Sweater Beats is a Brooklyn-based producer who makes music for the bedroom. Combining sampled R&B vocals with Trap and boogie beats, he creates futuristic slow jams for the next generation. Seducing his studio to create remixes and originals both on Kastle’s label Symbols and Bondax’ label Just Us; listen for the forthcoming release Cloud City on HW&W.
Otis Brown III
Otis Brown III is best known in jazz circles as one of the two drummers with Joe Lovano’s Us Five – and for backing up its original bassist Esperanza Spalding in her solo career. Brown has also just released his debut album The Very Thought Of You via Blue Note Records. He is joined by an impressive roll call of artists like pianist Robert Glasper, saxophonist John Ellis and singers Bilal, Gretchen Parlato and Nikki Ross on tracks like “You’re Still The One,” a gospel reinvention of the Shania Twain hit single. …
Golden Youth are a Nashville based duo whose alternative rock sound includes folk elements and intricate melodic phrasing. Other artists that can be heard on their station include Birdy, Merriment,…
Last month we shared the launch of our Thumb Moments campaign with our first artist, Lindsey Stirling. Within moments of thumbing up a Lindsey Stirling song, a few listeners were surprised with a totally live, one-on-one concert via video chat by Lindsey herself.
As promised, we are back with more and this time, Bush joined in on the fun, surprising listeners across the US (seriously – callers spanned Hawaii to Florida) with a series of intimate, one-on-one mini concerts. Callers literally became a part of the experience – their images created the backdrop while Bush performed an exclusive acoustic version of their new single “The Only Way Out.”
As you might imagine, these fans were pretty excited. See for yourself:
SoShy began her rise to fame in 2009 with the international hit “Morning After Dark” which she co-wrote and sang with Timbaland and Nelly Furtado. She performed the song live across the world, including the American Music Awards and Late Night With Conan O’Brien. Her debut album Crack The Code drops this fall along with its single “Whaeva Man,” which she describes as ‘Street Pop.’
Known for remixing Diplo and A-Trak, Kid Kamillion has also collaborated with Kid Sister, Mannie Fresh, Boys Noize and Spank Rock. This young fella’s been busy! Born in New Orleans, Kid Kamillion’s experience with southern hip-hop, New Orleans bounce and electronic music clearly influences his style. His new single “Pump This Party” overflows with trap beats, quirky samples and a very danceable vibe. …
Some years ago, I went through a low period as a long-term relationship came to an end. I was living in a tiny apartment in Paris, a city where I knew only one other person. I was broke, of course. It was winter, and my music–the whole reason I’d moved to Paris–was going nowhere. I subsisted on espresso and Gauloises cigarettes, long walks around the freezing, empty city, and Radiohead’s Kid A and OK Computer. Cliché, I’m aware, but forgive me. I was young.
My point, however, is that rather than seeking out some positive, inspiring music that could have helped shake me out of my gloom, I gravitated toward the saddest sounds I could fill my head with. And I know I’m not alone in this behavior.
There’s something about sad songs that holds a strong appeal for us as listeners. The pining vocals, the grand weeping sweep of strings, the dark shadow of the minor key and shattered glass spill of acoustic piano, they scratch some itch deep inside that the bounce and whirl of a chipper ditty can’t reach. …
Bernhoft is a Norwegian multi-instrumentalist. He uses looping of his vocals and other instruments to add a unique touch to his R&B influenced sound. Other artists that can be heard…
More often, it seems like deep house is part of the pop vernacular – there’s a common producer behind many of today’s hits: Robin Schulz. Widely known for his remix of Mr. Probz’ “Waves,” Robin’s debut album Prayer finds him remixing “A Sky Full Of Stars” by Coldplay and “Prayer In C” by Lilly Wood & The Prick. Upon first listen one is struck by a unified sound with emotional pop vocals, catchy riffs and plenty of reverb tying it all together. It’s stylistically similar to the Saint-Germain-Des-Pres Café compilations, but with a lot less jazz. If you’re digging on Clean Bandit, Duke Dumont, or Kiesza; you’ll find a lot to like in Prayer.
Combining rock, soul, folk, jazz and country; RCA Records artist Elle King is preparing to release her much anticipated debut album featuring the single “Ex’s & Oh’s.” This track has been compared to Meghan Trainor’s “All About That Bass,” but with a naughtier edge. This “banjo slinging baby” is also the daughter of actor and comedian Rob Schneider (Saturday Night Live, Deuce Bigalow: Male Gigolo).
Owl John is the solo project of Frightened Rabbit singer Scott Hutchinson who recently released an album of the same name produced by band mate Andy Monaghan and Olympic Swimmers’ Simon Liddell. He has so far garnered accolades from Mojo and Under The Radar for his experimentation with atmospheric, electronic and bluesy influences as heard in the album’s opener “Hate Music.” …
You know how music can bring back a flood of old memories, emotions and even certain smells or tastes? Building Pandora’s Progressive Bluegrass station totally did that to me. I was introduced to the genre by way of San Francisco’s beloved Hardly Strictly Bluegrass Festival – an annual weekend-long concert in Golden Gate Park featuring traditional bluegrass bands, non-traditional bluegrass bands and everything in between. I’ve been attending almost every year since its 2001 inception. Because the event always happens the first weekend of October, just listening to David Grisman, Steve Martin & The Steep Canyon Rangers, Carolina Chocolate Drops or Robert Plant & Alison Krauss brings back all kinds of autumnal vibes – the shedding trees, a crisper coastal air and darker beers.
The first time I’d ever heard there was a music genre called “progressive bluegrass,” I admittedly envisioned the guys in Rush playing banjos and fiddles. Up until then, the only time I’d ever heard the word “progressive” used in relation to music was when describing prog-rock. Bob Dylan went electric at Newport Folk Festival in 1965 – this was around the same time that The Byrds’ first album was released. So if adding amplifiers and drums to folk created the term “folk-rock,” why wasn’t progressive bluegrass simply named “bluegrass-rock?” While curating the songs on this genre station I learned why. Not all progressive bluegrass involves the simple addition of electric guitars and drum kits. In fact, most bands comprising the genre still adhere to playing classic acoustic instruments. But what’s progressive here is that these musicians have decidedly moved beyond the purists’ parameters of the traditional stringband blueprint to explore new and different possibilities. …