Radio Eliza is a Dutch six-piece band with a sound reminiscent of that synth-driven indie pop wave of the late 2000s but with lyrics that could only exist in these unfiltered times. A lot of people consider indie pop to be “fluff” music and completely disparage it. For me, indie pop has merit when the chorus hits at the perfect moment (and suddenly teleports you into a teen drama you thought you had outgrown), and when the writer somehow conveys your own emotions in a completely unexpected way (…and suddenly teleports you into a teen drama you really, really thought you had outgrown). These elements come together on ”Kids,” Radio Eliza’s best song to date.
While I don’t particularly care for the yelling in the backing vocals and the outro, the lyrics are so bold and relatable you realize you have totally lived out the lyrics several times over in your own glory days.
If you like what you hear on “Kids,” then I highly recommend you check out the rest of Radio Eliza’s debut project, the Intergalactic Flurny Furby EP. (“Answering Machine” is another favorite of mine.)
But when she called I heard her say / ”Perfect ending, shitty day”
Hit the jump to follow along with the lyrics of “Kids.”
Brooklyn-based nRCS has the perfect new single to get you ready for summer’s first major weekend, and we’re proud to premiere it here on Sunset. Produced by Sunset favorites and synth pop stalwarts Memoryy and Brothertiger, “Run Through the Rain” is a warm, gooey pop anthem that sounds like the closing track from your favorite inspirational movie.
Warm, gooey synths and cavernous drums give the track an anthemic quality; it’s part Bleachers, part Passion Pit. The song is endearing and earnest, the musical embodiment of a summer romance. It even breaks down for a few bars into a drums-and-vocals only hook that is sure to get your blood pumping.
nRCS has a six-song EP coming out soon, and it’s sure to be a rotation staple for the warm months ahead.
Who the heck is biLLLy and why is he spoiling us with such jams? If I had the answer, I’d give it to you (I’m just as lost as you, folks!). “Can’t Blame” is the latest dance-worthy tune from the London-based artist and it’s bound to be that perfect addition to your summer party playlists. The track has a slight Jai Paul vibe (everybody needs some of that, we’re deprived!) and happens to be a track on biLLLy’s upcoming EP. “Can’t Blame” is the rhythmic gem that’ll get you groovin’, so take a listen below!
Greatness lies in innovation. While the idea of dousing one’s voice in autotune isn’t exactly groundbreaking in rap music, the execution of the idea is how “Monster Truck” turns the corner into new territory. The song works so well in part due to Allday‘s detached delivery. What may seem lazy is actually smart and enticing, as the Aussie rapper slurs pronunciations and nonchalantly drops ending syllables of words. This is candid late night listening for the young and misguided.
Might rip my organs out just for the money
Buy a monster truck, go roll over your mummy
Why I always think about my ex when I’m fucking?
Why I always thinking bout rain when it’s sunny?
RELATED: Read our 2015 interview with Allday where we discuss his stint as a stand-up comedian, his advice for independent artists, and his recent EP Soft Grunge Love Rap.
Known for their amebic rock grooves and sonic experimentalism, NYC’s diNMachine never disappoint with their wild electronic musical leanings. Adding turntable impresario DJ Olive to the (re)mix makes for an even more intoxicating network of sounds, landing somewhere between Aphex Twin and Diplo. The use of Dubstep and other contemporary techniques makes this track feel like a cultural touchstone of sorts, bridging the gap from 90′s club music to the bleeding edge of electronica. The DJ Olive remix is the first one off the upcoming cassette release, Sang Gween Remixes, from diNMachine, which includes 10 remixes of the single by different DJ’s from around the world plus the original song. The cassette will be released on September 23 by Greedy Dilettante Records.
Candor is a concept emphasized in Creativity, Inc., a fascinating book written by Pixar co-founder and president Ed Catmull where he dissects the standards and practices that make Pixar a creatively rich work environment. Catmull posits that candor is “the key to collaborating effectively.” One way of ensuring candor from collaborators is by taking the power to enact change on a project completely away from the one doing the constructive criticizing. In other words, the people offering advice on your project have no say over what changes are implemented. The original content creator maintains full creative control over their work. Candor also requires an openness from the person receiving the criticism. Remember: they are critiquing the work, not you as a person. Ideally, the people offering their candid suggestions are creative problem solvers whom you respect.
Expanding this idea, I would argue that relationships are a form of collaboration, and therefore, candor is essential in any healthy relationship (romantic or platonic). This requires an openness from both people. The problem is that we don’t talk to each other’s faces anymore. We talk to our phones. It is often much easier to chuck your phone in disgust and never respond to someone than actually face an unsavory text head-on. The artists on this tape do not mince their words. It begins with Kelechi offering sage advice on “Advice,” works its way into some mysterious singer feeling sexual on NEIKED‘s “Sexual,” and finally, Brad Bonds avoids getting too involved on “Too Involved.”
Girl you crazy like Harley Quinn, I’m just joking babe, you a ten
Note: This is basically a Tape Tuesday, which is a feature I ended two months ago. The main distinction is that there is no “free download” option, out of consideration for the artists. That is something that wasn’t sitting right with me and felt unfair to the mostly independent musicians being showcased. More generally, music consumerism is shifting away from downloads and ownership into the exciting (and scary!) realm of cloud streaming services. Also, now I have the surprisingly liberating freedom of putting out SoundCloud playlists on any day of the week — not just Tuesdays.