It's not the first time D4AM has had a vacation. In fact, there's been many completely unnoticed vacations from writing staff (99% me) with no problems at all. It is, however, the first time we've had a vacation during summer. The problem with summer is everyone's releasing all the good stuff at the exact same time. I can't anticipate the next best thing without hearing it, and even if I did, I couldn't link you to the goods. D4AM won't be another single-pushing music blog with an occasional uninformed album feature and/or terrible artist interview that nobody wants to read, so we're gonna be away for a week and a half as a means to preserve some dignity.

When we come back a week and a half from now (August 10,) we'll hopefully have gone through some minor cosmetic transformations. The empty time will be used to enhance your reading experience.

Thanks for your support,
Let's just get it out of the way, I think this side of The Record Collector sounds like The Monkees with much more profound lyrics. Whether or not that's a bad thing is up to you, but in my ears it captures a very specific feeling, and unlike last time, it merges that feeling very subtly with psychedelic rock backgrounds.

This made it a little more difficult to feature a track, especially considering I'm not the biggest fan of that airy '60s rock feel, but it's pulled off really well here. Still, my top pick was the end of the side, A Foolish Symphony (Wait) is almost a complete turnaround for the effort, while still showing off the key elements that make it all memorable.

I also think it makes for one of the best singles so far into the releases. The production is rounded enough to start it off, capture you, and finish in similar fashion. It's catchy, addictive, and just orchestral enough for you to skip along with it as you stroll through your own movie.

That same cheer is gonna walk alongside you throughout Side 3, from beginning to end. It's almost annoyingly cheery, but it floats in such a way that carries you. You don't get a say, this is what you put on when you're feeling like following a good mood until it ends.
Stream/Download @ Bandcamp
After this listen, I'm really curious to see how side 4 might turn out. This would have made a nice ending, but it came early, instead. This is pretty much the nicest cliffhanger I've heard in years, so a little patience and a lot of respect will hold me over until side 4 is finally released.

Until then, this one is a name-your-price release so snag it for free or pay some spare change if you can. Otherwise you can keep up by tagging along on Facebook or Twitter.
As excited for this release as I was upon finding it, I wasn't ready for what it ended up being. The difference between this effort and the last probably couldn't be measured using several hundred light years, but it is definitely a much more polished piece of work. We're talking about excellent progressive timing, melodic shifts, more focused production, a wide but respectable range of influences, a love for rock as a movement— the list just goes on and on.

Today's feature is quick to show off a lot of this new feel at once. Ms Moonlet is the kind of song that crams several movements into a four minute song without feeling rushed. Maybe it's the nature of their influences creeping out to meet us, maybe it's luck, but whatever it is it makes for some deeply intriguing music.

I started realizing the album was special before this track, but it was this track, with its eclectic range of influences put together into a diverse but organic grab-bag of sounds, that made me respect the effort. It's not a very long album either, it's short and sweet and it suffers from a mild case of ADD, but it stimulates you enough for you to stick around and maybe play it again.

For me, the album is about moments, or the way they can change. One minute you're hearing Beatles-ish melodic innocence, the next you're hearing progressive-pop-punk. The fact that you can switch from Beatles-ish to a genre that shouldn't even exist is enough to catch my ears, but for the rest of you there's another six songs that are more than capable of demanding your attention.
Stream/Download @ Bandcamp
The digital version is a name-your-price release, which just blows my mind considering all the talent overflowing from the effort. The CD has its price though, and it comes with an exclusive bonus track. Be sure to give the album a stream and see if the bonus track might worth it to you, but the physical copy alone should be enough enticement.

If you find yourself near Malmö, Sweden, you might want to keep your eyes peeled for a live show. Alternatively you could Like them on Facebook or check out prior releases on their Bandcamp.

Dog, Paper, Submarine was one of D4AM's Top Picks of 2015 for this effort.
At first listen, my only upset was that the title track definitely felt like the best on the EP. The EP was like a glorified single release, and there's anything wrong with that. Those extra tracks felt like experiments, like songs that let him feel out his fans and get a clear idea of where he's being expected to go. After some time, I grew into the sound. It's a short release, 20 minutes with a remix, but this is still the Speelburg vibe. This is the magic that you can keep expecting.

I guess that title track really is the best first listen. It leaves an impression, especially with the accompanying video. It does tiptoe through some commercially-cliche puddles, but the essence is intact and the only real difference is an addition to the likability of the track. It's well finished.

