Yumi Zouma’s Kim Pflaum, aka Madeira, has released a new track “Let Me Down” and better yet, you can download it for free. The track was featured on Ryan Hemsworth’s Secret Song series, available on Soundcloud.
According to Kim Pflaum’s website, Madeira is a “new project” that debuted in May 2015. Unlike her involvement with the dream pop trio Yumi Zouma, the guise apparently allows for “more creative freedom and room to experiment in the alt. pop field.” Not unintentionally, her new song delivers just that.
In “Let Me Down,” Pflaum’s disarming, airy voice hangs onto a shade of dream pop haze but the buoyant, detectable beat lends an exuberance often lacking in dreamy flow together melodies. Synth beat interludes create an eighties pop ambiance that will leave listeners humming the tune all day.
Listen to the song below.
The Fader brings an interesting concept to our attention in a recently published article titled “What Is the Place for White Rappers Today?” Author Matthew Trammell interviews Mac Miller and Vince Staples to map out the dynamics. Trammell says:
Today, the white rapper’s position in hip-hop is a bit like the black citizen’s position in America: both at the center and on the fringe, a group with a complicated history that keeps throwing wrenches into the status quo.
The duo confronts the come up of the “white rapper” and the difference between people supporting white rappers because they’re white, which is problematic to say the least, and people supporting white rappers, like Macklemore, because we can all relate to only having $20 dollars in our pockets. In simple terms, support for an artist shouldn’t be based on the fact that they’re white. Miller gives a better point of comparison:
Good and bad music, it has so much less to do with what race people are.
Staples adds to Miller’s point:
Being in a certain social situation and being of a certain kind of class has nothing to do with what color you are.
While interviewing artists, we should be asking about more than just the music. Music needs to be handed more credit, in that sense. It’s more than just rhythm and melody— it’s a network of ideas and tendencies with its own system of operation and maybe that system should be questioned more often.
Car Seat Headrest (also known as Will Toledo) has just premiered a lengthy lo-fi single “Times to Die” (which can be listened to below via YouTube) which will be on their upcoming album “Teens of Style” that comes out on October 30th via Matador Records.
“Times to Die” blends together some fascinating musical layers into a tapestry of grooving indie rock that is all held together by a steady bass line. The vocals are incredibly dreamy and in some ways are reminiscent of 60’s folk rock while the guitar is wonderfully melodic; acting more as an accent than a focal point for the song. Pitchfork goes into further detail, saying:
“Times to Die” turns out clever, but there’s something frayed and confounding in Toledo’s vocals, something like mortal fear, as though he know he’s only got one shot here. And the song just keeps going and going, trailing off right before the seven-minute mark, right before it becomes exhausting. Those final measures are the sound of a band both excited to join their heroes and scared to death they’ll be forgotten. It’s either Pavement or Seachange; there’s no in between.
h/t Car Seat Headrest “Times to Die”
If you’re looking for an extended jam to become absolutely lost in, this is it. You’ll feel like you’re right up there with the band hammering away at an [...]
Shepherds, the super group composed of guitarist Jonathan Merenivitch, bassist Peter Cauthorn of Mood Rings, and drummer Adrian Switon of the George Bataille Battle Cry have released an ambient and immersive new single “Reverie” (which can be listened to via Stereogum here) which will be on their upcoming record “Exit Youth” via Muckman Records on October 23rd.
Listening to “Reverie” makes you feel like you’re just easily floating down a gentle river with the sky lit up in so many vibrant evening hues. You kind of lose track of where you are and you kind of just slip away in the best way possible. No longer do you feel the troubles and weight of your every day life. In this moment you are at peace and safe from everything. Stereogum further describes the track saying:
A reverie isn’t a slumber, yet it is not wide-eyed consciousness either. It lies balanced between the two, the state of a peaceful and blissful daydream, of getting lost in your thoughts and ideas. This notion of a dreamlike stupor is perfectly embodied in “Reverie”, the new single from post-punk band Shepherds. The song floats and shimmers in gentle waves, its ethereal sounds drawing from synthpop, shoegaze, R&B, and noise-rock.
h/t Shepherds – “Reverie” (Stereogum Premiere)
I could easily see being able to fall asleep to this song if it were on repeat. This is truly relaxing.
Merchandise front man Carson Cox’s side project Death Index has just put out a self released bassy and riffy dark new single “Dream Machine” (which can be listened to here via BandCamp) which is from the band’s three song EP “DX” which came out on September 24th.
“Dream Machine” is a fairly short driving song (keeping with the spirit of the band’s punk roots) containing riffs that act in some ways as a gigantic wall of sound, yet at the same time it is quite melodic in terms of the vocals and guitar solos. Pitchfork goes into further detail on the track saying:
Rapisarda’s skills behind the kit are undeniable, as he constructs a dichotomy between frenzied fills and a more leisurely main tempo. He also comes armed with the multi-instrumental dexterity typical of someone in the hardcore scene, framing the percussive deluge with mournful new wave guitars that serve as extensions of Cox’s wobbly croon. Indeed, Death Index sound deceptively full-bodied for a two-man band—after the song’s speedy demise, you can tell there’s a lot more madness where that came from.
h/t Death Index “Dream Machine”
“Dream Machine” acts as a good taste of what the rest of the EP contains. It is plenty enough to leave you wanting more.