JAWNY is in “Control” on his new single.

Photo Credit: Shak Thanks

JAWNY (aka Jacob Sullenger) returns with the new single “Control,” from a forthcoming release out later this year. “Control” follows JAWNY’s debut album, It’s Never Fair, Always Trueon which he “showcased his sonic experimentation, hopeless romantic-tinged songwriting and indie pop ethos” (Alternative Press), and a series of singles across 2023-2024 including “Boy Scout,” “Running” and “MAGIC.”

Each release has added new wrinkles to his already ornate sound—which helped him grow from a maker of pristine pop songs to a thoughtful songwriter with his eyes on intricate stories and life’s big questions. All the while, he’s never lost touch with the technicolor melodies that fans fell in love with in the first place. He’s learned to write with real empathy and depth—the mark of a songwriter who remains more wise and gifted than his years suggest. 

Born out of a period in which Sullenger spent time exploring interests beyond music (i.e. writing screenplays, painting, traveling), “Control” reflects his return to music with, as he puts it, “a renewed sense of purpose.” He elaborates: “After spending six years immersed in a world I created—both visually and sonically—it felt like time to move forward. Over the last year and a half, I stepped away from the stage, the public eye, and releasing music to explore what’s next for me. I needed that space to rediscover my creative direction, and I realized that meant stepping away from music for a while to gain a fresh perspective on where JAWNY should go.

‘Control’ is the perfect representation of this new chapter. The song embodies the idea that you can’t keep doing the same thing forever. I hope people connect with it as much as I do.”

Stream “Control”
With over two billion streams globally, JAWNY has built his career by intuition, allowing his music to evolve naturally as he grows personally. Instead of chasing the high of past successes, he’s following his gut and tapping into a childlike wonder that’s wide-eyed and widescreen. Born in the Bay Area, and raised in Philadelphia, JAWNY first picked up a guitar at age 6 after watching his dad jam to the Grateful Dead, Pink Floyd, and Led Zeppelin. At 13, he began making beats with his brother, eventually landing placements with rappers on SoundCloud.

In his early 20s, he began writing his own songs, and started to gain buzz with his 2018 debut EP under the name Johnny Utah, landing placements on critically acclaimed shows like the HBO series, High Maintenance. JAWNY followed that up with a handful of buzzworthy singles, including “Honeypie,” garnering millions of streams. In 2020, JAWNY signed to Interscope Records and soon released a pair of vibrant, critically acclaimed projects, For Abby and The Story of Hugo, which further showcased his sharp storytelling and sonic experimentation. Upon releasing The Story of Hugo, JAWNY headlined a U.S. tour, selling out shows across the country. With career highs under his belt, JAWNY remained steadfastly in the moment, reaching a wider audience with the release of It’s Never Fair, Always True.

JAWNY’s songs continue to grow in scope and scale—elevating him from songwriter to indie-pop auteur with a kaleidoscopic vision and rich sense of narrative that informs everything he does. 

Keep your mind open.

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[Thanks to Patrick at Pitch Perfect PR.]

Roi Turbo release new single, “Bobo Spirit,” in advance of new EP.

Photo Credit: David East

Roi Turbo — the project of South African-born, London-based electronic duo of brothers Benjamin Conor McCarthy — announce their new EP, Bazooka, out April 25th via Maison Arts, and present the new single “Bobo Spirit.” Additionally, the band announces they will be supporting Empire of the Sun on tour throughout North America in April and May.

On their second EP, Bazooka, Roi Turbo roar down many creative roads at once, celebrating the permanence of rhythmic pasts, the contrasts of analog and digital futures, and a familial bond which marries their shared idea of sonic ecstasy to a populist streak of giving listeners what they want.

In some ways, Conor and Benjamin have been moving toward this moment their whole lives. Growing up in Cape Town with music-loving parents, they abandoned drum lessons for self-taught strategies (Conor played along to Bloc Party records, Ben learned via YouTube). The brothers debated the pros and cons of band-driven sounds (Conor) versus electronic production (Ben), unknowingly laying the foundation for their future. Their musical curiosity led them to the psychedelic modulations of William Onyeabor, the ‘80s South African bubblegum and Nigerian disco scenes, and the danceable rock of Paul Epworth. By their early 20s, Conor and Ben began to understand how their separate skills mixed with shared values and perspectives, could blossom into a secret weapon.