Lay It Right is the track to start you off with. It's the only track on the EP, besides its own remix, that's able to hook you right away and keep your attention. Everything else is gonna need a little more focus, but after the single it's kinda hard not to.
iTunes | Amazon
Lay It Right doesn't have the same kind of pull as Kline & Aubrey did, but it's easier to break and continue from. I see it as a temporary switch and a display of versatility while still staying true, but I'm still curious and unsure of how a full length album would turn out. Until the day comes I'm happy with the EPs, but I'm just as eager to give something with a little more substance a listen.

You can stream track three, Gleason, right on his Vevo account. You can also stream the EP in full on Spotify, and if you're a fan of what you're hearing you should tag along on Facebook, Twitter, and Instagram.
Singles are not my favorite way of getting to know an album. They're the ADHD introduction to a new artist or effort, so in my eyes it cheapens the experience. Once you know what you're getting, the appeal can either fade or unreasonably enhance. I couldn't help listening to the Tame Impala singles, I'm a pretty dedicated fan, but I couldn't help to think that these album teasers were slowly ruining the experience. I was so very wrong.

The concept is pretty simple: keep the '70s psychedelic touch, add some '80s flair, and try to enhance the established sound a little more. I'm not a big fan of the general '80s sound, but the crossover being pulled off here is worthy of recognition. Everything is manipulated into just the right sound for just the right moment, while somehow frequently pulling away from the commercialized ideals I was expecting.

Let's add the lyrics to this. Now, there were some great lines on occasion on prior albums, but there's something a little more sophisticated about them this time around. Expressing the ideas, stories, and dialogue, somehow twists with melodic precision and an inspired vocabulary. From a writer's point of view, the quality of the lyrics have increased drastically. I wasn't expecting this, I didn't want this, I don't even love the lyrics in my music that much, but it's been pulled off so well that it needs to be mentioned. The stream is great to understand the experiences alone, and then there's quality musicianship to enforce its position.
iTunes | Amazon (vinyl?!)
If there's anything for me to criticize, it's probably those same indie-generic slightly-monotone catchy vocals that have always been around. Once you're a big enough fan and you've seen pre-success work and how varied it could be, you know there's more to do with them, but they still work on this album. Aside from that, the music is intriguing, the lyrics are well written, and the album as a whole is a solid piece of work. Maybe I'm just biased, maybe I appreciate the changes being made. You be the judge.

You can stream the album the most legally through Spotify, but there's full album streams on Youtube and other sites. Give it a good clean uninterrupted listen if you're already a fan, or give the singles a shot if you're new to the sound. It's easy to enjoy, just fall into it.
Early last year Scott Nicks released his Gat Do EP, an excellent beginning to a journey that's taken a lot of time and talent to finish up. What first seemed like a slightly surf-y indie-rock display has since turned into a piano based alternative-indie production, and it's still as good as that initial feature.

My favorite track is still The Pond, it shows quality production and creativity in all the right places. The rest of the album doesn't stay far behind, though. Songs like today's feature, Mumble, have a different effect. They push the passion of his vision pretty clearly. By the time the track finishes you'll have heard someone's dream come to life.

It's a little lengthy for the average listener, it's not every day you'll hear a seven minute song on the radio, but this is progressive enough to make it until the end without losing your ears. The soul of it isn't as simple and quiet as the song initially makes it out to be.

When you get down to it, the album is fairly similar in style, despite the constant fluctuation of genre. It's got that polished singer-songwriter kind of feel to it, with the added bonus of passion and soul fueling it from its beginnings. I guess it could be directed towards a certain audience better, but I don't think it matters. The album is good, it shows, and it's gonna be enjoyed by many.
Stream/Buy @ Bandcamp
I like it. The EP singles are spaced out, giving the album a nice clean and distributed sound. The remaining songs can seem like interludes or large movements, which in turn creates a sense of emotional depth for the listener. It's wonderfully crafted together, and the very least you could do for something like this is give it a stream and see if it works for you.

If it works, grab it. If you can't, just show your love by tagging along to Scott's Facebook and Twitter accounts, and maybe checking him and that excellent band live if they're ever near you.
Joanne Weaver makes the "future music" of the past. This classic jazz feel tainted with twists of electronics and science fiction fits no other description as well. This album, her second offering of classic sounds marrying space travel and Twilight Zone worthy backgrounds, is really her musical embodiment. Nine songs, all varying just enough in style and influence, are the carved tunnels of her mind, and we're the lucky listeners that get to experience it.

