Miss Anthropocene Out Now  https://grimes.ffm.to/missanthropocene

Download the #GrimesArtKit stems for "You'll Miss me When I'm Not Around" - https://soundcloud.com/actuallygrimes/sets/grimesartkit-remix-project

Known for her earth-shattering live show and singular, iconic voice, Florence + The Machine, stage name of Florence Welch, has become one of the most monumental artists of a generation, with multiple number one albums and countless awards across five albums—2009’s Lungs, 2011’s Ceremonials, 2015’s How Big, How Blue, How Beautiful, 2018’s High As Hope and 2022’s Dance Fever. She has collaborated and shared stages with icons—The Rolling Stones, Lady Gaga and Taylor Swift among them—and published a book of lyrics, poetry and drawings, Useless Magic.

Off With Her Head - Out Now
https://banks.lnk.to/OWHH

Sounds via Sam Schoonover from Los Angeles

Submit music for Spotify playlists and Soundcloud reposts: https://www.samschoonover.com/playlists

In house music curator at Goldenvoice & Coachella.

Because of the way the music industry is structured, there's too much good music out there that doesn't get the attention it deserves. Also, I just want others to be able to feel the same things I feel when I listen to music. Because I feel pretty damn good. 

So, I make playlists on Spotify at sptfy.com/samschoonover. I also do some reposting here on Soundcloud.

In a Soundcloud full of repost spam, I only share music that I actually like. The purpose of this channel is not to grow and get bigger, it's to help deserving artists reach more ears, and to help people find music they'll love. Questions? Comments? Party invites? Hit me up.

https://phantogram.komi.io/

Fall In Love Again (Desmond Remix) Out Now
Move In Silence feat. Big Boi Out Now

Sparked by a color or song that recalls the most joyful and tragic moments in your life, a sense memory vaults you into the distant past. These subtle triggers remind us that memory isn’t confined to the mind; it lives in the body, too. Phantogram’s fifth album, Memory of a Day, captures that disorienting sense of time travel. “We put these songs together as a capsule, thinking about how a certain sound or melody can bring you back instantly to a memory of a day,” Phantogram says. 

While they were recording, the duo fixated on life calendars, a gridded sheet in which each unit represents a single week of a person’s life on the planet. As you fill in the grid, you witness the progression of your life in stark terms. The older you get, the darker the grid becomes, reminding you of how much time you have lived, and how little you may have left. “It’s this exploded view,” Phantogram says. “Like an image of Earth from a distance.” The life calendar is both morbid and nostalgic, a physical representation of our ephemeral time on Earth. 

“Days are only numbers,” Sarah Barthel sings on the chorus of “Come Alive.” That lyric became a north star for the duo as they set forth to make Memory of a Day. At once heavy and ebullient, “Come Alive” distills the lasting impact Phantogram has made on popular culture. Since their 2010 debut, Eyelid Movies, Phantogram has been comparable to no one, futurists who still manage to stay ahead of the curve more than a decade into their career. Their genre-bending approach to pop has led them to work with everyone, from Big Boi, with whom they founded Big Grams, to Subtronics, Future Islands, Deftones, the Flaming Lips, Tom Morello, and Miley Cyrus, to name just a few. A festival staple across the globe, Phantogram has also toured with Queens of the Stone Age, Arcade Fire, the XX, and many more. “We’ve always been proud of that: not being afraid of the experimental.”

Though their music has always been future-facing, to make Memory of a Day, Phantogram looked back. “Recording this album, it felt like how it did when we first started making music together,” Phantogram says. Alongside special collaborators like Mikky Ekko and Dan Wilson, Phantogram was joined in the studio by producer John Hill, who helmed Phantogram’s second album, Voices. The duo experimented in the studio and indulged in the music that brought them together in the beginning, artists such as J Dilla, Prince, Slowdive, and so much more. They reference new wave acts like the Talking Heads, ESG, and Liquid Liquid as influences on the percussive punk track “Feedback Invisible,” which is followed by the wistful burst of color “Attaway.” It’s a shoegaze song so sumptuous “you can almost see the grain in the guitar sounds.” 