In 2023, the brothers relocated to London. They recorded with only a fraction of their home gear in apartments whose neighbors reacted angrily to the loud sounds. This took the sound of Bazooka away from clamor and experimentation towards what could be done more quickly and inside machines. They found technical ways to recreate the big gated drums of ‘80s records they once laughed at, scaling back the cheesiness. They leaned into the vibe of pieces rather than getting stuck on perfecting mixes and takes, embracing a more streamlined process.

Today’s single “Bobo Spirit” brings acid house piano chords into a Balearic context of open air and sunsets— a world of heavyweight groove propulsion. Of the track, Roi Turbo say: “‘Bobo Spirit’ is a mid tempo groove that is driven by catchy guitar licks, bouncing piano chords, rolling digi bass, and sci-fi synth leads. We had the idea of making a song that infused psychedelic melodies with a spacey sci-fi like feel, in a way it’s a melting pot of all the sounds we were listening to at the time.”

Listen to “Bobo Spirit”

At its core, Bazooka reflects the lifelong bond between Benjamin and Conor McCarthy—their shared influences, differing perspectives, and unified vision. Picking up where other great beat-driven siblings like Soulwax’s David and Stephen Dewaele left off, the McCarthys rock the block, and blend the distinctions. In the process, they create a classic disco-funk-house sound that skips between soundsystem eras of multiple continents, winding up with a contemporary edge all its own. With the tank full and the roads open, Roi Turbo is just getting started.

Pre-order Bazooka EP

Listen to “Super Hands”
Listen to “Bazooka”
Listen to “Dystopia”

Roi Turbo Tour Dates
Wed. April 23 – Detroit, MI @ The Fillmore %
Thu. April 24 – Chicago, IL @ Radius %
Sat. April 26 – St. Louis, MO @ Saint Louis Park  %
Mon. April 28 – Morrison, CO @ Red Rocks Amphitheatre %
Wed. April 30 – Seattle, WA @ WaMu Theater  %
Thu. May 1 – Eugene, OR @ Cuthbert Amphitheater %
Sat. May 3 – Berkeley, CA @ Greek Theatre %
Sun. May 4 -Sacramento, CA @ Channel 54 %
Thu. May 8 – Los Angeles, CA @ Cercle Festival %
Sat. May 10 – Los Angeles, CA @ Just Like Heaven %
Sun. May 11 – Las Vegas, NV @ The Pearl %
Wed. May 14 – Austin, TX @ Moody Amphitheatre %
Thu. May 15 – Dallas, TX @ South Side Ballroom %
Fri. May 16 – Houston, TX @ 713 Music Hall %
Sun. May 18 – Atlanta, GA @ Coca Cola Roxy %
Tue. May 20 – Philadelphia, PA @ The Fillmore %
Wed. May 21 – Brooklyn, NY @ Brooklyn Mirage %
Fri. May 23 – Washington, DC @ The Anthem %
Sat. May 24 – Boston, MA @ MGM Music Hall at Fenway %
Thu. June 19 -Sun. June 22 – Rothbury, MI @ Electric Forest

% w/ Empire of the Sun

Keep your mind open.

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[Thanks to Jessica at Pitch Perfect PR.]

Sophia Kennedy lights a “Hot Match” under you with her new single.

Photo credit: Tom Otte

Recently announcing new album Squeeze Me out 23rd May via City SlangSophia Kennedy shares new single ‘Hot Match’. Driven by a powerful motorik-beat, ‘Hot Match’ exudes an intimidating aura reminiscent of Kennedy’s “Orange Tic Tac” persona. In the current video, we get a glimpse through the keyhole of Kennedy’s workshop, where the smoke is already beginning to rise. A threatening scenario is not only in the offing, we are probably already in the middle of it.

Sophia says of new single, “Hot Match is my first rock’n’roll song. But instead of guitars, I used squealing car tyres, all carried by a stoic motorik beat. It shifts between an underlying sense of paranoia and absurd slapstick. You don’t have to understand it, you just have to feel it.“

Watch / Listen to ‘Hot Match’ HERE

More minimalist than her previous works, Squeeze Me brims with Kennedy’s gift for catchy melodies with a certain pop appeal and psychedelic hues: repetitive piano chords, shimmering synth bass lines, strangely flickering choirs, and even a scream set the sonic stage.

It’s a multilayered, confident statement, created in the midst of external and internal crises. Rather than ignoring the world outside, this record creates its own – a world that feels both familiar and like nothing we’ve ever seen before. Sophia embraces her talent for catchy melodies with pop appeal and psychedelic flourishes on Squeeze Me. Strength and vulnerability, humour and melancholy, fatalism and resilience, the album upends everything we thought we knew about Sophia Kennedy, but with a more focused and “pop-leaning” sound – it’s her most cohesive album yet.