It took me a nice long internal debate to pick out today's feature track. The album shows variations of a similar idea, so if just by hearing the influences you've imagined an ideal sound, odds are Joanne's covered it here. I think the closest to my ideal sound is varied enough, so give it a try and see if it fits.

The Autumn Leaves isn't an original track, Joanne likes to breathe new life into half forgotten musical antiques, and she does it with her own special flavor. Her version is significantly longer than one could even expect with its traditional content in mind, and this is largely due to excellent musical production that's capable of adapting to her particular style.

The remaining eight songs can be weird. There's fuzzy/trippy moments between tracks that help the album explain itself while also creating tension between the music and the listener. This tension creates the aura necessary for her vocals to impress for the duration of the album.
iTunes | Amazon
As much as I may want it to be, the album isn't perfect. Sometimes it drags. Sometimes the awkward moments outdo themselves. Sometimes you want just a little more versatility from the track list than what's being allowed. I'd appreciate more change than sounds of the past cluttered into compact sound waves for the future, but I admit that more drastic musical changes would start to numb the classic feel she's aiming for.

You can stream the effort in full on Spotify or Soundcloud, and if you're really curious you can also take a peek at her previously released debut (it's a gem of its own.) You can also show your love by keeping up via Facebook and Twitter.
Under-cooked, but not like a cookie that still tastes like dough. Shacar's debut EP feels more like water, seconds away from boiling point. The effort, this first chapter, could use a little more heat, but all Shacar really needs is a little guidance. In the 20 minutes the effort took to play, I heard all the talent he'd ever need, and plenty of room for improvement if he finds it necessary.

His poetic being meshes perfectly with his musical preference. In this case, four excellent producers have made his rhyme style and flow come to life when he needed it most. By no means are they always perfect, but the effort works, and it works well thanks to them.

Yellin' At the Sky is the goal, in my opinion. Solid hip-hop, excellent production, no room for error. This is where rhyme and beat connect, this is where the listener is forced to open their mind. All this, and the single getting pushed has a more distorted but rounded effect. That single, which you can watch here, has an appealing video and shows a different side to Shacar. It's more art, but less music. Maybe that's his goal, but for now the solid hop-hop force seems more attainable.

The rest of the EP might not feel up to par to today's feature track as far as I'm concerned, but it's definitely addictive. It's a 20 minute effort that I just happened to listen to back-to-back for about three hours. It's kind of refreshing to have to listen to hip-hop so intensely for reasons other than extreme wit. It's more attractive because of the passion put into separate words, or the ideas themselves and the way his lyrics are direct.
Stream/Download @ Audiomack
I'm not sure where this first phase is heading, these chapters and the story. I know I like it so far and I think the immediate future is gonna be on the same track. Still, I'm looking forward to the more distant future. I'm looking forward to hearing him think more deeply, to surpass the practice and make the kind of verbal art I believe he's capable of. To show emotion through song in ways many can't even begin to grasp is a talent on its own, to develop the talent is up to the artist. I'm just anxious.

Screaming Without a Voice is a free download via Audiomack, and yes there's minimal hassle involving connecting through the site and following something, it shouldn't take more than a minute of your time and it's for the sake of support. If you'd really rather not, most of the effort is available for free individual download on Soundcloud.

Also be sure to show some love and keep up with Shacar via Facebook, Instagram, and Tumblr.
On rare occasion, you encounter music that leaves you speechless. When heading back to the few notes I'd jotted down, all I found were emotions. On that first listen; the sound of the music was its own. It created feeling, but felt incomparable to any band or technique that doesn't date back to the very foundations of modern music. Then I heard it again.

Terrible Terrible is an experimental electronic indie rock quintet from New Jersey, and for some reason I thought I was heading into a synth-pop album when I pressed play. I was wrong. Instead I found creativity and lust for a particular moment, one of my favorites. The moment is more than just the climax, it's the steep and brooding wait for the inevitable, and it's a moment that they nailed right at the beginning of the EP.

If you lack patience, you might want to skip to track two. I wouldn't want a talented band to miss out on a fan because I think their introduction is a work of abstract/experimental genius. Now if you enjoy the way up to the peak of the roller coaster before sliding down to your relatively safe landing, don't skip a track. Upon close inspection I'm almost entirely sure this EP was crafted into what it is on purpose, with each song complementing the last, and with each movement fixed as part of a melodic journey.

