a lot of streaming happening, but there’s a difference from an audience’s perspective of going to a show vs streaming.

Overall, one great thing about the industry right now is the diversity of producers, more women behind the soundboard and seated at the table. We’re starting to tap into that network more. Another great thing is that artists have more time to be consistent. Normally everything is so on the go that now is a good time to step back and plan out music releases.

U: Where do you want your music to go, sonically and in audience growth?

T: Sonically, I work with my sound song by song. Every artist wants their numbers and audience to increase. Obviously my music connects to me because I’m the one writing it. I can’t sit down and force it to connect with somebody else.

The great thing about music is that there’s more than one aspect to listen to. If you don’t like the lyrics, maybe you’ll like the melody; if you don’t like the melody, maybe you’ll like the beat behind it. There are different aspects of a song that people can connect to.

Personally, I just want people to find one of these things to connect to in my songs. I don’t need you to relate to me. If you do, that’s great and I’m genuinely happy; but, my purpose on this Earth was not to people please. I just want my music to be out there in a way where people appreciate it and love it for what it is.

U: When you’re recording a song, do you think about what will resonate with a bigger audience? Are you surprised by what sticks vs. what doesn’t?

T: When I’m recording I don’t think about anyone else’s take. When I’m in the studio, I’m paying attention to how it sounds to me. I start to think in that space moreso after the song has been released.

I know, sonically, what’s more popular; but, that’s not always the take that I go for and I’m fine with that. I take a lot of pride in who I am as a person and my individuality. When I’m in the studio I don’t think about Top 40. I just go in there and its me. Sometimes it ends up sounding like Top 40, and sometimes it sounds like something different.

I’ve come a long way and I’m grateful for the people who have helped me and the program I’m in, but I still have a very long way to go. I credit my knowledge and my willingness to move forward to myself and to my program.

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Skofee dazzles with debut single ‘Fantomlimb’

“Fantomlimb” Sign From The Universe Entertainment

From Wichita, Kansas to Los Angeles, California, singer songwriter Skofee has developed a sound that feels accessible, unique, and above all, engaging.

Drawing inspiration from bluegrass and folk, Skofee has curated a sharp eye for storytelling over the years. More important, she has successfully honed in on the type of stories listeners crave to hear; nostalgic, pain soaked, and unfinished.

“I’m attracted to songs that admit fault and work through emotions in real time rather than presenting the conclusion wrapped up with a bow,” Skofee expressed. “It’s more interesting to be in the point of tension as a listener; the in-between.”

With her debut single, “Fantomlimb,” the artist drops listeners into this introspective limbo.

The song challenges pundits to clear space and make room for a new type of pop artist –one that forgoes gimmicks, instead applying her unfiltered insights into the world today. At their center is the duality of a feigned external self-assertion and the internal doubt quietly gnawing from within.

Acting as the pilot to her debut EP Polished out later this year, “Fantomlimb” is an acrobatic showcase of the already cultured 23-year-old singer’s talents. From her poignant pen to her proven vocal range, Skofee dazzles.

The single instantly transports the listener into a dreamy headspace through which their deepest feelings may roam wildly. Longing, emotional, tense – “Fantomlimb” is an incredibly impressive, self assured debut from an artist shockingly just beginning what is sure to become a fruitful career.

The track’s strengths lay in its universality. Injecting lush vocals only few can muster, Skofee relates the all too real feeling of longing for someone that isn’t emotionally present in a way they were in the past.

“Pretending you’re mine makes me selfish, but I could use some kind of peace of mind,” she coos.

Whether through the lens of romance or friendship, listeners can relate. They will easily lose themselves in the lyricism, made stronger by Skofee’s angelic delivery.

Underneath this delicate dispatch is a mid tempo electropop production from LA based alt-pop trio Moontower’s Devan Welsh. Accessible but not overbearing, Walsh’s contribution enriches the tune. The production slowly builds to its emotional climax, expertly crafting the tension surrounding the artist in the spotlight. The sound further evokes the feelings laid out in the lyrics, adding another layer through which the listener can feel the unbridled complexities of Skofee’s emotional process.

One of 5 new tracks to be featured on the Polished EP, “Fantomlimb” is only the beginning for the new artist. The string of experiences are tightly wrapped in theme and execution, providing listeners with just a taste of what’s to come from the artist in the near future.

