Back to the Future

Zenizen’s Opal Hoyt has a tendency to write slow songs with positive messages, and buoyant dancefloor tracks with threads of darkness. “How Hard” fits the latter build, a disco number in which Hoyt explores what she refers to as toxic insecurity. Such contrasts are a staple of the Zenizen sound, whose spectra also range from neo-soul to experimental pop to enchanting r&b. But the upbeat disco flavor of “How Hard” isn’t a betrayal of its serious message — sometimes we must occupy ourselves with dance to find light in the world while it does everything in its power to drag us and others down. On “How Hard”, Zenizen find this groove instantly, supported by an outright masterclass of a bassline by studio vet Jonathan Maron, providing an irresistible, groovy foil to Hoyt’s rich alto and melismatic passages.

Zenizen - "How Hard"

Get busy! 
Here’s ‘Vacant Street’, the second single from Philip Frobos’ forthcoming debut LP and novel ‘Vague Enough to Satisfy’! Released as digital single today, alongside ‘My Funny Valentine’ as the b-side, ‘Vacant Street’ is a fizzy trip of ‘Whammy’-era B52s groove, hooky basslines and enough muted meanderings to make you wanna join Philip in a sprightly skinny dip. Baker Street!

Philip Frobos - 'Vacant Street'

Maria's final LIVE DJ set during her GOODBYE Global Tour in 2018- 19 before she went into her medical sabbatical to recover from receiving a rare brain surgery (Reluctantly Resting till 2023). Recorded live at Provoc Lounge in Brussels as part of Saturday Night Radio Panik & Moacrealsloa. January 26th, 2019.

https://www.radiopanik.org/emissions/moacrealsloa/maria-chavez-2/

Moacrealsloa

Maria's Last Live DJ set in Europe, Brussels/ Saturday Night Radio Panik & Moacrealsloa, Jan. 2019

Organic and eclectic dance music. Shore for the 1st hour, and special guest Dara Hirsch for the 2nd hour.

IG- @w_shore @datadata.wav

https://soundcloud.com/willshore
 https://soundcloud.com/darahirsch

https://linktr.ee/willshore

www.thelotradio.com
instagram.com/thelotradio
facebook.com/thelotradio
twitter.com/thelotradio
@thelotradio

Will Shore with Guest Dara Hirsch @ The Lot Radio 08 - 18 - 2021

Breathe into me
Living through you
See what I see
Animator, Animator

This touch is real
This skin is new
There was nothing before
Animator, Animator

I used to be stone
I used to be ore
It was such a bore
Animator, Animator

We, we will be more
Than just a motor
Just a a motor

Animator

Written by Alex MacKay + Chris Maier
Performed and arranged by Chris Maier + Alex MacKay
Mixed by Madison Velding-VanDam
Mastered by Philip Shaw Bova

Photo by Madison Carroll

THANKS Mum and Dad, Nick Sansano, Emma Howcroft, John Cunningham, Theo Olesen, Jojo Brandel

The Cutouts are Alex MacKay, Chris Maier, Leo Grossman and Lisa Hickox

Baby Blue Suede

Nina

Avalon Emerson played some of her favourite non-dance music records at Brilliant Corners.

@avalonemerson

RA Live

RA Live - 20.08.17 Avalon Emerson at Brilliant Corners

Inhuman Emotion is Warbly Jets new single out April 23rd, 2018 via Rebel Union Recordings / Warbly Jets

For more music go to:

Physical 
rebelunionentertainment.com/warbly-jets-store/

iTunes
itunes.apple.com/us/artist/warbly…ets/id1166895481

Spotify
open.spotify.com/artist/3sLxtyKG3mxKppht02MTCQ

Produced by Samuel Shea
Mixed By Carlos De La Garza
Mastered by Dan Gerbang
Recorded at Ultrasound Studios

