Pop Winds - Met Some New Colours

It’s Flashback Friday. And with all the ongoing injustices in the world, it feels inappropriate to use that word, injustice, to describe our dismay at the lack of Spotify streams for Pop Winds’ “Met Some New Colours.” But everything is relative. And this special song has been around for a good 12 years without anyone to hear it. That’s why we’re brining it back to life, even for a brief moment in time, to pay our respects to yet another song that had everything working for it besides the sheer luck of being discovered. Heck, it even was released at the perfect time: 2010 - right alongside WU LYF, Hooray for Earth, and quite a few like-minded others that managed to cross that exposure threshold - a threshold that far-too-often plays the role of judge, jury, and executioner of a song. But, alas, we find ourselves here again on this fateful Friday, doing the only thing we know how to do in these circumstances: paying tribute to an excellent song that never got it’s day in the sun.

Gracie Gray - Happiness

Gracie Gray’s “Happiness” is an objectively sad song. And it’s not necessarily one that provides some relief, or solace, at its conclusion. Instead, it sort of basks in its own grief - it owns it. And that, in itself, is kind of refreshing. Sometimes, it’s ok to be sad - and being actualized enough to admit it, identify it, and wallow in it is a rare trait. In “Happiness,” Gray creates a guitar-centric, melancholic landscape that’s set up in three distinct acts. And, as sobering as the subject matter might be, when it reaches its fateful climax and the melody from act one is reintroduced, you’re left feeling pretty good. This pretty tune is one of a quite a few indie folk gems featured on her sophomore LP anna. And, if you’ve still got some emotional resources from this week left to exhaust, we suggest checking out the music video that so elegantly chronicles Gracie’s life - and perhaps some of the things she’s lost along the way.

Golden Vessel - pockets full of rocks (feat. mallrat & Emerson Leif)

I’m not sure if Golden Vessel’s connections within the music industry are all a few degrees of separation from one other or the guy is so charismatic that people simply gravitate toward him. What I do know is that he is a sucker for a good collab, and his catalog features a lot of them. Most recently, he’s opted to recreate a winning formula by running it back with mallrat and Emerson Leif on his new single “pockets full of rocks.” It’s a wholesome alt-pop track that takes advantage of each one of these top tier artists’ respective strong suits. Lyrically, the verses plain sound like something Grace Shaw of mallrat would write - which is a testament to her ability to not only create a signature sound for herself, but also a signature voice. Golden Vessel is almost certainly gearing up for a new LP release in 2022, and while we are only relegated to guessing who else might be featured on it, you can safely assume that it’s bound to be another quality sonic endeavor by this crafty Australian producer.

Warpaint - Stevie

Warpaint’s “Stevie” has too much soul to be classified as your typical dreampop tune. It’s so much more than that. With hints of alternative R&B and even a little funk sprinkled in, the first thing that’s clear about the most recent single off their upcoming Radiate Like This LP is the craftsmanship that went into it. The sense of intention within the arrangement is almost palpable, as if just as much time was put into developing the blueprint of “Stevie” as was the actual recording process. And during a time when moral abstention leaves us with a Rhye-sized hole that needs filling, Warpaint’s brilliant ballad about love and dancing comes along at just the right time. So far, they are 2 for 2 with pre-album single releases as the hype continues to build for what’s turning out to be an album of the year contender.

Rae Morris - Running Shoes

We’re just through Q1 of 2022, but the most unique track of the year has already been signed, sealed, and delivered as Rae Morris’ “Running Shoes.” You’ve really got to listen for yourself to see what we mean. Paying homage to seemingly every timeless Judy Garland performance at once, Rae Morris takes you back - and we’re talking way back - to when the sound of crackling vinyl wasn’t simply an effect to add a vintage feel to your track - it was cutting edge technology. As the intro develops, Rae takes you on a deep dive into the cinematic, whimsical, and ever-so enchanting world she’s conceived for her upcoming record Rachel@Fairyland. And as “Running Shoes” transitions from a time past to the here and now, you’re greeted with a modern, soul-pop ballad featuring detuned synths and Morris’ insane vocal harmonies - and we can’t help but take a step back and acknowledge the sheer brilliance of it all. Because, tracks like this don’t come along often. And, in the case of “Running Shoes,” you’re hearing the best of two worlds - tethered only by deep-rooted feelings of nostalgia and one artist’s uniquely creative vision.

