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Press Releases For December: Here Are The Artists

press releases for December
eee gee is among these press releases for December.

Olive Vox, MØ, eee gee, Mackin Carroll, WARBLY JETS, New Myths, Ok Cowgirl are among these first press releases for December.

Olive Vox – “Sunflower”: A psychedelic raucous track with an explosive grungy side and a sound visibly influenced by Nirvana, Screaming Trees, Alice In Chains. Olive Vox is the creation of singer-songwriter, social media creator, and influencer Parker James and his brother guitarist-songwriter Caden Shea. In a feature with Psychedelic Baby Magazine out today, Parker explains: “The lyrics [for “Sunflower”] are a metaphor of how I struggled in school being dyslexic.”  During the COVID-induced lockdown, Parker and Caden developed their sound influenced by psychedelic indie rock, garage rock, 90s grunge, and more. Their Gen Z perspective makes the music they play resonate with an audience searching for a new sound to embrace. This is a sound for lovers of distortion pedals and raw feedback and overall, not attached to any generation.

MØ – “Brad Pitt”: A pop song about Brad? Or rather a moment to fantasize about him: “I’m your Juliette, you’re my Brad Pitt/Dancing in the moonlight you look so fit.” With high-pitched vocals, anxious beats, and a poppy hook on a synth dancefloor, this is a new track from Danish superstar MØ’s long-awaited third album, “Motordrome” out January 28 via Columbia. She also shared a video for another track, the more ethereal “Goosebumps,” directed by longtime collaborator Rob Sinclair (a recent Emmy winner for David Byrne’s American Utopia) and Lewis Knaggs. “‘Goosebumps’ was the first song I intentionally wrote for Motordrome,” says MØ. “Both the song and the video are about remembering who you are, who you were, and who you aspire to be. I wanted the video to tell the story of pulling yourself out of the mind’s prison and back into life.” The title for “Motordrome” came from a conversation that MØ had with her mother about her battles with anxiety—the panic and intrusive thoughts called to mind the dødstrome, an old carnival trick in which a stuntperson rides a motorcycle around the vertical walls of a motordrome at death-defying speeds. She enlisted friends and longtime collaborators Caroline Ailin (Dua Lipa, Katy Perry, Ellie Goulding) and Noonie Bao (Halsey, Charli XCX, Carly Rae Jepsen) to help flesh out the songs, with further songwriting and production from a close circle including Ariel Rechtshaid (Haim, Vampire Weekend, Adele), Jam City (Olivia Rodrigo, Troye Sivan), S.G. Lewis (Dua Lipa), Linus Wiklund and Yangze. “I hope that people will feel that it’s genuine and that there are stories there that they can connect with,” MØ says. “For me, this album represents a huge change in my life. Even though I’m still doing what I love doing, it does feel like a new chapter. An era of my life is over and I’m entering a new one. That is scary, but it’s freeing.”

eee gee – “Bad Person”: A deeply emotive indie pop song with anthemic qualities and emerging Danish artist eee gee’s truly amazing voice. The song, which comes with a video, tells a story from multiple different perspectives of what it means to be a “bad person.” “I don’t think anyone is decidedly evil or bad, but sometimes we act in unnecessary mean ways,” describes Emma Grankvist, aka eee gee. “‘Bad Person’ is an anthem for all the ones that have experienced getting manipulated, gaslighted, or stepped on.” Emma Grankvist is a singer-songwriter from Denmark. Her debut single “Favourite Lover” received the highly praised ‘pick of the week’ spot on DRP3—Denmark’s largest national radio station, and the song entered the Denmark Spotify Viral charts. “It’s music for the introvert, who is constantly pushed into the uncomfortable extrovert way of how to view the world,” Grankvist describes.

Mackin Carroll – “Learning How to Swim”: Simple and honest songwriting with pleasant vocals (and a touch of Ben Gibbard), along with delicate arrangements, and a charming atmosphere taking a high-energy and buoyant turn, which makes the track a truly eclectic song. This is the title track off his debut album, a collection of 11 introspective songs of hi-fi, homespun recordings that range from whispers to shouts, from solo singer-songwriter tracks to fuller rock arrangements with psychedelic drum machines, and hints of Americana that drift into dream pop. But underneath all the rich layers and textures, is pure honest emotion and dynamic songwriting that paints a beautiful picture of the inner and delicate workings of Carroll’s soul.  “Learning How to Swim” is about childhood depression and not being armed with the tools to overcome it, and the space that creates between you and your loved ones. It’s Carroll writing both as his younger self and to his younger self, assuring him that even though he feels like he’s drowning, he’ll learn how to swim. “I heard Duncan Trussell on his podcast reference something to the effect of ‘the madman drowns in the same waters that the mystic swims,’” Carroll told Atwood Magazine, “and that dynamic of swimming vs. drowning really stuck with me. It’s really about finding equanimity as a hyper-emotional person and navigating the intensity that comes with that. And it feels like that’s what the heart-wisdom that comes with age is: not getting out of the water, but learning how to swim.”

