Swedish superduo Galantis retains the catchiness in pop with techno EDM once again. Galantis is Christian "Bloodshy" Karlsson from Miike Snow, plus Linus Eklöw, aka Style of Eye. They are best known for their 2014 single "Runaway (U & I)" and 2016 single "No Money".
Galantis’s latest single “Love On Me” stirs big waves featuring chart-topper Hook N’ Sling aka Anthony Maniscalco. ARIA nominated Hook N’ Sling earned tens of millions of spins online, and gained BBC Radio 1 support from Danny Howard after releasing a remix of “Tokyo by Night” with DJ Axwell.
The track is accompanied by a simple keyboard chord progressions, where the steel drum synth doubles as the melody, with percussion grooves and melodic bass pinned to the vivaciously resonating vocals. Expressive and forceful, the music video is visually flamboyant simulating thousand armed Avalokiteśvara, kaleidoscopic views and vibrant colors. Avalokiteśvara embodies Buddha Amitābha’s merciful attempts to reach and care for people’s suffering multitudes.
Enough said, come watch and lit up your day mid week!
Male model turned musician David Welles leads his self-proclaimed cyberpunk band ONWE in a new music video for their song “In the City” off upcoming album David Welles. The album follows up on 2014’s jk bb EP. Brooklynites might recall Welles’s social media campaign from that year, where Welles friend-requested many people in a sort of guerilla marketing for ONWE. If not, you can easily catch yourself up on the fun with the existing EP in preparation for the album!
ONWE, a blatant play on the French word ennui (meaning “boredom,” for those of us who’d care to forget our high school vocabulary drills), is not shy about the term “heavy handed” in regards to their message about the apathetic youth. Their music challenges this apathy, social and economic inequalities, and gender.
The video for “In the City” is officially described, “David Welles and his cult of Bushwick party people engage in ritualistic hedonism during an impeccably lit advertorial photo-shoot.” It indeed features a wide cast of faces under the direction of Madison Velding-VanDam and producer Kelsey Tyler. The plain backdrops familiar to anyone who’s seen a commercial frame ONWE’s “impeccably lit” cast on a shoot gone awry. You’ll definitely want to buy what ONWE is selling.
ONWE’s full length album will be available through Seayou Entertainment on November 18th.
Gender bending Hunnypot alum and Washington native Michete has a new video out for their song “Recognize This Pussy”! If you missed the performance at The Mint on October 3rd, check out this video to get in the Michete spirit. The track is filled with signature Michete pop culture references, including video games for the gamers out there, layered on a quintessential rap topic, getting that paper. Michete is concerned with two things in “Recognize This Pussy,” and those are, making money, and recognizing that pussy. It’s empowering, a gender-neutral take on popular modern adage, “fuck bitches get money.” This blend of witty and humorous lyrics on top of an unapologetically in your face manner of presentation forces us to rethink our ideas on gender and sexuality while simultaneously encouraging us to do life for ourselves.
The video was directed and edited by Ruby Paiva and Reed McCoy and features cameos from Seattle artists ZELLi, Worshiprr, and NAVVI frontwoman Kristin Henry. This crew, headed by Michete, traverses streets and parks together in the video to feature the strength of the pussy that ought to be recognized. Michete’s call to arms, “Where my ladies up in here that don’t need that?” is a rallying point in between the main lyrics of the song. Whether you’ve got a pussy or not, you’ll want to get in touch with your inner bad bitch when you watch this video!
Join us on Monday, November 21st from 6-8pm for this special panel discussion with experts in the Music Supervision and Placement field. This free event is also open to the public and will take place at Musicians Institute Concert Hall. The panel is comprised of:
Frankie Pine is an award-winning music supervisor, putting together memorable, provocative, and engaging soundtracks for high profile film and television projects. Her diverse work spans multiple genres, from popular television dramas like “Brothers and Sisters” and “Army Wives,” to comedy feature films like “Santa Claus 2” and “Tooth Fairy,” to indie box office hits like “Magic Mike.”
She is currently supervising Aaron Sorkin’s hit television series “The Newsroom”, Amazon's original streaming show The Ranch staring Ashton Kutcher as well as the inspired country music drama “Nashville”. Along with her television expertise, she has extensive film credits, serving as music consultant on such successful films as Steven Soderbergh’s “Ocean’s 11, 12 and 13,” and on the soundtrack for the Academy Award-winning movie “Traffic” for which she received a Grammy nomination.
In addition to her work as a music supervisor, Pine also serves as a Music Consultant for ABC Television and has served as Interim Music Executive at New Line Cinema as well as Music Executive at PolyGram Filmed Entertainment, which included overseeing music for such outstanding films as Dead Man Walking, Notting Hill, and The Big Lebowski.