Lyon - Lullaby

It’s Flashback Friday. And, on another, more just timeline, I wouldn’t be writing about Lyon’s “Lullaby” at all. Because you would have already heard it. Because it’s so profoundly special. Kind of like College x Electric Youth’s “A Real Hero.” Imagine a timeline where that song flew under the radar, didn’t make it on to the Drive soundtrack, and faded into obscurity. Lyon’s “Lullaby” did everything right, it just didn’t get that artificial bump it needed to cross the exposure threshold and cement itself as a timeless classic. Which brings us here, reflecting back on what could have been, while still holding out flickers of hope that it’s not too late to alter the course of history for this impeccable, honest, and perpetually important tune.

Abby Sage - Force of Habit

Abby Sage’s “Force of Habit” features a stylistic approach involving layering that you’ll find her to use, rather habitually, throughout her catalog. In the case of “Force of Habit,” it opens with a quick tease of glitchy vocal sampling and a spacey guitar riff before proceeding into the first verse. Your next fateful meeting with said vocal sample comes at the first refrain, where it acts as one of a few textural components that work in tandem to keep you in competing states of discomfort and curiosity. Next comes the introduction of a melancholy piano melody that’s got you feeling the same way as you did when you first heard Counting Crows’ “Colorblind” during the legendary Cruel Intentions escalator scene. And, to bring things full circle as her creative vision comes to fruition, you hear that lush guitar riff from the first act nestle itself in the last open slot of mix space in the left pan. With her first single since her Fears of Yours & Mine EP being an excellent one, the stage is set for a promising 2022 for this L.A.-based singer/songwriter.

Barrie - Dig

Following a brilliant one, it’s been an equally tough week in music this time around. We’re fully satisfied with Destroyer’s Labrynthitis. And Barrie’s Barbara has kept us more than content, but after hours of tirelessly “nexting” through streams, we feel like we’re back at square one with nothing to show for it besides a handful of “maybes.” So, instead of forcing material on the blog that doesn’t quite meet our standards, we’re going to post another favorite from Barrie’s exceptional sophomore LP. It feels like we’re still getting to know Barrie, the artist - including all her quirky mannerisms and idiosyncrasies. This stage of fanhood doesn’t last long, though - so it’s important to cherish it. “Dig” is a wholesome, playful, and unsuspectingly touching song that’s made a perfect home at track number 5 of what' we’re already hailing as one of the best records of 2022.

Owen Pallett - Midnight Directives

It’s Flashback Friday. We knew we’d be posting an Owen Pallett song this week, but picking just one feels plain wrong. Owen Pallett was one of the first artists that helped propel us out of our shell of complacency and comfort and into a new realm of musical exploration - a realm that forced us to question our own musical tastes - and biases. That’s because Owen Pallett isn’t going to hand over the faintest granule of satisfaction you’ll derive from his music without you first putting in the time and effort to earn it. And it feels like he’s only doubling down on that notion with the material from his most recent LP, Island. But we’re here to look back even further, to the track begun an infatuation for the ages. At first, we simply didn’t understand “Midnight Directives” - as if it was a Fantasia score B-side. And then, we really listened - and everything came into full focus. And that clarity not opened up a world of incredible Owen Pallett songs like "This is the Dream of Win and Regine," "Fire-Mare," and "The Great Elsewhere," but also expanded our horizons to appreciate other, like-minded musicians. “Midnight Directives” is more story than song, and to imagine what went into the creation process surrounding it’s meticulous, bizarre, and ever-expanding arrangement is beyond our mortal comprehension. What we can do, though, is sit back, listen, and appreciate. And we’ll continue to treasure this champion’s work so long as we’ve got an ear to hear it.

Each Friday, we will select a new song from our all-time Best Of Spotify Playlist, found here.

Widowspeak - The Drive

Widowspeak doesn’t miss. It would be obnoxious if it didn’t sound so damn good. Plum was, hands down, our favorite record of 2020. And their new LP The Jacket is turning out to be another contender for record of the year. This NYC four-piece seems to be thriving in a day and age where other groups are floundering due to streaming relevancy demands, loss of bandmates, or perhaps, an innate lack of drive. While I’m not sure if “The Drive” is as macro-focused on the subject as we are, the underlying themes powering the song and our own personal sentiments remain in tune with one another. And if you’ve hear this spectacular track, you’ll agree that a drive for perpetual greatness is not a trait that Widowspeak is currently lacking.

