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Eyes of the Dragon by Nolo Grace

Moataz Gwaily
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Eyes of the Dragon by Nolo Grace

The electronic pop on Nolo Grace’s latest single is expansive and imaginative. Conceptually and contextually intricate, Nolo Grace is channeling Bjork-like levels of electronic experimentation through sounds that are at once novel and familiar.

An electronic musician, singer and songwriter originally from Korea and based in Los Angeles, Nolo Grace’s sound on ‘Eyes of the Dragon’ is infectious and anthemic. Through vocal layering, a mountain of synths, a dramatic composition, and terrific production, ‘Eyes of the Dragon’ is an easily worthwhile electronica single that is well worth a deep dive.

Driven by its humanist and spiritual concept in which Nolo Grace equates the human to the legendary dragons, in our strength, power, and wisdom, ‘Eyes of the Dragon’ has a musical tapestry that is effervescently colorful and bright, with very impactful and vivid colors. The straightforward beats, passionate vocals, and grandiose chord sequences all work hand in hand to make the song an immersive experience.

The lushness of the music and composition is met by the fantastical nature of the concept and its spiritual tendencies, supported by an absolutely sublime mix loaded with immediacy and presence all lead to a single that is empowering and joyous to behold. Nolo Grace’s ‘Eyes of the Dragon’ is a mesmerizing piece of electronica.

Album: Bagedai by Bagedai

Moataz Gwaily
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Album: Bagedai by Bagedai

I’ll not pretend to be aware of many bands who play a blend of traditional Chinese with reggae. Only one in fact. The name is Bagedai, I just discovered them today, and I couldn’t be happier about it.

A recent band from the reggae scene in the Yunnan region, Bagedai hail from the musically gifted town of Ximeng, and while calling their music reggae wouldn’t be so far from the truth, it would also be doing their varied sound a great disservice through oversimplification. The self titled album is a keenly stowed away trove of hidden gems. Slowly gaining traction and attention, both throughout its native region and native people, the Wa people, and internationally, featuring in radio stations such as BBC and PBS. 

Listening to the album’s roomy delightfulness and groovy essence, it quickly becomes evident that the group possesses a very fresh sound that does need a Wa clansman to appreciate. The blend of traditional Chinese choirs and vocal melodies with the deep bass and drum grooves and the major keyed jubilation of upbeat reggae is nothing short of astonishing. A fun and eye opening listen. The group are also doing reggae exceptionally well, utilizing ethnic stringed instruments to create dark and charged anthems such as ‘Nan Ai Er’ with its flutes and unforgettable melodies, or using wahwah’d guitars and syncopation to create the juicy, funky goodness of ‘Deng La Jie’, it is apparent that the group are not a one-trick pony and that their music is far more than “reggae with ethnic Chinese vocals”.

Perhaps moments where Bagedai shine the brightest are the starter ‘Mou Hei Lang’, and ‘San Mulou the Just’. The two songs are heavily inspired by instruments we associate with Chinese music, with western rhythms playing a more supporting role in the formula than fronting the arrangement. The results are like nothing I ever heard before, while also feeling homely, warm, and empowering. ‘Tong San Mei’ is a breathtakingly beautiful piece. Ethereal and soothing guitars play alongside the jubilant Wa choir, blending the western reverb-laden atmosphere and chord structures with the vividly colorful Chinese vocalizing for a surreal experience that lasts far longer than the runtime of the song. 

For a tribe that were practicing head-hunting in living memory, The Last Tribe of China, called so for being the last tribe to be liberated by the communist party in 1959, The Wa have embraced modernity in an endearing fashion, planting their mark on music and art in the Yunnan region. Bagedai’s essence lies in distilling the traditional songs of the Wa, and presenting them to an international audience. The group’s first, the bold, self-titled album is a triumphant success. An experience that tingles the senses, traditional, yet elegantly globe-trotting, Bagedai is a wonderful listen.


 

Jacob ‘NTHNL’ Rudin Unveils Deep-Diving New Album ‘Ontogenesis,’ Blending Music and Science

Sistra News Team
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Jacob ‘NTHNL’ Rudin Unveils Deep-Diving New Album ‘Ontogenesis,’ Blending Music and Science

After the success of his debut album, Cosmic Flute, its follow-up Cosmic Flute Rides Again and the number of other new age, ambient and experimental electronic releases flutist and multi-instrumentalist Jacob ‘NTHNL‘ Rudin has done in the last five years, his newest album Ontogenesis may be his most deep-delving work to-date. Literally; it’s meant to delve deep into the mind from both a musical and scientific perspective.