The effort feels like it moves in rotation, a seemingly endless spiral through a seemingly uplifting cylinder. This isn't to say it's not uplifting or coiled in movement, maybe it is and maybe it isn't, but I don't think it matters. What matters to me is what they're allowing my ears to experience, while keeping a seemingly average musical profile.
Stream/Download @ Bandcamp
I think they found their sweet spot. Their music contains a perfect blend of musical depth and progression. They understand the bliss of empty sounds and how to incorporate something much more complicated inside of that. They put this knowledge on an EP, and made the digital download a name-your-price release.

Snag it for free if you want it and don't have the funds, but give it an honest stream and get a feel for what it might be worth to you in the long run. If you really feel like supporting through your wallet, the CD is only $5 right now. Alternatively you can show some love by keeping up with their Facebook, Twitter, and Instagram.
It might take a closer look at D4AM to realize what a big deal this is, but I admire this indie-pop sibling-duo's music. To actually admire something with such a commercial base to me is abstract, but I hear so much purity on the EP that I find it hard to call what I'm feeling anything else. It's there because it's their roots, it's what felt comfortable to them, and it's the reason they're starting fresh with this effort. Pretty Speeches is their first independently released EP, and I hope it travels far.

I considered against today's feature track, but even they know how perfect this song is to their sound, they gave it a video. My problem is those first seconds, the seconds it would usually take for me to make up my mind, aren't that great. There's also the fact that I was so caught up on the album that I didn't make anything of this single the first time around. It blends, maybe too perfectly, with the rest of the effort.

Forget You in LA starts a little rocky in my opinion, so give it 45 seconds to be sure. The bass will kick in, the mood will start to set, and their true sound will be clear as crystal. It shares a lot of traits with the rest of the album, especially as far as smoothness of vocals, lyrics, and base production go. It also features some slightly negative points, like maybe lasting 30 seconds too long or lulling you to the rest of the experience.

There's no big bang moment in Pretty Speeches. You'll be able to turn it on and feel the exact same way all throughout the listen. That's cool, that can be appreciated, and before we get into how that experience can be improved, we first have to realize this is just an EP. They were capable of getting a good mood, a nice swing, and keeping it up for about 20 minutes. I'd like to complain, I'd like to say it could be better, but if it changed it probably wouldn't feel as pure.
iTunes | Amazon
I don't know what Poema made before Pretty Speeches, and I think I'm happy about that. This indie-pop effort feels like a beginning, like the kind of music you play when you know your direction. I just hope that direction evolves as much as I'm hoping it will. I see great things, very possible, very powerful things coming from them in the future, if they know where to focus their sound.

Stream the entire effort on Soundcloud, hear the magic for yourself. If you're as ready for their next few steps as I am, you're a fan. Show your support by either buying the effort, tagging along on Facebook, Twitter, and Instagram, or sharing their work with the right fun-loving crowd.
It's hard for me to judge this EP. Downtempo electronica has a certain freedom to it where you don't have to love it in order for it to fit, and it seems Lanks is either taking advantage of that, or not rushing his beginnings at all. Any which way you look at it, he's made a six-track effort worthy of a listen, so why not give it a try?

The production is pretty interesting, there's a certain quickness to Lanks' style, especially during transitions, that I really enjoy. It's quick but not choppy and that's a slight edge he's got going on that isn't helping him as much as the pop tendency might be.

You'll notice that quickness right away on Hold Me Closer, which also has a weird kind of faded drum and bass feel. The idea makes fro a pretty great opening track, and maybe sets the bar a little higher than the EP should egg on. I wouldn't say it can't catch up, but you do get to hear some decline as the songs continue. You wouldn't notice at all if you heard each song on its own during a set or something.

I think the EP is a good stepping stone towards something more. On its own it's a pretty decent listen, it's great both from the background and as focal listening. I just think it's more of a statement. If this is what six songs can do on their own, what's to be expected from a full length?
Stream/Buy @ Bandcamp
I'm eager to find out, and if you're digging the EP you should be, too. This is what we get for now, though, so make the most of it. Dissect the listen, explore the provided variety, submerge yourself in the relaxed vibes and the stories they tell.

Show your support by tagging along on Facebook, Twitter, and Instagram. Keep streaming if it makes you feel better, but buy the effort if you can. There's a handmade physical copy on Bandcamp that's bound to contain a little extra love, if you're feeling the effort that much.
I swear I wasn't disappointed. Earlier this year The Switch released B for The Beast and it's found a personal spot in my heart as one of the best albums released in 2015. Before I heard this latest effort, I made it a point to keep a mental note on how pop rock is also a huge inspiration to this band, especially of decades past. Maybe it's because of the mental note, maybe it's out of admiration for a band that doesn't let their sound sit still, but when I heard We're Fooling No One, even though it was less exciting to me than B for the Beast, I felt content.