Lauren Auder - Hauntology

We at Lower Frequencies are pretty picky. So, when you see three “Best New Music” features in a row, it’s fair to assume that our week is going pretty well. Lauren Auder’s “Hauntology” is one we missed the first time around and, quite frankly, it’s been criminally underplayed on Spotify for the month or so it’s been out. I can’t confidently classify it in any one genre, and I also can’t seemingly put my finger on what time period it might be influenced from. I could throw out a few names: the swirling flutes have a bit of a Jethro Tull, Ian Anderson-ey vibe, and the epic brass presence that coats this anthem like the last layer of frosting on a triple-tiered cake has us reminiscing on Miike Snow’s “The Pretender.” But really, at the end of the day, I’m willing to say whatever gets your foot in the door to listen to this mesmerizing tune. Let’s give this a shot: Lauren Auder’s “Hauntology” sounds exactly like (insert your favorite song from your favorite band). As we eagerly await a debut LP expected out this year, we’ll be exploring every nook and cranny of Auder’s catalog for more gems like “Hauntology.”

Fearn - Lake Annecy (feat. Lorphe)

The creation process of a song is often just as cathartic as the listening experience. But, it’s different. You’ll spend a matter of minutes digesting what was an endeavor of months, or years, by the creator of said art. When it comes to Fearn’s debut single “Lake Annecy (feat. Lorphe),” I’d be willing to guess the process of creating this dynamic, nuanced, and quite sophisticated tune was as emotionally exhausting as it was rewarding. I’m not going to try and undertake the academic exercise of interpreting and transposing “Lake Annecy” to better understand what was occurring in Fearn’s, AKA Sussex-based producer-songwriter Will Taylor’s head at the time of conception. Instead, by letting whatever feelings resonate as they otherwise would, you end up keeping a piece of the song all to yourself. What’s most fascinating about “Lake Annecy” is something beyond the array of orchestral soundscapes, whimsical melodies, and Lorphe’s lush vocals - it’s something within the arrangement itself. From elegant beginning to bittersweet end, “Lake Annecy” continues to build upon itself - as if it were an ever-evolving lifeform taking on a shape that it could have never anticipated. And when this astounding tune comes to a head, it’s the introduction of those wailing violins that signal to the listener that everything is, in fact, going to be OK.

Julia Wolf - R.I.P. to the Club

The production value behind the gliding 808s that power Julia Wolf’s “R.I.P. to the Club” is a work of art. It’s the lifeblood and the driving force behind what’s turning out to be one of our favorite songs of the year. Over the last few years, this Queens-based classically trained singer/songwriter has been meticulously crafting her musical persona. She’s already got the aesthetic down pat, but what we hear in “R.I.P. to the Club” is an evolution of her sound - and a clear message to fans and critics alike that Wolf has no intentions on doubling down on something just because it works. Back to the release of her first single since her Girls in Purgatory EP, “R.I.P. to the Club” is way more than than just those aforementioned gliding 808s - it’s also a coming of age story about someone who’s finally outgrown the club scene (at least, that’s our interpretation). The juxtaposition between the innocent, acoustic guitar undertones of the pre-chorus to the dark, grimy underworld so provocatively laid out in the chorus also seems to demonstrate Wolf’s shift from shy girl by day to vampire lusting for blood by night. It’s not just a melodically captivating song, it’s also a refreshingly cohesive one from the standpoint of bridging underlying message and sound. As we continue to blast this tune whilst reminiscing on our own club misadventures, we’ll be patiently waiting for more new Julia Wolf material in 2022.

Alex Lustig - Show Me

It’s Flashback Friday. Today, we reflect on a song that we consider one of the best ever created. That’s no hyperbole - it’s one of the best songs of all time in our book. Historically speaking, NIN and Beck will always be #1 in our hearts, but for the last few years, it’s been this incredible Canadian electronic producer that’s ruled our airwaves. And the infatuation began with today’s featured “Show Me,” which encapsulates everything we love about Lustig’s style: Lush pads, sensual vocals, next level vocal sampling, and the most creative use of white noise and field recordings in the industry. He came along at a time when we were feeling disheartened by the lack of creativity and originality within the electronic music scene. Then, out of seemingly nowhere, came Lustig to the rescue, lighting a spark in us that’s yet to be extinguished. If you’ve yet to dive into Lustig’s catalog, we look to you in envy - and we hope it’s as religious of an experience for you as it was for us. And here’s a few other Lustig songs to check out, while you’re at it: "In The End," "Free Form," and "Stardust."

Each Friday, we will select a new song from our all-time Best Of Spotify Playlist, found here.

