New Music Mondays | 9.17.18

We’re back, bitches. #NMM

Danny Nedelko‘ – IDLES

“‘Danny Nedelko’, the second single off the Bristol punk act’s newest album, Joy as an Act of Resistance, is an electrifying showcase of raw energy. ‘Danny Nedelko’ employs IDLES trademark bass-driven verses, before erupting into a full-force, anthemic chorus. As fans of IDLES have come to expect, the song’s lyrics are also full of witty commentary and critique. The song’s message revolves around the idea that people are equal regardless of their country of origin. The tracks urgency is undeniable as frontman Joe Talbott cries out for unity in the face of what he deems oppressive global regimes. Check out the band’s new record, Joy as an Act of Resistance, which was released on August 31st this past month. Additionally, catch IDLES live on September 20th when they hit Brighton Music Hall.” – Joey Molloy





Make It Out Alive‘ – Nao

“‘Make It Out Alive’ is the latest single from Nao. Nao burst on the scene with her critically acclaimed album For All We Know in 2016, and is following it up with Saturn coming out on October 26th. Starting with delicate vocals and building with impressive, almost Disclosure-like beats towards a soaring chorus, this song embodies how she’s taking the progress from the first album and working towards new heights. A feature from SiR punctuates Nao’s incredible vocals with a change of pace the song needs before finishing on a high note. Nao has always had strong vocals, and the best parts of her 2016 album were when she showcased them along impressive beats. This song certainly has both, and it’ll be great to see what else she has up her sleeve when the new album drops. If you like this track and want to see more from her, she’ll be at the Royale on February 1st so mark your calendars!” – Chris Bach




‘Lyla’ – Big Red Machine

“If Big Red Machine is the marriage between long-time collaborators and bona fide indie gods Justin Vernon and Aaron Dessner, then ‘Lyla’ is their lovechild. The track comes off BRM’s debut release People, and this track represents a perfect union between the creative preferences of these two artists. It perfectly encapsulates the new sound that Vernon was experimenting with in his last Bon Iver album; all jagged synth, choral harmonies, and weird little distortion tics. However, Dessner’s stylistic fingerprint is definitely present, with a prototypical thumping beat and low, melancholy electric guitar melodies. ‘Lyla’ is on face value gentle and reflective, but there exists a kind of layered, restless energy that permeates the track and keeps you smashing that repeat button again and again.” – Juliana Van Amsterdam





Album of the Year – Freestyle‘ – J. Cole

J. Cole follows up after his fifth studio album, KOD, with a new hit single ‘Album of the Year – Freestyle’. KOD was a lyrical masterpiece, reminiscent of the early Cole’s sound that many longtime fans have not heard since his first studio album. In hip-hop, there are certain beats and samples that refuse to go away. Recurring throughout ‘Album of the Year – Freestyle’, J. Cole uses the beat from ‘Oochie Wally,’ originally produced in 2001 by Nas, which takes shots at Jay-Z while Nas and Hova were feuding. J. Cole breathes new life into the ‘Oochie Wally’ beat, further exalting the timeless Nasir Jones. Cole’s gratitude towards Nas comes at no surprise to fans, especially after his sophomore studio album hit single ‘Let Nas Down.'” – Aidan Bazikian






“On ‘SLOW DANCING IN THE DARK,’ his second single since the release of his debut EP, In Tongues, Joji continues to blend cynicism and romance into painful beauty. Backed up by slow arpeggios of staccato strings, and soaring synths that ebb and flow with his voice and attitude, Joji expresses the internal conflict of someone who’s in love with someone else, but hates themselves: ‘Don’t follow me, you’ll end up in my arms…You should be with him, I can’t compete.’ On the verses, we get his classically lazy, mumbled vocals, but when the chorus comes, we’re just hit with gorgeous high notes filled with raw emotion. This is the type of song to listen to if you just need to get a good therapeutic cry session out. Or, if you just wanna sing along to something at the top of your lungs. Your choice.” – Clio Fleece






Noid‘ – Yves Tumor

“Yves Tumor has been known as an underground ambient and noise artist for a few years now, which makes his new album Safe In The Hands Of Love an odd venture. His new sound lies somewhere between Prurient, Blur, and Boyz II Men, which is to say it’s some very weird, but still insanely catchy, pop music. ‘Noid’ is the centerpiece of the album, starting off with the kind of beat The Avalanches would work with, but spiraling gracefully into the kind of chaotic noise you might hear from Arca. It also features several ear-worm refrains of ‘911! 911!,’ ‘Sister mother, Brother father,’ and ‘Have you looked outside, I’m scared for my life,’ that give the track a feeling of paranoia. Overall ‘Noid’ is urgent, forward-thinking, and a window into the future of the deconstructed cub genre. If you haven’t listened to Safe In The Hands Of Love, you’re missing out.” – Grant Foskett 





Grand Paradise‘ – Foxing

‘Grand Paradise’ leads Foxing’s third album, Nearer My God, off in style. For a band that loves to be experimental, this song is a rousing success, and ascends over most of their other work. The beginning of the song gives the impression that you’re being lead into an electronic pop hit, but what results is exponentially superior. Opening with a standard synth beat allows the song to grow as it flows through your headphones, letting what starts as a basic track eventually become a beautifully crafted work of art. Each new section added as the song builds is interwoven with the rest to create the melody, and subsequently stripped away to allow the piece to end as it started. Conor Murphy’s lyrics have often been the strongest point of Foxing songs, and ‘Grand Paradise’ is no exception, as it calls upon a haunting image of being ‘shock-collared at the gates of heaven’ in the second verse to lead you through the rest of the tune. I highly recommend taking a few minutes to revel in this masterpiece.” – Mike Puzzanghera



I’m a Man‘ – Ty Segall

Ty Segall just can’t seem to stop making music. And it’s wonderful. After already releasing two full albums in 2018, you’d think he’d take a break. Thankfully he didn’t, and gave us his re-worked version of The Spencer Davis Group’s ‘I’m A Man.’ Leave it to Segall to make a 1960’s British beat song cool again. While the track is jam-packed with all the fuzz and grunge we’ve come to expect from Segall, his sound has grown up a little since his early solo career. ‘I’m a Man’ showcases the best of past and present Ty. Maybe it’s just me, but all those sludgy chords sound a bit more mature this time around. Haute garage-rock, if that’s not too much of an oxymoron for you. ‘I’m a Man’ is tough. It’s loud, messy, and just plain fun. If the first riff doesn’t immediately make you want to become a tough-guy stereotype and buy a leather jacket, you’re doing something wrong. Plus, the song ends with one full glorious minute of Segall showing off his guitar chops. Eat your heart out, Steve Winwood.” – Olivia Mastrosimone



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