“I wrote the songs [on Polished] as individual thoughts and linked their meanings after I had a collection I felt I could really stand behind,” Skofee explained. “My goal as a songwriter is to create concise moments for the listener to engage with, and I do feel that each song on the EP accomplishes a different moment.”

Polished drops September 21.

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Feature: YAA! Koala brings the party on ‘Choir Boy’

Choir Boy, YAA! KOALA CUTEGANG

Not even a global pandemic could stop Russian-born, New York-based electronic wizard YAA! Koala from making his mark with his debut project. Described by his team as “joyful, optimistic, and endlessly danceable,” the 7-song collection is an energetic thrill ride, marking a promising debut for a genre that continues to be a mainstay in pockets around the globe.

I had a chance to virtually sit down with the artist to pick his brain about career beginnings, current industry trends, and insights on the future.

UNSOLICITED: Let’s start from the beginning. Did you always plan on music being your career? What was your first experience with the craft?

YAA! Koala: I started off doing international law – hard to get a green card as a musician. Once the green card came in, I quit the firm and went all in. I had a hip-hop duo that ran for a couple years. Unfortunately, the better we did, the worse our relationship became and we ultimately split. YAA! Koala came next. But to take it way way back, I remember writing a song about polar bears when I was six (I’m Russian, so naturally).

U: Who are some of your biggest musical inspirations? Who are you listening to now?

YK: That’s an impossible question for a musician to answer. My inspirations include: Nirvana, Tyler, the Creator (OFWGKTA!), Childish Gambino through Because the Internet / Kauai era, 808s/Yeezus-era Kanye, D’Angelo (Voodoo), Erykah Badu, Meshell Ndegeocello, Mac Miller, Stevie Wonder, Skrillex, San Holo, Diplo, Getter, DJ Snake, Lil Peep, XXXTentacion, Lily Allen, Sara Tavares (Balance & Xinti).

Currently I would say Angèle, Aitch, Kero Kero Bonito, Oliver Tree, 100 Gecs, Easy Life, Joji, Poshlaja Molli, CHAI, Michael Brun. I could keep going for days.

U: Dream collaborators? 

YK: Skrillex, Aitch, Videoclub, Beabadoobee, Minesweepa.

U: What are your thoughts on the industry as it stands today, do you feel an increased autonomy with streaming or that it’s daunting and oversaturated?

YK: The industry is what it is. It has never been easy. The diversity and quality of music these days is incredible. The arms race pushes the quality way up, unfortunately at the expense of healthy lifestyle and mental health. That said, it’s hard not to geek out listening to a Zeds Dead compilation or Minesweepa. At the same time, Jace Mek is open about working at an Amazon warehouse, despite placements on major labels. There needs to be a better way.

U: How has the current pandemic inspired and/or stifled your creativity?

YK: It hasn’t affected me much. It exists mainly in the news and on social media. I still get up, exercise, run up to the mountains (got stuck in Cape Town during the lockdown), and then go on about my day. People are irrational and it’s frustrating to see the world come to a halt in this case, while we continue to ignore a million other risk factors (horrible food, lack of exercise, pollution, smoking, stress, driving, etc.)

U: Where does the name “YAA! Koala” come from?

YK: YAA! means “I” in Russian. It is also fun to do a call and response at shows. And koalas are warm and cuddly, which kind of captures the feel-good vibe of my sound.

U: You’ve talked about exploring psychedelics on your social media pages. What is your relationship to them and how have they informed your art?

YK: Microdosing psilocybin was the first step getting above water after years of fairly severe depression – I also highly recommend the book Lost Connections by Johann Hari. The ego dissolution from a larger dose was quite special – probably deserves a separate interview. Not sure whether psilocybin has had an impact on music that’s currently out, but going forward, I will keep trying to make it more vivid, to create a space through which the listener can travel. Jack Stauber does this brilliantly in his Micropop releases. So far I’ve found it hard to balance making a track that snaps in a club with a more intricate composition with greater depth, but I’m going to crack the formula one day.

U: What is something you learned through the process of creating Choir Boy?

YK: Let songs sit for a few weeks before finalizing or releasing — do your best to hear them as an outsider, which is always a challenge because you spend hours, days, weeks working on them.

U: What was the most challenging aspect of the record’s recording process? Most rewarding?