Squeeze Me is out 23rd May via City Slang Records Pre-save / Pre-order

Tour Dates


May 30th DE – Neustrelitz – Immergut Festival
October 8th DE- Cologne- Bumann & Sohn
October 9th DE-Offenbach – Hafen 2
October 10th DE-Stuttgart – Merlin
October 11th CH-St. Gallen – Palace
October 13th DE-Munich – Kranhalle
October 14th AT-Vienna – Flucc
October 15th DE-Dresden – Tonne
October 16th DE-Leipzig – Conne Island
October 19th DE-Berlin – Lido
October 25th DE-Hamburg – Knust

Keep your mind open.

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[Thanks to Amy at After Hours PR.]

Sextile let us know was “S Is For” on their new single.

Credit: Cesar Adrian

Los Angeles duo Sextile are celebrated for a stylish, albeit unflinching electronic punk sound. Today, the band shares the new single “S is For,” which arrives ahead of the album, yes, please., out May 2, 2025 on Sacred Bones. The track is a defiant clap back at feminist connotations, with singer Melissa Scaduto leaning into lyrical repetition “Sex / S*** / Swell / Stiff / Slag / Snap / Shut,” she repeats, her talk-singing outlined by bloopy synthesizers and techno drums. Like the best Sextile songs, “S is For” marries danceability and heartfelt spunk. The video accompanying the track follows Sextile on their exhilarating recent tour with Molchat Doma

On the track, Mel Scaduto of Sextile shares: “It’s not super relevant to Sextile but with my other project ‘S. Product’ I was always asked what the S is for – it’s always really been a Scaduto product to me. But this song is sassy way to explain how many things the S could be.”

“The video originally had a completely different concept and was scheduled to be shot a week before leaving on a 7 week tour. However due to the heartbreaking and tragic LA fires the video shoot was cancelled of course and we had no other choice but to shoot the video while on the road. The video is a collage of performances, audiences and backstage moments across several different shows during our US tour with Molchat Doma.”

LIVE DATES
May 23 – London, UK @ Wide Awake Festival
May 24 – Bristol, UK @ Dot to Dot Festival
May 25 – Nottingham, UK @ Dot to Dot Festival
May 27 – Glasgow, UK @ Stereo
May 28 – Manchester, UK @ White Hotel
May 29 – London, UK @ Rough Trade East Instore
May 20 – Brighton, UK @ Dust
May 31 – Birmingham, UK @ Hare & Hounds
June 01 – Margate, UK @ Where Else?
June 03 – Tourcoing, FR @ Le Grand Mix
June 04 – Paris, FR @ Trabendo
June 05 – Le Havre, FR @ Le Tetris
June 06 – Saint Point, FR @ Les Mouillotins Festival
June 07 – Saint Brieuc, FR @ Art Rock Festival
June 10 – Eindhoven, NL @ Altstadt
June 11 – Amsterdam, NL @ Paradiso Upstairs
June 12 – Rotterdam, NL @ Rotown
June 16 – Vienna, AT @ B72
June 17 – Budapest, HU @ Durer Kert
June 19 – Istanbul, TR @ Blind
June 23 – Munich, DE @ Zirka
June 24 – Cologne, DE @ Bumann & Sohn
June 26 – Berlin, DE @ Modus
June 28 – Warsaw, PL @ VooDoo
June 30 – Krakow, PL @ Gwarek
July 03 – BE @ Rock Wertcher

Keep your mind open.

[S is also for “Subscribe.”]

[Thanks to Andi at Terrorbird Media.]

Review: Cie – Adventures II

Cie‘s newest EP, Adventures II, contains four rock solid tracks of booming, bumping deep house that you’ll want to throw on at your next party or anytime you need to feel like a bad-azz mofo.

The opening, swirling, pulsing, grooving bass of “Reichenstein” grabs hold of you and doesn’t let go for the next six minutes and fifteen seconds. “Der Turm” (“The Tower”) has cool tribal beats that put a neat spin on this house track. It’s a well-crafted blend of house, jungle, and a bit of synthwave. Nicely done, Mr. Cie.

Side B of the album contains two versions of “Stenzelberg” — the original and a remix by Mar io. The original’s funky bass groove is enough to sell you on the entire EP, and the rest of it is a flat-out house banger (Do I sound ancient using that term?). The remix is almost a minute longer and swaps out the house funk for more jungle flavor and darkness along the edges.