Frankie works under her banner of Whirly Girl Music. Additional accolades include a 2012 Guild of Music Supervisors award for Best Music Supervisor for the indie film “Magic Mike” and an RIAA Certified Gold Record for “How to Be a Player.”
John Anderson is the ringmaster of Hunnypot Unlimited, a multifaceted Music Publishing, Artist Representation, Marketing and Film & Television Placement organization specializing in discovering and cultivating fresh music talent. The Hunnypot Unlimited brand is synonymous with quality music and recognized as one of the premier industry tastemaker sources. Hunnypot provides exclusive promotion, marketing, brand development and placement representation of owned and non-owned copyright and recording assets through expansive relationships within the music, film, television, ad and gaming communities using unique, forward thinking approaches to business and distinct and creative grass roots campaigns.
Hunnypot provides exposure to cutting edge music and changes the palate of listeners worldwide through endorsement, promotion, packaging and/or planning of live music concerts and events. Hunnypot Radio and the Hunnypot Website provide instant awareness of Hunnypot artist activity as well as contemporary music news and other culturally relevant media.
John spent the first 20 years of his career in the music industry as an integral member of Windswept Music Publishing. He helped take the company from a fledgling start-up to the largest independent Music Publisher in the world, a feat that resulted in one of the most lucrative catalogue sales in Music Publishing history. In 2008 John applied the A&R/Publisher/Placement model to the branded Hunnypot name and established itself as a leading independent music publishing/placement company representing the catalogues of Far East Movement, Louis Prima Jr., The Dollyrots, Barnyard Stompers, Mochipet, Young Creatures, The Cataracs, Dr. Hollywood, A House For Lions, Bearheart, J*LABS and Ghost Lit Kingdom. John’s early track record as a song-plugger boasts hits like Eric Clapton’s “Before You Accuse Me” and Vanessa Williams’ career-defining song “Save The Best For Last.”
Over the course of his industrious Publishing career, John has worked closely with some of the biggest songwriters of all-time including Sean Garrett (Usher “Yeah”, Fergie “London Bridge”), Mike Elizondo (50 Cent “In Da Club”, Mary J. Blige “Family Affair”) and Albert Hammond (Julio Iglesias “To All The Girls I’ve Loved Before,” The Hollies “The Air That I Breathe”). As Sr. Vice President of Film & Television Music for Windswept, John was essential in the synchronization and licensing careers of such seminal artists as Pete Townsend, John Mellencamp, Nick Cave, The Allman Brothers and Willie Nelson as well as new stars like Corrine Bailey Ray, Snow Patrol, Kings of Leon, Beyonce, Mickey Avalon and Lady Sovereign. Some personal placement triumphs for John include Snow Patrol “Chasing Cars” in Grey’s Anatomy, The Who songs featured in the entire CSIfranchise, Kings of Leon’s “Molly’s Chamber” for Volkswagon, and The Dollyrots “Because I’m Awesome” for both Hewlitt/Packard and Kohl’s Department Stores.
As one of the key A&R representatives for Windswept, some of John’s signings included Fischerspooner, The Dollyrots, Meat Beat Manifesto, The Cramps, Talib Kweli, Blackstar, The Coup, Hi-Tek, The BellRays, Johnette Napollitano (Concrete Blonde), and Sky Cries Mary.
I fell in love with Homeshake last Sunday night. You might know the lead singer Peter Sagar for his work with beloved indie songwriter Mac Demarco. In fact, I would say Peter Sagar is largely responsible for the iconic sound we attribute to Mac Demarco, as the echo-y guitar and synth present in all of Mac’s most famous songs is actually the trademark of Sagar.
But that’s beside the point. Regardless of how you feel the two compare, Homeshake’s music is hard to not like. Complete with catchy guitar riffs, groovy bass lines, and tripped-out synth and vocals their tunes put you in a trance. Obviously, I’m not the only one to get into them in the past year, because this year’s turnout was crazy compared to last year’s at the same venue. When I arrived at Rickshaw Stop the line to get in was so long, nobody knew how we were all going to fit (Rickshaw Stop is a pretty small room, after all). However, my friend who attended last year said that when they played before they didn’t even fill the venue.
During my wait I bonded with the strangers in front of and behind me in line, all of whom were incredibly kind. This is particularly shocking, especially when compared with Mac Demarco’s notoriously irritating, self-proclaimed (in The Fader magazine) “art-ish student” fan base. In fact, it’s been a long time since I’ve gone to a concert that had such a friendly, casual feel. Sagar himself was even selling his own merch, kindly talking with their fans like it was no big deal before the show.