YK: Getting the song from the initial creative idea to the final product. The actual composition that involves creativity is probably 10-20 percent of the song. The rest, especially in electronic music, is getting the mix right, making sure that it’s clear, impactful, and translates well on different speakers – none of which is particularly sexy or fun. So getting a song across the finish line is both challenging and rewarding.

U: Tell me about your apartment situation and your current quarantined life in Cape Town. How has that been? Has it led to creating any music?

YK: Umm. Good times. I was in South Africa when the world went offline, borders were closed, and flights were cancelled. Still here, though cannot complain — the place is magic. The downside is I had squatters move into my New York apartment, and because of New York’s bizarre tenant laws, I have to go through months of legal process to throw them out, all the while paying rent for them. That has been insane.

U: What’s one thing you want audiences to know about you that may not be reflected in your music just yet?

YK: I like playing guitar. I feel like I will have a San Holo moment, when I will incorporate more of it into my songs.

Choir Boy is available now on streaming services.

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Chloe x Halle level up on ‘Ungodly Hour’

Ungodly Hour, Parkwood Entertainment

There’s a moment in the middle of Chloe x Halle’s stunning sophomore effort, Ungodly Hour, when their evolved personas really take shape. “When you don’t have to think about it, love me at the ungodly hour,” the duo coos on the title track.

Its this newfound confidence, self-assuredness and effortless cool that echoes throughout the immaculate 13-track collection. The duo has evolved as artists, women and performers – and this development shines as brightly as the chrome angel wings on the album’s artwork.

Drawing inspiration from modern and 80s Pop, throwback R&B, Hip Hop and elements of Blues, Chloe x Halle are able to refine the strongest sounds of their debut The Kids Are Alright and double down on what sets them apart from peers in their genre.

The album is instantly gripping with “Intro” and “Forgive Me,” establishing the two as strong, unapologetic, and independent. The openers immediately set the tone for a complete evolution.

The self-actualization continues on “Baby Girl,”  a tropically influenced mid tempo bop. More, the track is an internal pep talk to keep pushing and turning dreams into realities.

This narrative bleeds into the album’s second single, their most accessible track to date in “Do It.” Light, groovy, and lots of fun, “Do It” could be the breakout that shoots the duo to superstardom.

One of the strongest elements to the record is its cheeky attitude. It’s abundantly clear Chloe x Halle are having fun on several of these tracks. On “Tipsy,” the sisters playfully threaten their lovers with a fatal ultimatum. “If you love your little life, don’t fuck up,” they command.

On “Busy Boy,” the singers kiss off immature boys and their wandering, noncommittal attitudes. Both tracks lean heavily in the pop space, a perfect reflection of the lyrical tone of the songs.

“Ungodly Hour” is a well kept secret and pleasant surprise. Chloe x Halle enlist the help of Disclosure for production on the track, a well placed declaration of their worth.

Ironically, one of the weaker moments on Ungodly Hour comes in the some of the biggest collaborations. Mike WILL Made-It and Swae Lee visit to deliver “Catch Up,” the album’s decent but forgettable lead single. Its the rare moment on the record that feels overly pandering to an audience more than happy to sit back and hear the exclusive talents of the songstresses.

Arriving at “Overwhelmed,” one of the many stripped down vocal gymnastic interludes the women have made their signature, Chloe x Halle take the opportunity to be vulnerable. Maintaining the bounce of rest of the tracks, “Lonely” dives deeper with lyrics that are so intimate it feels as if Chloe x Halle are in the room with the listeners, comforting them with words of affirmation.

They turn the attention inward on the final moments of the album. “Don’t Make It Harder On Me” relates the complexity of being in a relationship when someone else grabs one’s attention. The song may have benefitted from a quieter production with the vocals taking up more of the spotlight, but it remains a gripping and vocally impressive inclusion to the track list.

“Wonder What She Thinks of Me” succeeds where “Harder on Me” falters. Halle’s vocals are astonishing, only further supplemented by the emotion delivered by Chloe. Their complementary sounds have never blended better than on this track.

What’s most brilliant about the record and the multi-talented Chloe x Halle is just that – their talent. Bringing together innovative production (“Tipsy”), unparalleled vocals (“Don’t Make it Harder On Me”) and nuanced songwriting (“Lonely”), the duo are unmatched in focus and consistency.