This is one of the best house music EPs I’ve heard so far this year. Go snag it.

Keep your mind open.

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[Thanks to Pull Proxy Media!]

Review: Pascal Hetzel – ASLM Remixes

Pascal Hetzel‘s 2022 album, ASLM, gets an update three years down the road and becomes ASLM Remixes – featuring a lot of sharp talent and enough beats to power your next workout or dark afterparty.

Starting with JakoJako‘s remix of “RBBRMN” (“Rubberman?”), the album drops snappy electric percussion and throbbing sub-bass that gets into the back of your brain. GAEL‘s remix of “TWST” (“Twist?”) pulses like the heart of a final girl in a slasher film.

Up next is Kaiser‘s remix of “SLT” (“Salt?” “Slit?”), which you’ll want for your next HIIT workout because the bass on this makes you feel like you could either dance all night long or kickbox a dozen opponents. It’s followed by another remix of the same track, but this one by Projekt Gestalten. Their version adds an underlying sense of menace, almost like you’re dancing in a club with hornet nests hanging from the ceiling that might drop at any moment if the beats get too heavy.

The record ends with Luis Flores‘ remix of “PPPR” (“Pepper,” right?) throws you into some sort of futuristic, slightly dystopian sci-fi movie battle sequence with its buzzsaw synths, mechanical beats, and orbiting war machine bass. Good stuff, really.

Add this whole thing to your workout playlist.

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Review: j.o.y.s. – self-titled

Ramon Narvaez is also known as j.o.y.s., which stands for “Jump Out of Your Skin.” It’s an acronym for stepping out of your comfort zone and trying on something new. For Narvaez, that meant teaming up with has pedal steel-playing pal Justin Gaynor to finally put the musical improvisations they’d been creating into a self-titled album of intriguing ambience.

“dastardly” opens the album with simple synth chords and guitar drone notes that swirl like a vortex opening in space and time. The bending of time was a central theme while Narvaez and and Gaynor were creating the album, and they nailed the feel of it right away. “yucca valley” is perfect for desert meditations, as it seems to stretch beyond your senses and center you in stillness.

“river / road” curls along for over eight minutes, with Gaynor’s pedal steel helping your brain drift like a leaf on the water and your hand sway up and down outside the car window as you drive at a leisurely pace. Speaking of water, “blue water prison” is something you won’t mind being in, as it washes over you and then drains away tension.

The guitars on “lee & leo” are reminiscent of lonely border towns or nearly empty roadside diners on a side highway. “heights” almost fades out before sliding back in to bring you back to Earth. The long title track is a back-and-forth conversation between Narvaez and Gaynor’s guitars while quiet synths moderate them. By the time we get to “96 (jumping cholla),” we’re either falling into or awakening from a dream.

It’s a lovely record, and a nice meditative journey if you’re looking for one.

Keep your mind open.

[It would bring me joy if you subscribed.]

[Thanks to Ryan at Clandestine Label Services.]

Don’t “Walk Away” from Anika’s new single.

Photo by Anne Roig

Anika — the British-born, Berlin-based musician Annika Henderson — releases the new single/video, “Walk Away,” from her new album, Abyss, out April 4th on Sacred Bones. Following the “righteously hypnotic” (Paste) lead single, “Hearsay,” “Walk Away” is a surprisingly jolly 90s alt-rock tinged track with blatantly honest lyrics: “The truth is I don’t really like myself/ And the truth is I don’t really like anyone else… Sometimes I know, life can just suck… And the truth is, I’d rather you just go to hell… And the truth is, I’d rather the whole world did as well.”

On the track, Henderson says: “This song is saying all the things I want to say but am too scared to say or that society doesn’t accept me to say. It is dealing with mental health – the state of poor mental health in these fucked up, divided, isolated, social media, war, pest, rise of the right times. It is the deconstruction of the feminine – of topics considered to be private realm.” As inspiration, Henderson cites “the reckless nature of 90s /2000s Hole / Courtney Love records – of not giving a shit – telling it how it is, not scared to offend, not scared to be cancelled. We have also lost the space for healthy debate, for difference of opinion, shutting down those we don’t agree with, removing them from our social networks.”

