Haster, recently signed to Musicarchy Media for their new album The Current Sea, have announced a series of tour dates in the Western U.S. to support the album’s first single “The Unscene.” The heavy duty Huntington Beach CA band will hit cities in Washington, Oregon, and Nevada, in addition to California, over the next few weeks, and will release the new LP on January 29th. See the dates and check out the new single below.
Hard to believe it’s been over 5 years since we first heard Brooklyn’s Chris Fields, whose Phantom Muzik album was in heavy rotation for a long time at OurStage HQ. He caught the attention of OS fans again this summer with a win in June’s Urban Finals category, and we played his track “Loving You” on the OurStage on Amazing Radio show the next month.
In addition to “Loving You,” Fields has also released the singles “Let Me See It” and “Put In Work,” all of which are expected to be on his forthcoming album Dreams Are Forever. While a release date has yet to be announced, Fields is keeping fans satisfied with yet another brand new track, this one called “Crown” (prod. by Rascal & AYO). This one’s based on a simple but menacing horn sample, with an even more intense chorus. Can’t wait for the full-length.
The amazing, multi-talented Nikki Lynette has just released a new track via Soundcloud. It’s called “Move The World,” and it’s a deeply-textured, R&B-flavored song that leaves enough room to showcase Lynette’s emotive lead vocal over a multi-layered groove. Every new release from Nikki Lynette is an artistic leap. It’s kind of amazing to see. Listen here:
We just came a cross this cool track, only to discover that it’s a brand new single, officially released today. Currently sitting in the Top 10 in our Pop channel, the song is by Nellie Bell and it’s called “Freaky.” It’s got a bit of that vintage vibe that’s been hot lately, but it’s grounded in quality songwriting with a great performance. The popularity of the song with the OurStage fans has already pushed Nellie Bell into our overall Best of the Best charts for a few weeks now. Check it out, and buy it on iTunes here.
Jordan Corey has just dropped her new single “Focus” via her Bandcamp page. It’s a complex and subtle pop song, with a heavy electronica influence. It marks a departure from some of the more vintage elements of her previous singles, with a thoroughly modern vibe. The propulsive beats and bass lines bubble underneath soothingly lush synth swells and Corey’s incredibly restrained but compellingly melodic vocal. Layered harmonies cut in and out to complement the synthesizer. Overall, it’s a beautiful relief from some of the aggressively uptempo and overwrought pop currently bombarding the airwaves.
A onetime OurStage ‘Artist of the Week,’ Corey recently played the infamous Electric Daisy Carnival EDM festival. She’s been teasing a video to accompany “Focus,” so we hope to have more from her soon.
Excited to alert you to this stellar new track from Air Traffic Controller, who we keep telling you about. A reliably catchy pop rock band, to be sure. But they’ve just debuted a song called “On The Wire,” which feels like a big artistic leap for the band, if not the mark of a whole new direction. This sonically adventurous song finds frontman Dave Monroe stepping back in favor of Casey Sullivan, whose lead vocal elevates the whole production. And a hell of a production it is, by longtime collaborator Bleu, who also co-wrote. Must-hear:
Foster The People (anyone else mentally complete that phrase with “you love with love” or am I the only one who listened to James Taylor’s Greatest Hits too much when I was 13?) have debuted their new single “Coming of Age,” which will appear on their forthcoming album Supermodel, due March 14th.
I thought their last album was pretty schizophrenic. Not necessarily a bad thing (I personally dig records like that), just a divergent sound from song to song. This new one matches some of the band’s established vibe, but is more driving and built-for-radio. It doesn’t bear the slow slacker feel of their crossover hit “Pumped Up Kicks,” but it is pretty chilled out and dressed in ambient sound along with some prominent guitars. Cool song, check it out.
More like this:
Sound And Vision: Foster the People’s Chart Challenge ” Is There Life After Pumped Up Kicks?
Sound and Vision: Is Gotye This Year’s Foster the People?
Dawes Release New Single, From A Window Seat, New Album Trailer
It’s pretty good. This would sound completely at home in the middle of Pure Heroine, so don’t expect any surprises, but it’s also a better song than a lot of that album’s tracks.
More like this:
Lorde Won’t Play ˜Haters’ Game With Selena Gomez
Lorde Releases Team Music Video
Lorde’s Royals Plus Sad Clown Equals Quality
Why Royals Isn’t The Song You Think It Is or: Lorde Is Lying to You
It’s a new day for Rebecca Black. The viral phenom has just released “Saturday,” the follow-up to her mind-bendingly bad single and video “Friday.” And I’m pleased to say that it’s an incredibly good, boundary-pushing piece of pop art. No, I’m kidding, it sucks terribly.
Black and her team, including duet partner Dave Days, who takes a verse and sings harmonies here, seem to think that displaying some modicum of the self-awareness that “Friday” lacked entirely will erase the public perception of her as a talent-challenged hack.
It does not. The un-subtle recalls to some of the more laughable moments of the “Friday” debacle (the bowl of cereal, the shocking ‘fun, fun, fun, fun’ lyric) in fact make them instantly un-laughable. We weren’t laughing with you, Ms. Black, and we don’t want to. It’s important that you understand that. You’ve actually ruined “Friday” for us. Amazing.
As some reviewers have noted, “Saturday” is a much more professional production. Black’s voice sounds better, and the song is both better written and better produced. But now she, and we, must face the moment of truth in which we hear and evaluate the ‘mature artist’ being offered here, unfettered by producers Ark Music Factory, which rightly took a lot of the blame for “Friday.” Now, almost three years after that toxic smoke has cleared, we gaze upon the banal horror of utterly soulless, overproduced, uninspired tween party pop, no different from a hundred other forgettable, disposable songs.
And that is why we should be glad for “Saturday.” It exposes the quality-irrelevant mess that pop music has become. If the person responsible for what has been called the worst song ever produced can turn around and release a song that would sound right at home on Top 40 radio or at the VMAs, what does that say about those celebrated pop pushers who were spared the embarrassment of having a “Friday” released before the pros got their hands on them?
Solange has bounced around the music world for a few years (with intermittent breaks from the spotlight), going from Interscope to an independent, Terrible Records, for last year’s True EP. Now she’s making her own musical home.
Her newest single, “Cash In,” is the lead from a compilation called Saint Heron, the first release from her own Saint Records label. (The comp also features R&B favorites like Kelela, Cassie, Sampha, and more.) It’s a bit of a new sound for Solange, with a slow rolling beat over an organ drone, and adorned with reverberating vocal harmonies. Very cool.
More like this: