Live, there’s an improvisational approach to her vocals, a dizzying, free-flying journey that skirts around an aural vortex marked by neo-soul, vintage jazz, and left-field hip-hop.
For a while now, her work has been sought after, a vibrant fusion-based sound that speaks eloquently about love, loss, self-worth, and so much more.
Debut album ‘Honey For Wounds’ was released just a few days ago, and it’s a glorious listen; there’s a performance feel on many of the songs, with the fluid sessions featuring guest spots from the likes of Oscar Jerome, Wu-Lu, and Joe Armon Jones.
At the centre, though, is Ego Ella May’s stunning voice, and her wonderful songwriting skills. Responding to the world around and within her, ‘Honey For Wounds’ is a testament to her spirit, and music’s role during the self-healing process.Source: https://www.clashmusic.com/features/in-conversation-ego-ella-may
French prog rock. Dig the moody, spare instrumentals and vocalist’s style. The second track gives off a fun 90s grunge vibe.
Her voice is so smooth, and I love how the instrumentals add minimal textural punctuation in the background before swelling with that brassy crescendo…
A cover of a Nick Drake song that is also worth a listen.
Polyenso is an American experimental rock band based in St. Petersburg, Florida, United States. The band is composed of lead vocalist and keyboardist Brennan Taulbee, multi-instrumentalist and vocalist Alexander Schultz, and percussionist Denny Agosto. The band’s members were all at one point in American post-hardcore band Oceana, but moved to lighter, more uplifting music under the name Polyenso in 2012. Their sound is a blend of indie rock, electronic, folk, jazz, and hip-hop.https://en.wikipedia.org/wiki/Polyenso
Catchy, with keytar solos.
“While metal is what they do, the band clearly has mixed 80s New Wave synthpop with this modern progressive metal sound, creating music that is airy, hyper melodic, and incredibly fun to hear. You will hear dense keytar layering and super strong vocal hooks right alongside powerful polyrhythms and huge riffs. This is a band that knows musical space and understands how to balance everything to a tee.”
A particular vibe, well executed.
Cool demo performance using high speed projection and face scanning…
“The latest work to utilize real time tracking and face projection mapping using a state of the art 1000 fps projector and ultra high speed sensing, “INORI-PRAYER-,” has been released. This project was born when Nobumichi Asai (WOW) approached collaborators TOKYO ( http://www.lab.tokyo.jp/ ), the dancing duo AyaBambi, and the Ishikawa Watanabe Laboratory at the University of Tokyo.
This project began when songs were created about “life,” a theme proposed by Tanigawa (TOKYO), who acted as this project’s director. Creative and technical director Asai (WOW) and CG director Shingo Abe (WOW) completed visual production and programming based on inspiration they obtained from the songs. Aya Sato added the choreography, and TOKYO completed the project by making it into a video. “Radioactive” is the inspiration that Asai felt from music. “Radioactive” wields destructive power, and from that brings “death”, “suffering”, and “sadness”. And then, the “opportunity” to overcome those things. Accompanied by the overwhelming performance of AyaBambi, a visual synchronization of black tears, skulls, faces being severed, Noh Masks of agony and the Heart Sutra have sublimated into a single piece of work.”
Could listen to this guy noodle around improvised guitar solos all day.
This is really nice. Modern classical, jazz inflected. Composed by an associate professor of physics at Notre Dame. More on Spotify.
“Taking their name from George Orwell’s novel “Keep the Aspidistra Flying”, ASPIDISTRAFLY was formed by Singapore-based singer-songwriter April Lee and producer Ricks Ang in 2003. The duo play a flickeringly filmic mixture of ambient folk with gossamer-like vocal harmonies and guitar-based drone wrapped in delicate lo-fi haziness.”
More @ Kitchen-Label
“After leaving a career as a mechanical engineer in Boston to focus on art and sculpture, Tristan Shone, the creator and sole artist behind AUTHOR & PUNISHER, moved west to pursue his MFA in Southern California. In the metal and machine shops of University of California, San Diego, Shone forged a relationship with design, sound and fabrication that ultimately yielded AUTHOR & PUNISHER‘s first music and mapped the journey away from traditional instrumentation towards custom made, precision machinery.
Shone used his technical knowledge, along with his artistic background to create what Wired Magazine has hailed as his own “special brand of doom metal.” All aspects of the AUTHOR & PUNISHER sound begin with physical movement, limbs struggling in unison to coordinate a wall of electronic rhythm and oscillation, ultimately conditioned by an organic and loose quality absent of plastic perfection. AUTHOR & PUNISHER performances are a real amalgamation between man and mechanisms. They are direct, physical, heavy experiences that have amassed praise and intrigue from a wide array of audiences”
“…There Existed An Addiction to Blood is Clipping’s response to the horrorcore hip-hop of Brotha Lynch Hung and early Three 6 Mafia, which they’ve always loved and knew they wanted to pay homage to. But also, as horror film and literature lifers, their long-awaited opportunity to make a musical anthology of horror stories in the vein of the blaxploitation flicks of the 1970s—which they view as distinctly political, as Clipping has always been. The title of the album is taken from the 1973 film Ganja & Hess, an avant-garde horror film about black vampires that’s sampled in the centerpiece of the album, “Blood of the Fang.”
“It’s a lot of things I’m attracted to and interested in in noise, and metal, and extreme music,” Hutson says. “Which is, like, a very vocal hard-left, anti-racist politics. But that’s handled kind of irresponsibly and violently, in a way that would be frowned upon by non-anarchists, I guess.”
“The “Blood of the Fang” visual is inspired by a photo of Huey Newton — co-founder of The Black Panther Party for Self-Defense — hand-cuffed to a hospital gurney while being treated for a gunshot wound in the abdomen after a gun battle with Oakland police in October 1967.
[…] Daveed Diggs’s lyrics conjure an alternate history of black political struggle in the 1960s and 70s, name-dropping radical activists and reimagining them as a pantheon of undead superheroes fighting against systems of oppression.”