Phantogram think in images when they write, drawing on scenes from films that linger with them years on. “Ever since Eyelid Movies, our work has been visually driven,” Phantogram says. In the video for the fuzzed-out waltz “All a Mystery,” snippets of human lives coalesce into a montage of experience. “Erase all the tapes in my mind/ Throw them all away,” Barthel sings, accompanied by a bittersweet swell of synths. “Turn back the tables of time/ Let all those memories die.” A swirl of memories, both triumphant and tragic, surface on Memory of a Day. “Come Alive” was written after Barthel experienced a transformative live show on her own, while the title track recounts the moment Josh Carter had to put his dog down. “It’s what you wanted, but couldn’t say,” he sings. “I’m not afraid of dying or what it feels like”

The album’s penultimate track, “Happy Again,” is a thrumming, bass-heavy rock song with a chorus that sounds like a wave crashing against the sand. “Another empty summer sunset/ Feeling homesick,” Barthel sings ahead of the bridge, her voice catching on the breezy, luminous production. “Can you believe this is your life?” It’s a moment of realization Phantogram compares to the dour scene in Forrest Gump, where Lieutenant Dan, “mega depressed and drunk,” throws a bummer New Year’s Eve party. Still, the song ends with an enlivening mantra. “I can be happy again,” Barthel repeats as guitars careen and crash. If days are only numbers, then how else can a person measure a life? On “Ashes,” the answer seems to be in moments of resilience. Based on the adage “you came into this world alone and you’ll leave it alone,” the throbbing production infused with elements of trip hop, shoegaze and indie accompanies Barthel as she reminds the listener: “Ashes rise, ashes rise.”

When they penned the lyrics, Phantogram thought of the mythical phoenix spreading its wings after catastrophe to take flight. The vulnerable, even despairing moments on Memory of a Day are stark, but they’re buoyed by a relentless optimism that has driven this project from the outset. In the Los Angeles studio where they recorded Memory of a Day, Phantogram often marveled at the distance they’ve come, both physically and spiritually, since they first started making music together in a barn in Upstate New York. “Tomorrow never knows,” Barthel nods to the Beatles on “Come Alive.” The accumulation of days together tell a story bigger than any finite lifetime, and Phantogram’s life calendar is only a fraction full.

My Friends Are Internet and I Want to Break You Open available NOW on Plug Research Records: https://adultkarate.bandcamp.com/

adultkaratemusic@gmail.com

Canadian alt-pop artist Adaline fuses powerfully evocative music with an emotionally unbound lyrical honesty. This authenticity appeals to her growing fanbase and is why she is considered "one of the best young songwriters in the country" (CBC Q) and "a rising Canadian talent that takes listeners to angelic heights" (Billboard Magazine). She has released four critically acclaimed studio albums garnering millions of streams, dozens of editorial playlist adds, and a nomination for “Pop Album of the Year” at the Western Canadian Music Awards.

A prolific songwriter, Adaline has had songs licensed in more than 85 film and television scenes including multiple songs on Grey’s Anatomy, 90210, Tiny Pretty Things, MacGyver and more. She collaborated on songs for The Canyons score starring Lindsay Lohan with Brendan Canning of Broken Social Scene and was selected for a composer residency at the prestigious Norman Jewison's Canadian Film Centre. There she collaborated on a music video with Grey’s Anatomy star Giacomo Gianniotti for her song “Nostalgia”. She composed the NBC Short Thriller “Fear of Mutilation” and short film “The Red Balloon” currently premiering in film festivals across the US.  She is also the voice on over 50 national commercials airing in Canada and the US.

Adaline’s queer ballad "Ghost" was licensed to the popular LGBTQ+ TV show Wynonna Earp for a groundbreaking love scene. Fans connected with Adaline's experience of growing up as a minister's daughter and her journey of reconciling queerness and spirituality. This sparked a community now non-profit organization, of which she is the founder, called Bad Believer (www.badbeliever.org) providing resources, therapy referrals and community for LGBTQ+ people healing from spiritual and religious trauma. 

Adaline's upcoming EP “Hymnal" (March 2024) is inspired by the stories of the Bad Believer community. Produced by platinum selling musician Chris Coady (Beach House, The Yeah Yeah Yeahs, Grizzly Bear) the EP opens with snippets of voices from the community followed by "Brave", a coming out ballad highlighting the vulnerability and anxiety of coming out to family and religious communities.  Following tracks speak to the heartbreak of being rejected by community, the fatigue of justifying who you are, and the failure of a church system to embody the kind of love they preach.  The tone then shifts to a more hopeful gaze with "If Something Is Good" encouraging us to fight for our valued connections and closes with Adaline's love letter to her parents called "What Love is All About", showcasing the power of love when one is fully accepted and embraced.

Adaline is following