Absorbing our seasonal sadness, art/experimental pop duo We Will Kaleid released two last songs last year: Revoke/Aphelion.
“Revoke” is about self hypnosis floating on a wave of uncertainty, finally resolving into a stream of regret. The band details the track. It’s about the moment you realise that you did or said something that caused damage beyond repair. You are lost in indecision and uncertainty but somehow still comforted by monotony. A mellow, weightless, translucent, lulling state of mind.
“Aphelion” deals with what lies underneath it all, the one thing that we desire most. Loosing yourself in loosing one another. A void that even though filled with loss and grief, remains empty. Pure, calming, honest, weird.
We Will Kaleid create dense and oppressive arrangements with minimalist sound material. Upon rough textures of analog synthesizers, a dark and intoxicating atmosphere is forged with few but multi-faceted beat and voice fragments. We Will Kaleid are looking for a strong contrast. In dense electronic songs they prefer direct confrontation to comfortable harmony.
Just as on their latest EP “Tongue” We Will Kaleid take up dysfunctional aspects of communication and offers both spaces for self-confrontation as well as an escape from reality. The band’s output is a confusing, unpleasant trip into one’s own aggressive, ugly self. We Will Kaleid are a haunting and captivating appearance, with a clear stance: they do not offer an easy cure, the band remains consistently unforgiving.
Brooklyn-based artist/producer Laura Jinn releases her debut EP, Sick!, as well as sharing track by track commentaries with Glam Glare and Madness to Creation. With infectious songwriting and swirling sonic textures, Sick! is a maddening listen. Complete with bubbling beats and hyper-pop production, Laura Jinn digs into your psyche with her unnerving but addictive vocal delivery.
Jinn‘s debut EP Sick! is a 5-track EP comprised of 15 minutes of maniacal electro goth pop chaos. Jinn made the demos in 2019 while sifting through memories of a turbulent few years to write songs that unearth a hilarity in paranoia, claustrophobia and obsession. The EP is centrally preoccupied with sickness: who has it, and who decides what it is? What would it feel like to embrace your sickness, to accept it totally and to luxuriate in it?
Once the pandemic began, such attitudes towards sickness became harder to hold. Jinn produced the final versions of the tracks while quarantining in Brooklyn with co-producer Tatum Gale. They poured themselves into the music while grappling with bigger issues: the devastation happening around them, their fear for themselves, and the privilege that kept them safe.
The final product was a set of songs that retained their humor with a darker, more desperate edge. Bitcrushed synths, sudden drops and cut-off screams embody the fury and fear that circulate in Jinn’s world, even as her light, teasing vocals suggest bratty confidence. Simultaneously all messed up, wildly unkempt and tautly held together, Jinn‘s EP sparkles with gruesome implications. She might not be sick, but she certainly isn’t well.
Image credit : ‘Lovely’ video (director: Is She The Moon)
After three single releases in 2020, Sad Magic is the first EP for queer pop artist Gregory Dillon. Reaching 1m+ Spotify streams across his catalog, Gregory continues to impress globally, with major press coverage secured with Billboard, Gay Times, Paper Magazine, Buzzfeed, Billboard and Bedford & Bowery the last of which writes of Gregory‘s sound as pulsing with a yearning to look backward. Gregory Dillon‘s energetic synth-driven production and sensitive vocals are perfect for engaging in escapism.
Searching to find home, Gregory Dillon wanders a suburban dystopia that resembles both a familiar nightmare and distant daydream in this debut EP. Narrated from dawn to dusk, Dillon‘s album yearns to re-explore the complex landscape that both shaped and saddened his adolescents. This nuanced realization of a stereo-typed, American Dream is a Sad Magic best reflected in solitude.
“It isn’t enough for this album to just be euphoric or mysterious; I also hope to relay something very ordinary, very familiar, and very nostalgic”,says Gregory.
Gregory Dillon understands sad pop euphoria. He was primed for it in his suburban boyhood by secretly singing Phantom of The Opera in his basement and skidding asphalt alone on his green Razor scooter. In an attempt to find confidence in adulthood, Gregory moved to Brooklyn where he began constructing a pop fantasy that re-explores the confusing landscape that shaped his youth. Gregory has the unique position of being a classically trained performer (his first instrument being the piano). Using these musical sensibilities, he can be found anywhere from sound tracking a ballet, to writing your next favourite sad bop.
With a voice that balances the fragility of Amy Winehouse against the sheer power of Aretha Franklin, Singer-Songwriter Emi Wes has spent the last couple of years working with Danish Songwriters and experimenting with different genres to perfect her musical craft.
The stars aligned for Emi, as she eventually found the core of her musical foundation; a sound that is completely hers. Entering a new collaboration with renowned producer Robin Hannibal, Emi is ready to kickstart her career with the release of her new single ‘Issues’.
Brimming with rawness, the harmonious piano-led melody graciously weaves through silky strings as it reaches the chorus; creating the perfect springboard for Emi’s gripping vocals. Its execution is mournful and pure yet tinged with a hint of optimism which appears to define her unique compositional style.
Emi’s debut EP ‘Departure’ is due to land 13th November 2020, via No Rules No Limits.