Jordana - Pressure Point

We here at Lower Frequencies are suckers for a good set of vocal chop sampling. From the days of DJ Snake’s signature “Lean On” sound to now, the art of the vocal chop has been rinsed and repeated until the metaphorical fingers are pruny to the touch. That’s why it’s always refreshing to come across a song that manages to rehash an old technique and make it sound fresh again. Jordana’s “Pressure Point” is good for more than just that reason, but it’s the vibes at the chorus, featuring said vocal sampling, that really round out this fun and wholesome tune into one of the more enjoyable tracks of the year for us. Her new much anticipated new record Face The Wall is set for a May 20th release date.

Viji - Feel It

Viji’s “Feel It” has a simple message: Sometimes, in order to feel good, you’ve got to earn it. And you might have to take a step or two outside of your comfort zone in the process. Viji’s carefree style perfectly embodies the alt-pop genre and a Gen Z population that’s ready to take the reins from its Millennial predecessors. But none of that really matters when it comes to her single “Feel It,” which is featured on Viji’s new Cali EP. It’s a tune you can step in and feel instantly suspended, if only for a few minutes, as whatever baggage you were previously carrying waits at the doorway. Characterized by a funky bass groove, wide plucky guitars, and Viji’s absolutely essential howl at the refrain, this one’s sure to attract fans from a variety of backgrounds and age demographics. Check out the music video for “Feel It” below.

M Field - Hyenas

We don’t mean to hijack this post, but South African native M Field’s new single “Hyenas” has us reminiscing on the near 10-year anniversary of Mesita’s The Coyote LP. Maybe it’s M Field’s eerily similar vocals, maybe it’s their lighthearted parallel tones, or maybe it’s simply that both are named after closely related canine descendants - but we’d be remiss if we didn’t pay tribute to an old classic while praising a new one. Back to the present, M Field’s whimsical ballad is as playful as it is adventurous. He’s got a knack for creating these sorts of cinematic soundscapes, and his clever incorporation of stringy orchestral elements really helps to not only elevate his music to another level, but also separate his sound from the rest of the - pun intended - pack. Check out his quirky, charmingly low budget music video for “Hyenas” below.

supernowhere - The Hand

Origin stories aren’t exclusively reserved for Marvel villains. They’ll sometimes occur in music - where one single moment sets the stage for a band’s future success. When Seattle’s supernowhere is talked about ten years from now, I think there’s a chance people will trace their origin story back to a single guitar riff. The riff I’m referring to, featured in the brilliant tune “The Hand” off their brand-new LP Skinless Takes a Flight, is a sound to behold. It’s simplistic yet nuanced, minimalistic yet sophisticated, and completely captivating. While stylistically they don’t align much with Radiohead, there’s also something about “The Hand” that’s going to draw in diehard fans of In Rainbows, such as ourselves. But at the end of the day, they’ve created a unique piece of art that we’re anticipating might set the stage for the next phase of this indie rock outfit’s evolution. We’ll have to wait to find out, but until then we will be rocking to a steady dose of this fantastic track from supernowhere.

MONEY - So Long (God is Dead)

For this week’s edition of Flashback Friday, we look back on MONEY’s “So Long (God is Dead)".” Quite possibly the most under-appreciated song of the decade, “So Long (God is Dead)” also characterized everything we loved about the 2010s: spacey, layered guitar melodies, dreamy falsettos, and a carefree weirdness that you were willing to stand by and own as a defining trait. It’s a song that’s not necessarily going to leave you in the most comfortable of head spaces, but if you’re able to piece together the underlying message within the somewhat cryptic lyrics, you’ll find that’s entirely the point. MONEY hasn’t produced new music since their excellent sophomore LP Suicide Songs, and if their catalog were to end there, they will remain absolute legends in our book.

Dora Jar - It’s Random

Dora Jar transcends labels and constructs. Where I’d refer to another group/artist as an (adjective) band, Dora Jar’s just a band. That’s because this California native has no intentions of restricting herself to the confines of one particular genre. What’s funny, is that we wrote these sentiments and then proceeded to read a little more about her. The first thing we came across, via Dora’s label Wasserman Music, was the following: “Dora Jar is an artist who refuses to be defined.” It sounds like we’re on the same page. And when it comes to “It’s Random,” we are on the exact same same wavelength. Featured on her brand-new comfortably in pain EP, “It’s Random” is more anthem than song. It’s a bubblegrungy, distorted, hardcore piece of art that deserves to be put on display for the world to hear. And as admirers of said art, we’re simply doing our part as we broadcast this amazing tune out to our tiny corner of the blogosphere.