The song’s accompanying video directed by Laura Martinova was shot in an ex-brothel in Berlin and “plays with the socially constructed ideas of femininity, of sexuality, of sexual restriction and confronts them,” Henderson explains. “The character is quite sufficient by herself, sexually and socially liberated – and also a bit of a mess, destroying the prim and proper idea of how a good wifey should be. She is a hedonist, she lets herself go, she shows anger, she shows being drunk, she seems to enjoy dusting the pictures of the naked ladies very much, she is independent and breaking out of all the bars imposed by the patriarchy. The guy in the video never finds her, never even gets close, doesn’t in the slightest disrupt her life, he continues to look but she seems to always be a step ahead.”

Watch the video for “Walk Away”

Anika created Abyss out of the frustration, anger, and confusion she feels from existing in our contemporary world. Notably heavier than her previous releases, the 10-track Abyss feels raw, urgent, and fueled by strong emotions. Abyss was recorded live to tape at the legendary Hansa Studios in Berlin (where the likes of Depeche Mode and David Bowie also recorded) in just a few days. Recording live and with minimal overdubs was an important decision, Anika stresses, in order to capture the raw immediacy of the album. As before, she wrote the songs herself, before fleshing them out with Martin Thulin of Exploded View, and then assembled a live band to join the pair in the studio – comprising of Andrea Belfi on drums, Tomas Nochteff on bass (Mueran Humanos) and Lawrence Goodwin (The Pleasure Majenta) on guitar, with studio engineering done by Nanni Johansson and Frida Claeson Johansson.

Watch the video for “Hearsay”

Pre-order Abyss

Anika Tour Dates:
Sun. Apr. 20 – Berlin, DE @ Volksbühne
Thu. Apr. 24 – Cologne, DE @ C/O Pop
Fri. Apr. 25 – Tourcoing, FR @ Le Grand Mix
Sun. Apr. 27 – Brussels, BE @ Ancienne Belgique
Mon. Apr. 28 – London, UK @ Omeara
Tue. Apr. 29 – Bristol, UK @ Strange Brew
Wed. Apr. 30 – Manchester, UK @ YES (Pink Room)
Thu. May 1 – Leeds, UK @ Brudenell Social Club
Fri. May 2 – Belfast, UK @ Cathedral Quarter Arts Festival
Sat. May 3 – Dublin, IE @ Whelans
Mon. May 5 – Brighton, UK @ DUST
Tue. May 6 – Paris, FR @ Gonzai Night @ Petit Bain
Wed. May 7 – Strasbourg, FR @ La Grenze
Thu. May 8 – Düdingen, CH @ Bad Bonn
Fri. May 9 – Zürich, CH @ Bogen F
Sat. May 10 – Frankfurt, DE @ Mousonturm

Keep your mind open.

[Walk over to the subscription box.]

[Thanks to Patrick at Pitch Perfect PR.]

Kara-Lis Coverdale announces first new music in eight years.

Photo Credit: Norman Wong

Kara-Lis Coverdale — “one of the most exciting composers in North America” (The Guardian) — announces her first new album in eight years, From Where You Came, out May 9th via Smalltown Supersound, and shares its lead single “Daze.”

A dynamic and sublime work steeped in emotion and sensitivity, From Where You Came unspools as a series of nocturnal transmissions, altered-state refinements, and vivid stories, rich in vibrant, illuminating qualities. Drawing together 19th century programmatic music, mid-’70s jazz, and her distinctively colorful and multi-dimensional approach to composition, she conducts emotional resonance like currents of charge, hard-wiring the purely felt into electronic signals.

Though written and recorded across several continents, including at the GRM Studio in Parisand the Elektronmusikstudion EMS in Stockholm, From Where You Came was completed in rural Ontario, Canada. Featuring contributions from multidisciplinary sound artist and cellist Anne Bourne and GRAMMY award winning trombone prodigy Kalia Vandever, the album’s eleven expansive yet condensed compositions incorporate strings, woodwind, brass, keys, software and modular synthesis, inscribing a musical language that resonates animations with unfiltered, striking clarity. “Anything can have a voice,” says Coverdale. “For me, voice is beyond human”.

Reckoning with the experience of grief, dislocation, and the pressure of total freedom and independence, Coverdale yields supernatural capacity to transfer tribulation into highly imaginative and inspiring fantasy epics of sound. Lead single “Daze” feels like the joy of flight — wind choruses dance and twirl in ornate cycles as dissonant portamentos ascend to soaring heights, gliding across turbulent gales to new pockets of harmonic plateaus.