Ontogenesis is the third in a series of albums called the Tranquility Studies. The idea was born in 2020 around the beginning of the pandemic as a way to formalize my explorations into making music to affect feelings of peace and introspection in listeners. This music combines electronic binaural frequencies with performances on a variety of instruments to create soundscapes that are at once calming, poetic and musical. The music uses a technique called brainwave entrainment, which uses certain frequencies to sympathetically vibrate the mind.

As an avid meditation practitioner and lover of expansion and healing, ambient work has always been a central theme to the music of the Brooklyn-based Rudin, who also performs and hosts soundbaths throughout NYC. When he hooked up with friend, fellow musician and yoga instructor Leslie Graves as he was beginning work on Ontogenesis, he and Graves decided to take is a step further with the binaural beats and Solfeggio frequencies. They worked together to create an album whose main purpose was to be a meditation accompanying yoga work.

Originally, this “Music of the Body” (the original title) was conceived as a meditation on and through the body. Over the course of the next year, as I spent more and more time with the material I realized that the album’s progression should exist in time as much as in space.

The way the pair worked was quite unique, with Graves giving keywords for each of the chakras which Rudin would interpret through sound on the piano. The album runs in order of the chakras from top to bottom and even beyond, connecting with some of the extra-corporeal chakras. Ambient and mystical yet highly grounded because of the binaural frequencies, Ontogenesis is indeed an excellent accompaniment to a yoga practice or meditation. It also happens to be an extremely well-constructed and produced piece of music. Its composition is extremely complex, yet deceptively simple, with many layers of music creating that peaceful vibe whilst the heavy lifting (or grounding) is done by those deeper frequencies.

For Rudin, Ontogenesis mirrors not only the chakras but the journey of a life as written in our DNA, taking a cue from Schrödinger.

I came upon the word ‘Ontogenesis’ in Erwin Schrodinger’s ‘What is life?’ A book written before the discovery of DNA which attempts to find the physical basis for life existing and reproducing itself and coming upon many deep and beautiful ideas. Ontogenesis means the progression of an organism from conception through death. As we move up the body, we move through a life: from before the beginning to after the end, reflecting and accepting at every stage. 

Fans can reflect on this beautiful work on its release date of July 12.

Independent Music Promotions Inc.

Paul Feder Flexes His Electro Muscles with New Single ‘Paperclips,’ Launching Upcoming EP ‘Echoes

Sistra News Team
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Paul Feder Flexes His Electro Muscles with New Single ‘Paperclips,’ Launching Upcoming EP ‘Echoes

Prolific Brooklyn electronic artist Paul Feder is fully flexing his electro muscles in his new single, “Paperclips” as he explores the inevitable complex relationship with AI that humankind is in the midst of developing. Due out June 25, “Paperclips” will be the first single on Feder’s forthcoming EP Echoes, which is due out later this summer.

With a trippy AI-built video, the new single “Paperclips” is the most direct homage to Kraftwerk Feder fans will have seen thus far. The story itself was inspired by Feder’s own discomfort with and ultimate embrace of AI, as well as theories of philosopher Nick Bostrom about the controversial technology.

“Paperclips” is based on AI thought experiment in which a sentient AI is given a simple task: maximize paperclip production. The end result is a Terminator-style future in which humanity is eradicated in the service of making A LOT of paperclips.

This seems to be where many theories about the advancement of artificial intelligence seem to go, but Feder, through working this track, came to a different conclusion and sees it from the AI’s point of view.

It’s a tongue-in-cheek robotic dance track and fever-dream AI video that imagines intelligent machines attaining meaning and fulfillment in their relentless pursuit of productivity.

Oh, would that it were so simple. That said, many artists who are beginning to play around with AI as a tool for making their art seem to be coming to similar conclusions. The inevitable end of AI’s means could likely be more collaboration than eradication. In the meantime, artists like Feder will continue to experiment with the different creative avenues. With its nod to Kraftwerk, vintage synths marrying with modern DAWs and AI-created video, “Paperclips” certainly bridges that gap. Not to mention it’s a bop. Stay tuned for the rest of Echoes for more concept-driven electronic contemplations.

Independent Music Promotions Inc.

Glad You Weren’t My Boyfriend by HANNAH KOIVU

Viola Karmy
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Glad You Weren’t My Boyfriend by HANNAH KOIVU

Hannah Koivu’s fresh release, “Glad You Weren’t My Boyfriend,” serves as the ideal soft rock/emo pop anthem for those situationships where one person genuinely cared while the other was toxic.

Hailing from Denver, Hannah Koivu not only showcases her musical talent but also her ability to navigate away from toxic influences in her song “Glad You Weren’t My Boyfriend.” Every aspect of the song speaks volumes about her artistry and authenticity.

“Glad You Weren’t My Boyfriend” carries a bittersweet vibe, with lively and vibrant rhythms juxtaposed with vocals and lyrics that oscillate between pain and unapologetic strength, ultimately conveying a sense of resilience and progression tinged with a touch of sorrow.

