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Kierst has a "Crush" on latest single

Following a few bars of strummed guitar Kierst declares “it's nothing more than a crush but / I'm holding my breath” and I believe her. For one thing she repeats the second line four times in a row and indeed crushes are nothing if not obsessive, and while singing the line four times whilst holding one's breath defies logic, crushes are nothing if not illogical. Check and check.

A pathway to love turned into a a cul-de-sac of hopeless hope: “Tinged blue in the face no it's not too late.” A distressing new fetish for emotional distress: “An unwanted switch that's leaving me reeling.” Check and check.

Keirst's lyrics here scan perfectly in a song that slowly and steadily and almost imperceptibly builds tension--but crucially never achieves release. Layer by layer you hear the addition of ride cymbal flourishes, plaintive guitar wails, hints of bass and perhaps keyboard and finally some insistent drumming over a late-in-the-game declaration to “love you to death.” And then like that it's over. And you want it to start all over again. (Jason Lee)


 

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Ananya explores found emotions in new single "Everybody’s Lost"

Pop-star Ananya keeps her music cool, relatable, and smooth enough for plenty of easy listens: in her new single “Everybody’s Lost,” the singer-songwriter deploys a heartbeat kick drum, a rippling synth atmosphere, and her soft vocals to soothe and deliver a tune to kick back to. Ananya, originally from Mumbai and now bouncing from Los Angeles to London, is connecting continents with pop music that is universally elegant and themes of love and freedom that are easy to identify with. Stream “Everybody’s Lost” below to find a song you can treasure, a mood you can recognize. - René Cobar 

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Jutty Taylor finds a refuge in routine with new single "Saint James"

It is not difficult to feel lost in times of uncertainty, maybe even feel forgotten, but there is a refuge in routine, and in music, so says Jutty Taylor in his new single “Saint James.” The new breezy single is driven by a bouncy bassline and a snappy drum pattern that gives pace to Taylor’s waxed-shinny falsettos. In the hooks, the atmosphere swells, and as an upbeat mood takes over, there is hope that all who wander are not lost. “Saint James” is the second single from Taylor’s debut album Little Seizures, set for release November 13th. For a moment, Jutty Taylor allows things to move along with no resistance and makes life a bit more simple; stream “Saint James” below, all will be well. - René Cobar, photo by Jessa Hills

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Sam DeRosa highlights mental health in new single "Sad Faces"

Sam DeRosa calls for a wellness check in her new single “Sad Faces,” and she could not be more timely: the month of October has been a long one already. Laced in the slapping/bap-bap beat that rides across a pop atmosphere is DeRosa’s call for universal cheerfulness, perseverance, and hope for a better tomorrow. The conversational, on-beat verses that segway into beautiful choruses show off DeRosa’s vocals, polished and sweetened with honesty. “Sad Faces” layers each sound so neatly without feeling overproduced: it’s intricate pop in production, simple and approachable in sound—the way it ought to be. Stream the bright music video for “Sad Faces” below for a reason to be cheerful. - René Cobar 





Lake Ruth/Listening Center warn of "Law & Disorder"

From its opening moments this collabiration between Lake Ruth and Listening Center--released over the summer with proceeds benefitting the NAACP Legal Defense and Education Fund--immerses the listener in a gauzily seductive yet apprehensive vortex of sound: "Don't sit and wait / there's no hiding here / unsubtle acts / rule the landscape that you know." Here is a song that acknowledges Law and Order are not the synonyms they’re often assumed to be (Allison Brice’s lyrics are clever enough to apply either to relationships or to politics even if the latter is to the fore). In the familiar music-crit parlance of “If You Like X, Why Not Try Y,” fans of Weyes Blood will likely respond to the layers of chiming guitars, wavering synths, and Grimms’ Fairy Tales vocals. But Lake Ruth conjure up a dark cloud of psych-pop perfection all their own. (Jason Lee)

 

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