Listen to “Daze”

Born in Burlington, Canada and of Estonian heritage, From Where You Came is Coverdale’s first major new work since Grafts (2017), Aftertouches (2015, Sacred Phrases), and A 480 (2014, Constellation Tatsu). Coverdale has performed concert halls, clubs, and festivals throughout Europe, North America, Asia, and Australia headlining and touring with Big ThiefCaribouGagaku Ensemble and Floating Points (including as a part of his Promises ensemble at The Hollywood Bowl in LA). She has previously collaborated with with ActressYasuaki ShimizuCaterina Barbieri and Lyra Pramuk and has created compositions for film, theatre, dance, symphonic instrumentation, and installation, including Cello Octet AmsterdamHamilton Philharmonic OrchestraVanemuine TheatreNYC Contemporaneous Ensemble and Ludens Choir with pipe organ a connective tissue throughout much of her work.

Pre-order From Where You Came

Keep your mind open.

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[Thanks to Ahmad at Pitch Perfect PR.]

j.o.y.s. releases “heights” from upcoming debut album.

“heights” is  the second single from j.o.y.s.–  the moniker of Ramon Narvaez’s ambient project. j.o.y.s. is an acronym for “jump out of your skin” – an apt expression for Narvaez’s project that views the album as a documentation and definable marker of a life always in flux. 

From Ramon on “heights”:

“heights” is the second single from j.o.y.s. Broken into two parts, it follows myself and my collaborator Bestamo as we contemplate our residencies in the neighborhoods we existed during the making of this record; the neighborhoods of Boyle Heights in Los Angeles and Crown Heights in Brooklyn. As with our previous single, we meditate on this instrumental music with a companion poem:

“well no shit, i’m like sisyphus,

because unlike many in this metropolis,

my parents are not funding this.

it’s all a near miss, to wait here wishless;

on a waitlist for a wish list,

just because i’m your one puerto rican friend,

doesn’t mean you’re not a little bit racist.

and just because i’m puerto rican,

doesn’t mean i’m not participating in the inevitable gentrifying of all of it.

awake from a sound sleep, there’s no forgiveness.

our disease is our disease.

on my knees, no company to keep.

you say it can’t always be a crisis,

when it is in fact, constantly a crisis.

gliding between life and death,

but i digress, i guess.

this one goes out to boyle heights, humboldt park, crown heights and all the rest.”

After years of trying to maintain some semblance of an art life while maintaining odd jobs, I began thinking of how truly difficult it can be to not have extra financial help while the cost of living rises seemingly indefinitely. This triggered the unfortunate realization that some of the people I chose to call friends were able to continue to live in these ever gentrifying neighborhoods due to some form of immense privilege. All the while playing a part in the suppressing of the innate culture within and living in a place with “affordable” rent myself only contributed to my ambivalence further.

It’s prompted me to look a bit more closely at what it means to be a somewhat assimilated Puerto Rican person having spent time growing up in central New Jersey and the Bronx, all the while the under the continued pressure conform to a society in a country that has bastardized the island where my true mixed ethnic roots originated.

How far have I distanced myself from the eleventh floor of a high rise on Bruckner Boulevard in the Bronx that my grandparents rented? The one that always smelled of Puerto Rican cooking and had doors that remained open to the little community within the building. How many of those communities are continuously being uprooted by a greedy developer so those aromas of home cooking are replaced with some hack instagram recipe cooked by a tech bro that pays $4000 a month to live out his dreams of big city adjacent livin’?

The cover art features a reenactment of orcas attacking a yacht which signifies to me a true act of mother nature hopefully get us all back on the right track. A track where “community” isn’t some sort of performative buzzword.

Love,

Ramon 2025

While ostensibly an ambient record, the musical touchstones of Ramon Narvaez and his collaborator Justin Gaynor span from 90’s alternative and the gnarliest of shoegazers to Daniel Lanois’ seminal Goodbye to Language. These expressions are presented unpretentiously on j.o.y.s. highlighting the serpentine path out of the New Jersey hardcore scene to Narvaez’s current home in Los Angeles. Both scenes live and converse on this record. Brutalist slabs of noise are stretched across the desert landscape and met by elegiac pedal steel.

The album is presented beautifully. A 14 page companion zine comes with a poem written by Narvaez for each composition. The result is a metacommentary and trenchant observation of being a D.I.Y. artist in the world of celebrity artists, trust fund modular synth bros and A.I. generated ambient music. 

Keep your mind open.

[I’ll feel joy if you subscribe.]

[Thanks to Ryan at Clandestine Label Services.]