Right from the opening notes, the song captivates with Hannah’s sugary and melodious vocals, gradually building into a passionate delivery that harmonizes perfectly with the fiery composition. The driving guitar riffs are contagious, and the buoyant beats create an energizing atmosphere. The lyrics are evocative and skillfully crafted, painting a vivid picture akin to a movie unfolding before the listener’s eyes. Each element seamlessly melds to convey a resounding message of rejecting toxic relationships.

Are you prepared to immerse yourself in the velvety yet powerful vocal waves and fiery blend? Hit play and experience the empowering allure of this compelling track as you move past ambiguous relationships.



Rising Indonesian Indie Artist, Wandour, Captures the Essence of Summer Nights with His Dreamy, Hard-Hitting House Anthem, ‘Away’.

Sistra News Team
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Rising Indonesian Indie Artist, Wandour, Captures the Essence of Summer Nights with His Dreamy, Hard-Hitting House Anthem, ‘Away’.

Amidst the rising temperature of summer, Wandour unveils his latest single, “Away,” set to hit all major streaming platforms on July 22. Known for his “almost crystalline like” riffs and captivating melodies, Wandour is an indie electronic music producer hailing from Jakarta, Indonesia.

With his latest track “Away,” Wandour aims to transport listeners into a dreamlike summer night’s journey, where fluffy white clouds mingle with the stars and moon. Discussing his use of analog equipment to produce his trademark sweet, saccharine synth sounds, Wandour shared, “I often enhance my synth with a mix of rainbow and cosmic dust, along with sand from my hometown beach,” he said, half-jokingly. This whimsical approach underscores the unique, ethereal quality of his music.

Wandour shared his thoughts on his latest release, stating, “‘Away’ is more than just a song; it’s a gateway to a tranquil realm. I aimed to craft a track that captures the warmth and freedom of summer while offering a sonic retreat from daily life. I hope it becomes a cherished companion for many during their most treasured moments this season.”

“Away” marks a distinctive highlight in Wandour’s evolving discography, masterfully combining a potent, hard hitting acidic bass line with ethereal, dreamy synths and vocals. This track captures the essence of a vibrant and eclectic summer night, making it a perfect addition to any serotonin mood driven beach music playlist, pool party, or summer night drive.

Created with RNI Films app. Profile ‘Kodak Portra 160 v.2’

Wandour’s unique ability to fuse pop, synth-wave, electro, house, and techno stems from his extensive back and forth shuttling between London, Shanghai, and Jakarta. “I simply gather all the different inspirations from these places and blend them into something I’d love to play while relaxing on the beach,” Wandour explained from one of his studio in Shanghai.

Looking ahead, Wandour remains dedicated to advancing the frontiers of electronic music in his hometown. He is passionate about leveraging his music to unite diverse audiences, showcasing electronic music as a universal language with the power to bring people together.

MTS Management Group

Oakland Duo Driftwood Pines Debuts EP ‘Crimson’ on Bandcamp, Full Release July 1

Sistra News Team
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Oakland Duo Driftwood Pines Debuts EP ‘Crimson’ on Bandcamp, Full Release July 1

Driftwood Pines are an Oakland-based duo, headed by well-known multi-instrumentalist and songwriter IJ Smith. Taking influence from the likes of The Eagles and Hermanos Gutierrez and also featuring the percussion of Tony Daquipa, their debut EP Crimson is streamable on Bandcamp and will be released in full on July 1.

As a master of the lap steel guitar, IJ Smith has leaned in to the Americana/country folk feel of this instrument in crafting the all-instrumental Crimson. It’s a study in the instrument, in fact, as it leads three out of the four songs on the album with its haunting melodies. “Truckstop Milkyway” is the one of two tracks where Smith’s exquisite mandolin playing is also featured. This track also belies something a bit different about this album: it’s not just standard acoustic Americana.

‘Crimson’ captures the essence of Folk/Americana while also incorporating unexpected yet subtle and sublime ambient synth textures to add its ethereal base. 

While “Truckstop Milkyway,” with its extraterrestrial title, has the most obvious ambient production, it’s clear in all the other tracks that this is what elevates the EP as a whole. The subtle ambient pulse in the background helps the listener conjure thoughts of wandering the nighttime desert, looking up to the skies and wondering at the billions of start above. The lack of vocals allows the focus to be on this music and vibe with no interruptions. The steel guitar does all the singing.

(The album’s) nostalgic melodies evoke memories of dusk transitions and a vast landscapes and long freeway rides to times past and future.  