WARBLY JETS – “Let Go: Be Free”: A synth-and beats psych alt-pop, a bit reminiscent of the work of the Dandy Warhols or Beck, turning into more chaos than expected. The cool track, which comes with a video, is another track from their last LP, “MonsterHouse” released Via Rebel Union Recordings. Speaking on the concept of the music video, Julien O’neill said, “For me, it’s about embracing different sides of yourself. The subject matter in the lyrics is actually surprisingly dark when you look closely, but simply put it’s about letting go and not denying the feelings that compel you to be unique.” He said the shoot was inspired by “high fashion stills and Michael Gondry.” Los Angeles-based duo’s second full-length studio album follows their critically-acclaimed, self-titled debut released in 2017. The new LP is packed with high-energy, genre-fluid tracks that exhibit the band’s studio chops and production prowess, while it explores the place where humanity and technology meet—grappling with all the questions and doubts that come with living in the information age. “The first album changed our lives,” explains Shea. “But parts of it feel too one-dimensional since there are no rules in pop music anymore,” adds O’neill. “We’re witnessing a rebirth of what music can be. Music is getting way more flexible and people’s ears are wide open. It’s easy to be inspired by the infinite possibility. That’s what this album is about for us.” Defined by experimental, genre-bending production, massive sound-collage hooks, and the search for identity in an industry that has yet to fully accept them, “MonsterHouse” features the alternative duo’s most personal yet highly relatable songwriting to date. “It’s a patchwork narrative of our own experiences,” explains O’neill. “But I hope people listening will find a lot to relate to with the questions we’ve been asking ourselves. Things like, why do you feel that you can’t go on without that person? How did you grow up so fast? How do you change again for the better?”

New Myths – “Fever Dream”: An intergalactic start for an edgy rock song with gritty energy, gloomy vocals, and strong female harmonies over propulsive drums. The song, both bright power-pop guitars and retro girl group, comes with a cool animation video, and it is the first song of the power trio’s new EP, “All The Shiny Things” (which was recorded with producer, engineer, mixer Seth Glassman in upstate NY). The New York-based alt/new-wave/pop trio is the collaboration of Brit Boras (guitar/lead vocals), Rosie Slater (drums/vocals), and Marina Ross (bass/vocals).  They write what they love, combining elements from bands such as Garbage, Elastica, Siouxsie and the Banshees, and The Pretenders, and the result is a blistering alt-rock take as much influence from bands on this side of the Atlantic as from 90s US grunge bands and the rich NYC punk rock heritage. In 2012, when they released their self-titled EP, the first single, “False Gold” was immediately featured by Lou Reed on his XM radio show and used in several ad campaigns for companies such as Gucci and Reef Surfwear. Via their own record label, NEW MYTHS released their debut LP, “Give Me Noise,” in 2014. Following the release, the band was written up by major publications such as The New York Times, The Guardian, Brooklyn Vegan, Earmilk, and Pop Matters.

Ok Cowgirl – “Her Eyes”: A dreamy and glittery song with Leah Lavigne’s dynamite and ethereal delivery over a tuneful soundscape of guitars and synths. “Her Eyes” is also a queer anthem and the second single off the band’s much-anticipated debut EP, “Not My First Rodeo,” due out December 8th. The song is an epic 5-minute journey that goes from questioning one’s feelings to declaring them. It begins tenderly and introspectively with an atmospheric guitar part that will send you drifting into a trance. The rhythm guitar enters with drawn-out deliberate strums, ringing with every question songwriter and frontwoman Leah Lavigne asks herself: “Am I just lonely? Am I just lonely all the time?” Eventually, the questions are overcome by a warm and wistful chorus where amongst washed out drums and lush synths Lavigne finally reveals her true feelings in a bombastic display of the ecstatic agony of crushing. If you ever wondered what the euphoria of “having a crush” would sound like in the language of indie rock, the self-identified dream rock group has figured it out. In an unusual form, the song ends with a long triumphant outro; the self-doubt that informed the earlier half of the song is nowhere to be found as Lavigne boldly, almost melodramatically, declares her intent to kiss this secret crush. It’s not clear whether liquid courage or self-knowledge is fueling these final declarations, but the relief and excitement of surrendering to your feelings is felt as the song builds into a soaring guitar solo. Lavigne rides out the song repeating the line “until I kiss her, kiss her;” it’s all she can think about. Saccharine and endearing, “Her Eyes” is a song that makes you want to fall in love.


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