Management:
Rebel Union Entertainment
ryan@rebelunionent.com

Warbly Jets are: Samuel Shea (vocals & guitar), Dan Gerbang (bass), Julien O'Neill (synths & guitar) & Ethan Snyder (drums)

www.warblyjets.com
www.facebook.com/warblyjets
www.twitter.com/warblyjets
www.instagram.com/warblyjets

Inhuman Emotion

Eartheater — IRISIRI 
Format: LP/CD/Digital
Cat.No: PAN 86
Release Date: 08 June 2018
Purchase: http://p-a-n.org/product/eartheater-irisiri-pan-86/
BC: https://alexdrewchin.bandcamp.com/album/irisiri

Eartheater (aka Queens based artist Alexandra Drewchin) distills foley-filled digital production, a three-octave vocal range, and classical composition into works suspended between obsessively detailed sonic tapestries and almost recklessly romantic and gestural electronica. A body of viscerally emotive live performance stands alongside her recorded output, realized by her fearless physical investment and gut-wrenching vocal sincerity.

IRISIRI, Eartheater's third full-length record, lays out a shifting network of abstract song craft, laced with sudden structural upheavals and collisions of mutated tropes from numerous sonic vocabularies. Modular synth staccato plucks hammer out in arrhythmic spirals over a carefully muzzled grid of pumping kicks - unleashed in unpredictable disruptions.  Technoid stabs mingle with crushed black metal. An icy OS reads poetry against a bed of granular synth swells.  Drewchin's sirening whistle-tone vocals drape over relentless harp arpeggios. Eartheater confounds expectations of structure and resolution before deciding to thread in a sugary melody that snaps us back into some conception, however hazy, of pop songwriting. Guest spots on  IRISIRI charge Drewchin's ideas with concordant energies, from the stark imagist poetry of Odwalla1221 on Inhale Baby, to the sheer lacerating force of Moor Mother's unflinching verse on MMXXX.

Drewchin's lyrics, strewn with flourishes of wordplay and symbolism, explore themes of her autodidactic experience - playing with the tutelage of the ‘pupil’ within the ‘iris' mirrored in the palindrome  IRISIRI. One motif appears as a song name,  C.L.I.T., which Drewchin breaks down into "Curiosity Liberates Infinite Truth." The acronym stands as a microcosm of the Eartheater project in its holistic combination of idiosyncratic spirituality and cheekiness, presented with an earnest confidence that some could consider confrontational. In spite of this lexicon’s maximal effect, it comes from a very personal place as she states, “curiosity has had to be the currency of my education". On OS In Vitro, she reminds us that "These tits are just a side-effect," and "You can't compute her," as if to acknowledge the clouding effect of sexuality and technology in the face of a higher self-significance. In the record’s accompanying video piece, Claustra,  she slides between "the owning of my loneliness" and "the end of the loaning of my onliness”, encapsulating images of self-purifying 
isolation and the rejection of artistic exploitation with the flip of two syllables. The transmuting landscape of IRISIRI is riddled with evocative poetry and evidence of Drewchin’s development as an artist since her debut in 2015.

Drewchin performs and collaborates with art duo and close friends FLUCT. In February 2017, she starred in Raul de Nieves and Colin Self’s opera The Fool at the Kitchen. In April 2017, featured on two tracks from Show Me The Body’s  Corpus I mixtape alongside  Denzel Curry  and Moor Mother. She’s currently composing work for the contemporary chamber orchestra,  Alarm Will Sound, that will debut in May 2018. Her new live set sees her accompanied by the concert harpist Marilu Donivan.

The release is mastered by Rashad Becker at D&M, featuring photography by Elise Gallant.

@alex-drewchin
http://www.eartheater.solar/
http://www.p-a-n.org/

IRISIRI

Eartheater — C.L.I.T. (PAN 86)

QADIR (BADBADNOTGOOD Remix)

Andrew Fox & co 
HOUSE OF FEELINGS | thesongsays | Other People

Animator

VISUALS