Poetic without any words, Crimson will not only make a splash on the folk, country and Americana scenes, but will be enjoyable for fans of all genres, especially as a contemplation piece.

independentmusicpromotions.com

Paolo Ruiu’s latest EP is the shadowy ‘Last Out’

Sistra News Team
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Paolo Ruiu’s latest EP is the shadowy ‘Last Out’

Paolo Ruiu was raised in the suburbs of South London, in the same city he resides in today. Formerly on half of the duo Young Romance, Paolo’s solo journey has become captivating for tastemakers, his initial singles catching attention online. These first glimpses became the foundation for ‘Low’ his debut EP, recorded in Paolo’s home studio on a mixing desk used by Pink Floyd and a Tascam 424 cassette recorder.

Similarly, crafted in a former Victorian sweet factory on London’s Cable Street, Paolo’s new EP ‘Last Out’ celebrates analogue psychedelia. The project opens with ‘Talk Alone’, a single originally released back in 2022, but re-emerges two years later as an energising spark, filled with punk-tinged guitar arrangements and subtle, dreamy synths.

‘Wait Below’ is next up, leaning heavier on the hazy synth soundscape, the shimmering melody lying on a bed of distant, dazed vocals and pounding drums. ‘Let’s Not Forget About Here’ continues this trend, though adds a more infectious, anthemic vibe to the music, the brighter sounds lending themselves to a rising optimism before ‘Pale Ocean’ dives back into the melancholy, the shadowy clouds returning. The turning point of contentment is still present from the halfway point onwards, the subtle joy hiding beneath the surface.

The final and title track ‘Last Out’, opens with our first acoustic-driven moment, though its eerie production and the troubled vocals make its hope more unsettling. The EP ends with a sense of softness and acceptance, the uncertainty of victory over sadness a poignant and rare feeling. Put simply, although Paolo Ruiu’s writing often hinges on a love of vintage nostalgia, his emotional portrayal is not something seen before.

Sharing his thoughts on the release, Paolo adds, ”The EP reflects a variety of themes, for which I wanted to explore the darker edges, using heavy saturation, multiple distortions and echoes, and pushing further than previously with the detuning of synths and guitars”

Plus Music PR

Casey Carmichael reveals emotional and heartwarming single ‘Come Home, My Love’

Sistra News Team
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Casey Carmichael reveals emotional and heartwarming single ‘Come Home, My Love’

Hailing from the South Carolina city of Columbia, Casey Carmichael has honed a talent for music since the age of eleven. After picking up his first guitar, Casey unlocked a passion for writing, taking influence from a variety of genres that eventually led to his attendance and graduation from Berkley College of Music. This musical diversity brought him to the simplicity and raw authenticity of folk and country, a sound which is now his focus. Performing across the US, Casey’s music is effortlessly endearing.

The latest single to add to his touching discography is ‘Come Home, My Love’, the track a homage to his wife. Rooted by an acoustic guitar line backed by pensive vocal delivery, the track introduces subtle electric guitar melodies and a steady kick drum.

The poetry of his lyricism is evident from the start, developing the narrative from phrase to phrase, the audience feeling the love in equal parts with the protagonist. As the deep vocal tone stirs you further, listeners are pulled into a soundscape of greenery and purity, the light shining from his words.

Explaining the inspiration behind the song, Casey Carmichael shares, “This song was written for my beautiful wife. I miss her every day that she is away from me at work. Our love has inspired many songs; this one simply describes me awaiting her arrival at the end of a long day.”

Plus Music PR

Alto Key shares sheer beauty in emotive single ‘take what i can get’

Sistra News Team
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Alto Key shares sheer beauty in emotive single ‘take what i can get’

Building an audience committed not only to his music but also his charming personality, Alto Key is a project that understands the meaning of a fanbase. Sharing videos across social media that share a look into the artist’s music and lifestyle, Alto Key has amassed over 1.8 million followers, alongside releasing genuine and heartfelt songwriting. 

The latest of these warming singles arrives from the tastemaker acclaimed performer as ‘take what i can get’, a piece of music that encourages reflection. Alto Key speaks to how self-consciousness can be your worst enemy when facing the challenges of the world. It’s clear in his delivery this is an honest representation of his life, but there’s no shaking its universal effectiveness, calling out to the pain felt by all people. 

This personal journey is performed over a vast acoustic soundscape, the pushed forth with deep bass lines, the plucky piano a naive forward charge, the youth left behind as the overwhelm surrounds it. The music is as captivating as you would expect from Alto Key, but he truly evokes every passionate emotion with the instrumentation alone, the poetry of the vocals a graceful bonus.

“‘take what i can get’ is probably my most raw song yet because it’s just me honestly spilling my feelings out in the song lyrics,” Alto Key shares “I talk about how I look. How I’ve felt pressure to not pursue my ambitions. Everything I’ve done to change myself to try be more successful. Whilst it was painful to write, it’s been very empowering for me getting it all out and I think its rawness will really resonate with people.”

Plus Music PR

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