A myriad of talented musicians gives DJ MIME a stout debut album, 20/20. It is a punch of pop that this world needs right now, during trying times.
MIME is a New York City music producer and songwriter. This is his first full album. With 14 tracks, the album includes collaborations with up and coming vocalists like, Zhiko, Jantine, India Parkman, Lily Denning, HAYL and more.
DJ MIME releases his first full album 20/20.
Each tune has its own unique sound. A melody of genres and styles represents the whole concept of celebrating diversity within electronic dance music.
I feel like when multiple creative minds come together magic can really be made, sometimes the person you’re working with could have an idea that you would have never even thought of, those WOW moments are super special in the music making process.
DJ MIME
MIME named the album after his “vision” of creativity he used throughout the year. The songs provide a combination of underground house music for dancing and headphone-ready tunes. The album showcases a rapidly maturing artist, that continues to break the boundaries of what everyone thinks electronic music should be.
MIME released his debut track “Electronic Zoo” just last year. Now, along with 20/20, has 11 more tracks under his belt. These have all gone through his self-made label, AlterEgo, that he created with his team.
20/20 is out now and streaming on all platforms. If you’re looking for an album to listen to with a variety of moods, this is a perfect staple to add to your list.
COVID got you down? Having some relationship troubles? Or maybe there’s a hankering for some good ol’ 2010 nostalgia? Take a listen to State Champs new album Unplugged and let it all out, in a true pop punk fashion. This collection was released to celebrate 10 years since the bands’ start in Albany. In their press release, they declare their change of pace as a “healthy growth spurt,” that will “set the table for the next ten years of their career.” They definitely have grown since their start a decade ago, but it’s arguable that they may have just aged out their genre, rather than growing into a new one.
This six-track album, with four original songs in their newfound acoustic sound, also features two covers of their highest rated songs, transposed into their new style. What’s fascinating is they’re able to keep that drive going in such a ‘low lit’ environment. This is their saving grace because, on its face, this album might not sound so appealing. How can you have a chill version of pop punk music about how your hometown sucks and you hate your ex-girlfriend? Well this is one way to do it. This feels highly multi-layered throughout. It’s not just a softer version of the songs you like, some are reimagined in creative ways.
“A Thousand Hearts” really sets the scene as to how laid back they’ve become. It has decent drive and motivation, but it’s not at all parallel to their original work, with one of the only similarities being Derek DiScanio’s voice and lyrical theme. That’s fine and all, being that the band wants to move in a new direction. It might be a bit of a shock to long time listeners, as will the smooth as butter saxophone solos. “The Recipe” falls into the similarly romantic space, but presents a better sense of direction and drive, as well as more relatable lyrics about how relationships don’t need to follow a ‘recipe.’
“10 am” has a very unique, self proclaimed EDM sound, mixed with well produced, natural sounds. It’s got a catchy hook to it, but again, not the most revolutionary word-smithing going on in this one. Musically though, this is very well executed. Fun fact: the song was birthed by Evan Ambrosio, who was messing around with an automated drum loop, and ran with the idea, creating a song with a synthetic drum loop that has a natural sound to them. Most of the song sounds completely acoustic and man-made, but fades out with the drum beat, which slowly morphs into a more computerized, 8-bit sound – a fun nod to the muse of the song.
“Crying Out Loud” is the best original on the album. The hook is super catchy, the energy created both lyrically and musically is moving and it should resonate well among Champ fans. This could easily be transposed into their original style perfectly, but again, that’s not their vision.
“Criminal” is the first acoustic version of an original song and it feels more natural compared to the first four tracks on the album. They’ve thrown in a very poppy, bluegrass feel to it, which takes some getting used to but it’s still a fun song if you’re a fan of the original.
“Dead and Gone” is the perfect song to cover. The lyrics are edgy enough to give it the drive it needs and the music follows to help propel it even further. It’s not too busy, or trying to be something other than what it is. The most extreme change is a twangy guitar that pops in and out of the song. The double time effect that we hear during the verses, (that feeling of the music getting faster) comes through perfectly in this too – a cornerstone of pop punk music.