If I had the spotlight of a major e-zine, I'd feature their 20 minute epic "The Switch Presents: The Astrologers", but realistically speaking you're only going to listen to that song once you've been sold on the album. That being said, The Astrologers is a great view at what could have happened if iconic '80s pop rockers had leaned a little more on '70s psychedelia.

Instead we're going with the title track, a very accurate view at what they're aiming for as far as mood and smoothness of sound. That nostalgic air is greeted by talented musicianship and an ear for the possibility of ongoing melodic development. It's the nostalgia that triggers everything that's about to play, though, and it's almost entirely that crowd that they're trying to please.

The EP is pretty much an original trip through a near abandoned '80s pop rock road. They've brought some moments to life, some styles, interesting combinations of sound. It has excellent replay value if the era and genre are to your liking, and it's got some moments in there that are extremely true to their core, but for the most part it feels more like an ode than it sounds like them. I could be wrong.
iTunes | Amazon
I recommend at least the Soundcloud stream if you're a fan of revamped sounds. The studio work is quality and the production feels very comfortably independent. If you've been following them because of D4AM, expect a big change. It's not the same psych-prog we featured last time, it's a little more mellow, and frankly, a little easier to digest.

Unless you're heading to or near Norway, your odds of showing some love by catching them live are slim, so do everything else. Buy the EP if you need to keep it, but also be sure to tag along on Facebook and Instagram.
Earlier this year Chance put something up on socials, he said "Work with your friends" and the message, in my eyes, was beautiful. I was immediately confronted by the ignorance of the modern world, the supposed maturity of those many scared individuals fearing that which becomes corrupt. I understand the fear, but it was almost like they were advising against something pure. Chance didn't seem to pay much mind, and neither did his friends. The friend in charge of this effort, Donnie Trumpet (or Nico Segal) did an excellent job at the base, and the entire Social Experiment did an amazing job at giving it life. Chance the Rapper isn't the lead, he isn't necessarily the brains, he's as essential as Donnie Trumpet, which means they're both nothing without each other and The Social Experiment. At least for this album, this time.

Donnie Trumpet & The Social Experiment — Surf

The first peek I got was Sunday Candy, and I wasn't really feeling it. It wasn't bad, but I was still locked on to this Chance the Rapper vibe. The album as a whole makes it easier to break into, Chance will be Chance on occasion, but this album is about someone else's sound entirely. After understanding that, I was able to really hear what was happening, or where the magic was coming from.

Just Wait is honest, in my eyes. It's gonna have what you might call an intro that lasts about about a third of the song. This entirely instrumental section tells a story without need of a word, and the lyrics that follow will enable you to view that message more accurately. Chance the Rapper's magic is put into context here, and it can follow this rule for the rest of the album. He's essential for your experience, for the experiment, but he's nothing in this effort alone. Every member brings their own shade to the masterpiece, and Donnie's not so much taking the spotlight as he is projecting it.

I checked, iTunes classifies the album as "Pop, Hip-Hop/Rap, and Music" as if music were a defining factor as a genre. It's hard to call it anything else though, it doesn't fit to a mold even though occasionally the artists involved do. They're right, though, there's some pop to it, but it's more than that. Hip-Hop is what Chance and some of his friends bring, and it's cool, but it doesn't define it. It feels a little more close to jazz, with its progressions, flexibility, and openness, but to simplify what they've made by calling it jazz doesn't quite fit to their sound, either.
Stream/Download/Buy @ Soundcloud | iTunes
Some of the beauty for me here is in the marketing. Upon its release, the album was advertised as free via Soundcloud, which in my opinion is one of the most annoying ways to have a free album. If you want, at least for the time being, you can still download the album track-by-track on Soundcloud. You can also download it via iTunes, help support the band, and make life a little bit easier in the process.

Regardless what you do, if you like the album, be sure to show some love for its beginnings. Tag along with Donnie Trumpet via Twitter and Instagram. Share the music with like-minded listeners. Catch them live, you won't regret it.
It's so easy to get lost in digital music with so much of it going around. It's hard to separate the good from the great, the upcoming talents from those which are established. Ambassadeurs' "Patterns" is worth getting lost in. He is the upcoming and established talent, and this display is one very small but intriguing step in the evolution of electronica.