However, when Homeshake actually stepped on the stage everything changed. They group exuded a sort of urban class that was undeniably sexy (as pretty much any person in the crowd could tell you, because we were all whispering to each other about it). Taking sips of water from his whisky-on-the-rocks-style glass, Sagar stood behind his synth and growled into his mic “can we get things a little darker up here.” The lights dimmed to almost black, to which he responded “okay, maybe a little lighter” and the lights settled on a green wash. The whole crowd and the rest of the band chuckled. Sagar, however, only responded with a slight smirk. I swooned.
Their set was simple, with little commentary between songs other than Sagar muttering a few sly jokes and thank you's through a voice changer that made him sound like some kind of helium-happy cartoon. Their minimalist style fit the music perfectly. The whole crowd swayed as Homeshake rolled through song after song—an experience that for me felt almost spiritual. In the words of another attendee: “It’s like they’re kicking ass, know it, and don’t even care.” I didn’t think about anything else throughout their whole set—I was too busy staring at the lead singer and basking in their beachy, mellow tunes to be bothered.
Overall the night was filled with great music, great people, and good vibes. Seeing Homeshake live isn’t even comparable to listening to their records—and this is from someone who has been listening to their album “Midnight Snack” on repeat for months. Something about their performance completely fills the room, and their casual composure sets a tone that gave me so much more appreciation for their music outside of the typical doc-martens toting, mom-jeans wearing indie scene. I left completely elated, and will definitely scrabble to get my hands on any tickets to see them again.
Photo Credit: Funcheap SF
Some may remember Maggie Rogers’s song “Alaska” from the viral video of Pharrell listening to it at his masterclass at NYU Clive Davis Institute, but others may have found this gem through word of mouth or their own discovery. Rogers’s unique sound is wonderful in its own right, inspiring feelings in each person that gives her a listen. Music means something different to each and every one of us. Since our world views are shaped by our unique lives, it’s guaranteed that each person can take something different from Rogers’s music. Her Facebook is home to a heartfelt personal letter from Rogers herself, praising the faults in all of us, and sharing her vision of music and a willingness to experience the world as it happens. In her words, “Sometimes I think it's magic – this thing we can't see, but makes us all feel the same way. When it's real, it raises hair and makes the air taste sweeter.”
“Alaska” now has its music video counterpart, as of October 18th. Directed by Zia Anger, the video is true to her roots as a hiker and environmentalist. Rogers sashays her way through nature, dancing amongst trees and fields. She is dressed comfortably in what we can likely assume is similar to her daily dress, as such, the video feels like a personal peek into her life, her mind. Rogers is joined by others and the video transitions to a party in the woods that seems almost spiritual. A large crowd of people are shown releasing their inhibitions through dance, laughter, and even love. Finally, like a dream, Rogers disappears into nature as though she were a wood nymph.
This writer could tell you how the music sounds and how it made her feel, but you should really experience it for yourself, let the music speak to your own soul, and take from it what you will.
Hunnypot alum IAMEVE launched her first video, the ethereal “Starman.” With absolutely stunning CGI work, the music video is the first chapter of a transmedia project titled “The Everything Nothing. The eclectic video boasts a broad range of influences that are hard to narrow down to just a few adjectives. (PG-13) Steampunks in Space, maybe? However you might choose to describe this video, it will most certainly leave you on the edge of your seat for the next chapter. Check out this press statement about IAMEVE and “Starman”:
“IAMEVE is a spell-binding storyteller who merges electronic music textures and visual dreamscapes. “Starman” was co-produced with David Christophere of the classic electronic music outfit Rabbit In The Moon, and the video was directed by Thor Freudenthal (Percy Jackson, Diary of A Wimpy Kid). The video’s Starman is played by Keon Alexander, beloved on FX’s Tyrant. The surrealistic love story is told in this mesmerizing music video, with IAMEVE painted in sacred geometry by body artist Michael Rosner.
IAMEVE, the mysterious creator who lives inside “Starman’s” painted other-word, has a unique backstory. With her deep love of fairy tales, visual art, and a diverse musical background, she found herself a Stranger in a Strange Land: Los Angeles – the story city. Shortly after arriving, a massive accident left her with a bionic elbow and unable to play guitar or piano.
“Lying there still, it caused me to open up to untested ways of creating because I needed a new set of tools to keep going. Electronic production had always been a passion and something I had experimented with, but this caused me to move fully in that direction. It freed me up and gave me an entirely new soundscape that feels so much more in tune with the world I am creating.”
With influences including Rodin, Bowie, Terry Gilliam, Dali, Kate Bush, Geiger, Lewis Carroll, Tim Burton, Tolkien, and Dune, “Starman” and upcoming, The Everything Nothing video series and EP will extend the fantasy of inner and outer space across Los Angeles and beyond.”
Deep in the enchanted forest, there were once animal masked muted shadows and a mysterious glowing orb. Zooming out there was this magnificent drone view of a suburban city, a moody dusky scene that looks like Alice in Wonderland, underlying with raw production of synths. To immerse to yourself to this experience, explore your inner self with Ishi’s “Bring The Thunder” music video.