Pop punk is a culmination of a lot of music, so the logic should be sound – why not just add another genre in there, and we should sound different. But pop punk is already so many things: Emotional, energetic, silly, dramatic, loud. There aren’t many genres that can say they have all of those things and still be palatable to the masses. It’s also quite the challenge to change a group’s entire attitude, let alone pulling from another genre of music. This is a definitely a sensible direction to go for State Champs, as the pop punk area of music may start to trail off soon, if it already hasn’t. But if State Champs find that golden ratio, as they did in their “Dead and Gone” cover and “Crying Out Loud,” then they themselves will be golden and “set the table for the next ten years of their career.”
In the midst of a global pandemic, as well as coping with trials and tribulations of being a twenty something, Rochester native, Garrett Eckl of Your Name Here has released a full length album that was written and produced by himself. Graduation of the Apocalypse is Eckl’s second full length concept album, which covers topics such as relationship troubles, self worth and mental health – topics that relate to Eckl on a more personal level that compared to his prior album.
His vulnerability and advancement of his musical prowess has birthed the story of an immersive journey where two teens find themselves in the middle of an apocalyptic world that has been ravaged by an alien invasion/ virus. His use of music technologies, personal experiences and opinions on current world issues act as fuel to propel his story through highs and lows, like a true theatrical experience – something that Eckl said he really strived for on the album.
Eckl, who left his job at NASA to pursue music, recently moved to San Diego where he received bachelors in music recording technology. He has set his sights on a masters in computer music and intends to pursue academia. In an interview with NYS Music, he said recent life events pushed him to create a new album, namely his move to San Diego. His cross country move and relationship troubles have spilled onto the album, in the best way possible. He said the experience taught him that he needs to learn to let go of certain things in his life.
“The album is very cyclical in nature. The first song “Graduation Day” ends with me singing about not wanting to grow up and lose my youthfulness (“some kids live into their forties, some kids live until they’re married, some kids die on graduation day but I’m never gonna go that way”). That same verse is repeated at the end of the album in “Now I Know.” This signifies that despite everything the protagonist has been through, he still hasn’t become the jaded and boring person he feared he would become.”
The result of these revelations and life experiences is this: Sonically, this is what you get when you mix Ben Folds 5, Weezer and the play Dear Evan Hansen together. Listeners will feel an array of emotions, as one does in a play. There are tracks that are instrumentally uplifting and chipper, coupled with lyricism describing the complexity of love in relationships, like in “Graduation Day.” “Everyone Thinks You’re A Little Strange” is also a prime example of Eckl’s style – a huge sound consisting of string quartets, chanting choirs, dynamics and builds, highs and lows and stories that everyone can relate to.
But we’re also strung through songs that set the scene of how grim things are in this reality – i.e. “The Apocalypse.” This was a stand alone song that proves how Eckl is growing and learning. The song never speaks of the protagonists, says Eckl. “I wanted this album to be open to interpretation, but I wanted it to be very clear that this (song) was about the apocalypse.” In this track, Eckl is able to hold onto his style that sets him apart from others in the genre, but is able to create an intense tonal shift, all while using recognizable instrumentation and voicing that is seen throughout his other works. It’s an incredible feat and once again legitimizes this album as something that could easily be mistaken as an OST from a Broadway show.
Each song is unique and easily distinguishable. Everything sounds just as Your Name Here should sound, but each one feels like it’s own standalone story. String them together, and listeners will go on a personal, reflective journey as well as getting a taste of Eckl’s experience. It’s been exciting to run through each of the songs, and it’s been exciting to wait for each track, as Eckl has been releasing 1 song per week for the past few months. The last song of the album, set to be released July 5, is called “ Letter In A Locket”. We’ve made a playlist on Spotify of every released track, but listeners can find it on Apple Music and below via Youtube. Those who want to dive even deeper into the immersive world Eckl has created, can also look into the Alternate Reality Game (ARG) that he has made to coincide with the album. Find more information on his ARG, here.