Ending with “ROYL,” Chloe x Halle remind the listener they are still the playful girls of The Kids Are Alright. Only now, they have scars and mistakes, and they are better for them.

“Watch out world, I’m grown now,” Chloe x Halle asserted on their debut. With Ungodly Hour, they prove it.

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Gaga repairs her wings in ‘Chromatica’

What do you call a Mad Max themed gay club?

Chromatica.

Chromatica, Interscope Records

A self-described dance record, Chromatica is extremely theatrical – an operatic symphony set to the best club soundscapes of the last few decades. Executive produced by BloodPop, the album is an extremely singular vision through which Gaga can fully execute her storytelling.

The record has a clear three-act structure, broken into segments by “Chromatica” interludes each setting the tone and providing delicious musical segues into each chapter. The story reveals itself to be one of redemption. In Act 1, Gaga seeks a love, fails, and is left to pick up the pieces. Act 2, specifically outstanding for the segue into “911,” tests her strengths and her grieving process, exposing moments of weakness and pain intercut with episodes of extreme confidence and progression. It isn’t until Act 3 when Gaga discovers her one true love: music. With the help of Elton John, whose personal narrative immaculately thematically aligns with the album’s story, Gaga expresses this.

Like many pop albums before it, when the flamboyance of Chromatica is stripped away, it is a classic tale of overcoming heartbreak. The point isn’t to tell an unfamiliar story – it rarely is in pop music. Instead, its to welcome the listener into a world of hope that transcends any sort of turmoil they are feeling.

Gaga and her producers’ ambition knows no bounds on Chromatica. The cohesive sound is impressively maintained throughout the album’s 16 tracks. This is as much an asset as it is a weak point. Several songs on the record build endurance only to be undercut by an underwhelming or trivial dance break.

Most prominently suffering from this anticlimax is “Rain On Me,” Gaga’s viral smash with Ariana Grande. Where it resonated with a public looking for hope and acceptance in an incredibly strange time, the track remains, well, not that good.

Like her duet with Elton John (“Sine From Above”), this collaboration utilizes the history of the guest artist to enrich the theme of the song. Anyone who knows Grande knows she has dealt with a lot in the past few years, not to mention her artistic imagery featuring rain and tear, and “Rain On Me” is a good fit because of this.

That said, the single suffers from a less than stellar chorus with the post chorus following suit.

Similar are later tracks “Enigma” and “Replay.” Featured in the album’s second act, the two songs encapsulate the duality of strength and weakness Gaga faced post breakup. In the context of the album, their presence is clear. As single tracks, both are easily forgotten.

Not all of the middle section of the album is like this, nor is the album generally. BLACKPINK lends a much needed injection of style and sleekness to the record, deepening Chromatica with the strongest club banger on the album. “Sour Candy” is a sultry, confident bop from a group of women expertly balancing their sex appeal and power.

Equally euphoric is solo standout “Free Woman.” One of the few tracks to reflect inward, it’s confident and one of the more danceable tunes on the album. The mode of communication Gaga utilizes here lyrically lays in subtext. What often appear as basic pop melodies are really layered insights into Gaga at this point in her life.

Another great example of this is the track “Plastic Doll.” Gaga fittingly uses the seasoned metaphor of the novel female pop artist – the plastic doll that everyone loves, for a time. She’s top shelf, meaning she can withstand the short attention spans and sexist career cycles of women in her genre. Underneath all of these appearances, though, is a deep sadness stemming from the broken-hearted insecurity within the artist.

While it has clear highlights, some of the record comes off painfully commercial. It’s a far cry from the “art pop” the singer has intended to be known for. Where albums Born This Way and The Fame had a lot to say under their glossy production, Chromatica does little to transcend the lived in heartbreak narrative. It lacks the edge that made her two strongest albums pop classics.

Chromatica closes with Gaga’s best “Vogue” impression under the pseudonym “Babylon.” Meant to close the album on a confident note, Madonna’s presence is palpable and impossible to ignore. If nothing more than slightly jarring, its enough fun to hear on the ride home from Chromatica.

At the end of it all, the record sounds exactly as expected. Fans of strobe swaying Gaga will lose it over the collection, while those looking for something new or innovative will shrug and move on as if they never heard the record.

In other words, Chromatica is for the Little Monsters turned Kindness Punks. For proof, see the type of merch Team Gaga is selling.

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