Now when I say established, I really mean it. There's a particularity to the sound that's his own, it's gonna be there on every song on the track list. That's great usually, and it does the album good, but out of a dozen songs I was kinda hoping there'd be some awkward discordant note separating the album from studio perfection to audible bliss. The line is thin, is all I'm really getting at.

Breathe is my favorite track on the album, barely. It's the only track that runs smooth enough all the way through while still showing off some of that happy-prog idea the effort seems to base itself on. It's just varied enough to earn your respect if your music tastes takes twists and turns, but it's really more for people who need a set beat to dance to.

Patterns is kinda similar, if not just a bit more eclectic and positive. When listening and re-listening to it, two words best define the dozen-track-effort. These words are uplifting and progressive. The blissful moments aren't fleeting, so the listen is essentially one big giant dance-worthy electronic smile.
Stream/Buy @ Bandcamp
I recommend the stream. It's not overwhelmingly good, just very consistently so, which is incredibly refreshing in the giant puddle of average electronica albums out there. There's gonna be plenty of bass in all kinds of directions, so if you're a fan of that more classic real dubstep sound, you're gonna be real happy with more than just a couple of the songs available on here.

The last time we mentioned Ambassadeurs on D4AM he was giving out a free download (go check it out,) and this time he's got another one ready for you, too. It's a little more electric than the songs on Patterns try to be, but it's fun, and it's free. If you're liking his electronic touch, you might wanna keep up via socials. Find Ambassadeurs on Facebook, Twitter, and Instagram.
I had reasons to doubt this effort, but I admit the negative bias was a personal issue. It only took one stream, merely a few minutes, for me to understand Sean Webb's vision. A vision of of minimalist vocals, of slick beats, of well produced bass lines, and of class.

Loving Me is really the spotlight song, and its surrounding tracks are really meant to be more of a filler I guess, but I can't take it that way. So yeah, be curious about Loving Me and listen to it here, enjoy it. My personal favorite is the track that immediately follows, Air That I Breathe.

Maybe it's because I heard it after the title track, but this song seems to connect more personally with me. I feel attracted to the smoothness offered within the gathering of sounds. I like the trip-hop-y feel and the obvious electronic base. It's all clear throughout the album, but it's very dominant with Air That I Breathe, so I admire it just a little bit more.

You can expect a very similar sound from the five-track effort, but it never really gets boring. At a decent length of 15 minutes, the single-EP kinda sounds like it caters to a few star tracks and uses the right kind of fluff to make them stand out. The more "average" tracks on here are still good enough to start the right kind of party.
iTunes | Amazon
It's mostly a laid back listen for the bass-driven EDM lovers or the hip-hop beat aficionados, but it's got enough charisma to go through anyone's ears without really being a bother. The vocals might get a little repetitive, but again, shortness in length will aid you towards enjoying everything there is to offer.

You can only find the two mentioned songs on his Soundcloud. Everything else is available for stream exclusively on Spotify. If you like what you hear, you might wanna look into his stuff on Bandcamp from before he'd used his name. You might also just wanna keep up via Facebook and Twitter for the latest releases and info.
This is Sasha Siem's debut. The music is so eclectic and evolving that I can't tell if it's the album or the artist I'm following through with. Her vocals spotlight the melodies, the melodies take turn because of the lyrics, and her lyrics are written with the intimacy of an open mind.

I don't now if it's the album or if it's her style, but somewhere along the listen the focal point changes. The abstract is no longer meant to be analyzed, and a modern style of production starts to show itself. Maybe it's track list placement, maybe it's who she is, maybe it was planned, but it's a very strong turn for such a unique effort.

You can't hear most of this album online, which is fine when considering she's so eclectic. My trouble is with the selection of tracks that are available for public streaming. So Polite is honest. It shows that wonderful complicated shade of colorblind crimson that blooms in the early portion of the album.

Then there's songs that were built more-so with the public in mind, like the current single See-Through. See-Through is still honest, but in my eyes it's deceptively honest. It doesn't embody the Most of the Boys experience like many other tracks do, but it does show you a side of it under a specific light with certain circumstances in play.
iTunes | Amazon
By the end of the album it's as if they've tried to pick up the pieces and create something logical. Sasha Siem isn't best at logical, her gift is more along the lines of beautiful chaos. This doesn't take away from the album, there's just something during the listen going against the grain. That tension creates an experience, a few awkward moments in an already experimental sound.

You can find the album in full on Spotify. If you can, I highly recommend giving it a stream. The melodic transition the track list offers is an experience few artists can shape in her medium. You could also check up on her Soundcloud, Facebook, Twitter, and Instagram for other bits and pieces.
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