Key Tracks: Graduation Day, Everyone Thinks You’re A Little Strange, The Apocalypse
Ella Joy Mier, under the moniker Iris Lune, delivers her debut album ‘Lovelosslovee,’ a poetic and sonic masterpiece that examines the seamless relationship between love and loss.
The Brooklyn native is a songwriter who came inter her own, via the folk music of her heritage, Israel. Bringing a contemporary take on the sounds she is familiar with, Mier showcases her ability to tie rich, sonic passages along with beautiful poetry and wordplay. She exhibits a palpable mystique focus but diverse mood board throughout.
After loosing her mother from a six year battle with cancer, Mier has been desperately trying to piece her life back together, trying to survive in a world without her mother’s physical presence. These songs take the audience through that emotional journey.
The project starts with a well thought-out drum intro, followed by a rumbling, synthesized bass line. Intertwined vocal melodies, textured guitar and well organized percussion hits are a constant throughout the albums track list. With a central theme of love and loss, the tracks on this album mend together creating an emotive and captive tapestry of sound. With a clear knowledge of radio friendly pop structures as well as dreampop-like instrumentation, Mier falls inter her own on this album, creating a space that she is clearly confident in.
The production lets her vocals shine and remain the focal point from song to song. The album being co-written and produced by Asher Kutz, is full of highs and lows along with dynamic songwriting. Lovelosslove fulfils Miers’ want to let us in briefly to the journey of the endless relationship between love and loss.
Back with their second full length album is Albany based TIP. They’re an alternative rock group that skips across congruous genres, creating another in depth, unique collection worth diving into. TIP is Chris Caimano, Conor McDonald, Mike Cesario, Terence McDonald shared the responsibility of writing songs on their release Full Swing, while also constantly switching instruments, which would explain the eclectic styles we see across the album. In an interview with CT Verses, the band explains their intentions for the album and their goals to grow as a band. “We are constantly riding the line between trying to improv but also (try) not to lose the power of the song.” said Chris Caimano. In this album, it seems like they have found a good balance between those two sides of music, and it pays off.
Throughout this album, we hear a number of different influences that pair perfectly with their instrumentation. The groups pulls influence from Steely Dan, (“the best pop band that ever lived,” according to Caimano), The Beatles, John Mayer and James Brown. In their interview, they spoke so passionately when it came to who inspired them. Surprisingly, the iconic sounds of their beloved influences do not come through in an obvious way. They manage to be original and unique, a sign of an impressive group and an even more impressive album.
Throughout the album, the group flaunts their ability to be powerful but reserved, thanks to their instrumentation. We see this on “Five Becomes Seven,” “Canadian Coins” and “Me & My Girl.” Their tone is a little gritty, their time signatures are unique and their tone is ever-flowing. But their songs have power, direction and energy, without overwhelming the listener with overly-abstract tones ideas. And most importantly, they create a space for improvisation. But the licks that lead them to that space are unique and graspable, ensuring that they don’t “lose the power of the song” that Caimano had mentioned.
“Lavender Burns” is their jam-heavy hit that has lots of potential to blow people away on stage. The group creates a mysterious but comfortable space that could go absolutely anywhere. On the record, this song is reserved and a bit predictable but has a lot of live potential. As straightforward as it is, there are still some delicious layers laced within the track that make it spectacular.
“Caravan” is a straight up flex and a testament to their skills as musicians. This is a cover of a song written by Duke Ellington in 1937. It became a jazz standard over the years and was widely recognized as a song that changed the rules of jazz, due to its avant garde times signatures and key changes. So it only makes sense for TIP to go off and create their very own, remarkable version of their own. It’s rocking, it’s dissonant, it’s edgy – it’s awesome.