“Bring The Thunder” is from Ishi’s fifth independent release Juno. As Dallas Observer Pete Freedman from DC9 at Night puts it, Ishi’s music has their own “folktronic” sound. Soaking grooves in the organic instrumentation of tradition folk music, the five-year Dallas Observer Music Award act consists of Co-Founder / Vocal JT Mudd, Co-Founder/Collaborating producer Brad Dale, and Merla, Rocky Ottley, Paul Escalante and Johnathan.
Fifty percent of all digital proceeds of Ishi’s third EP Juno will go straight to Music Is Our Weapon, a nonprofit organization that provides a sustainable source of digital music programs for those battling cognitive diseases, such as Alzheimer's and dementia, PTSD, Autism, Parkinson's, and other cognitive disorders. What a nice thing that they are doing to utilize the power of music as medicine.
Take a spin of Ishi's "Bring the Thunder" video above!
It's not very well known but Azealia Banks is a big fan of ours and was trying to give Russell Crowe our latest compilation this week. I heard he didn't enjoy it. Too bad for him.
Hunnypot Live! #352 gave the "M Word" (Music) to all in attendance and those who tuned in to the live stream Monday night.
Hot Tub Johnnie started the show with great tunes and tales, Piel returned to the hot tub tell more stories and capture our attention, Amara had us on pointed toes with her emotional electronics, Flavia charmed and alarmed us with her illuminating dance rock, Senator was elected to wash us in a rock sound bath and Capyac book ended the dance party with seriously sick beats. 10-17-16
-J. Gray
When Tiki Lewis moved to Los Angeles from Chicago, she had no idea she'd meet Johnny Burkes and they'd subsequently join forces together to make some of the most memorable music in the world today, but through a combination of vision, empathy, melody, and rhythm, their sound has evolved into just that. While curating an absolutely remarkable stable of collaborators, they have played live shows that have made a distinct mark on a town filled to bursting with others who have fallen short of that and conversely inspired people all over the world with their online audio and video presence.
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Born in a small suburb city just outside of Los Angeles, Amara found her voice at a young age through poetry. Concerned about her brash introspective self expression, her parents enrolled her in ballet which opened the door to musical theatre in middle school and ultimately gave her all the tools necessary to create art. Her lyrical depictions of social issues and personal intimate struggle have lead audiences to refer to her as "wise beyond her years" and "an expert at expressing and invoking real emotion.
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Flavia is an electronic pop artist based in Los Angeles. Her debut EP, Embers, mixes dark pop and futuristic R&B, exploring the borderland of yesterday's soul and tomorrow's electronica.
Inspired by her vivid dreams and her love of space and the desert, FLAVIA takes her listeners on a magical journey guided by her lush vocals, her poetic lyrics cut to the core with their vivid imagery and emotional pull. She keeps you under her spell while her ethereal party-pop beats keep you dancing.
FLAVIA started to write music at a young age in Ireland and Italy where she spent her formative years. Having moved often growing up,, she feels the closest thing to home base is her music, "It's a part of me," she says, "I couldn't escape it even if I wanted to."
FLAVIA has toured and performed live on TV and radio across the United States and Europe, her live show is an encompassing experience with colorful visuals and energetic dance moves, fresh off of recent shows at the Troubadour in Los Angeles and Pop Brixton in London, FLAVIA will soon be releasing her long awaited EP, Embers.
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Senator’s sound draws from impressive but almost contradictory influences that range from his love of grunge (he credits Kurt Cobain and Beck as his biggest influences), to his childhood obsession with musicals and his appreciation for classical music. Senator’s debut album, slated for a 2016 release, is a hybrid of all of his inspirations that seamlessly fit together, almost cinematically, creating a magical blend of sound.
Pixies. Tiny, “a little mischievous, a little playful, a little not-too-serious.” Their music could be a slice of surf punk plus a piece of alternative rock.
This music video is a truck stoppy movie on the road. It features monochrome intense shots of the posse bashing on, with cuts of a woman in red, standing on the side of an empty highway somewhere in France, streetwalking. And later with snaps of the woman in red, red light...
The smoke spitting Black Francis took it easy with stumbling and moaning “um chagga lagga on the side of the road”, then slowly gone wilder, and wilder. To where he yells “It’s starting to hit me” -- like a fierce tsunami chasing after him, and it’s out to get him.
The Head Carrier album marks the drama of the group with Kim Deal and Black Francis, and also first appearance of bassist Paz Lenchantin after Kim Shattuck, who was asked to leave the group a short few months into replacing Kim Deal. One of the tracks "All I Think About Now" was a thank you letter to Kim Deal co-wrote by Lenchantin.
Watch the video, and get Frank.