“Spreading Mud” is their example of how they execute acoustic grunge. It almost sounds like a missing track from Alice in Chains’ Unplugged album – and illusion sold by the unbelievable vocal harmonizations on this track. It’s hard to give credit to the singer, because they whole groups shares the mic throughout the album – regardless, it works and it makes for an ethereal track with an ebb and flow of tones and attitudes.
This whole album is like an open world for listeners to explore. There are layers and layers of sounds and events in each track that give it depth and replay-ability, that will hopefully shoot TIP into the limelight. But once again, we stumble upon a band that would really flourish in a live setting. Each track is a launching pad into an improvisational wonderland of opportunities. Hopefully, we will get to witness them soon. Find the album on all major streaming platforms, or here for a list of their information.
Key Tracks: Canadian Coins, Brainfreeze, Spreading Mud
Bubbling up on the Brooklyn DIY underground scene for the past three years with regular gigs at Bushwick’s Alphaville, The Wants are set to release their debut album, Container, March 13 on Council Records. Madison Velding-VanDam (vocals/guitar/synth), Jason Gates (drums/electronics), and Heather Elle (vocals./bass/synth) put their years of experience together to good use on a solid debut that has all the earmarks of a veteran band hitting their stride.
The set opens with a quickened heartbeat pace and an arresting cacophony of noise. It’s at once danceable and pensive, and perfectly sets the table for what comes next. 80’s style post-punk finds present-day relevance in “Container” and “Fear My Society.” Industrial instrumental vignettes with starkly appropriate names like “Machine Room,” “Aluminum,” and “Waiting Room” nudge themselves in between the more traditional songs, tying together the whole into what feels almost soundtrack-ish.
When the two concepts blend into one, the album hits on all cylinders. “The Motor” hints at this potential in the first half, but the late run of “Clearly a Crisis,” “Nuclear Party,” and “Hydra” shine brightest. Their unhurried punk aesthetic gets drenched in danceable grooves around an accessible rocking core, all without losing the industrial sound fragments introduced previously. Container builds to a satisfying finish, begging you to flip it over for another go round.
Perhaps it would be deemed uncool to flash a broad smile while bobbing your head to these tunes, but it’s tough not to while thinking about the band recording in their all-too-appropriate studio space: a repurposed shipping container sitting in the middle of a dumpling factory parking lot in Brooklyn.
Key tracks: Clearly a Crisis, Nuclear Party, Hydra
When A Boogie With Da Hoodie announced that he was set to release his third studio album, his fans were jubilant. It had been just over a year since we last heard from the Bronx native and in the age of microwaveable music, there was a yearning to hear what new melodies the “Just Like Me” rapper had cooked up. While leaked records delayed the album towards its Valentine’s Day release, they also built anticipation for what was to come.
At face value, Artist 2.0– the sequel to his 2016 breakout mixtape, Artist – gave his fans exactly what they asked for. The man known for his melodic chants and passionate crooning about his love life reverted back to what he knows best and then some. Although recognized as a rapper, that takes a backseat in this latest effort. A boogie never goes more than a few bars in any of the records before his singing takes precedence, exemplified in the emotional ballad “Good Girls Gone Bad,” where he wails about a woman who’s changed as a result of his inconsistencies.
What it lacks for in actual rapping, the album more than makes up for in its infectious choruses. “Right Back,” “Mood Swings,” “Me and My Guitar,” and “DTB 4 Life” are all records that have the propensity to become a mainstay in any playlist. While he doesn’t rap as much as some might have wanted on the album, his guest-features all brought their “A” game. Verses from Dababy, Young Thug, Gunna and Roddy Rich do a good job of balancing out the croon-heavy album, with A Boogie and Roddy Rich’s chemistry being one of the project’s highlights.
Coming into the rap game, A Boogie presented himself as a rapper who would occasionally try his hand at singing. On Artist 2.0, he doubles down on the latter, pushing his own personal boundaries and blurring the lines on what his official title should really be. While the album is enjoyable, it doesn’t always feel like it’s A Boogie at his best and it seems like, to A Boogie, “artist” means less rapping, which inherently is not the case.
