Song of the Week: “Wave(s)” by Lewis Del Mar
Release Date: Oct. 5
Raw, bold and experimental can often lead to a disastrous outcome. But the strange yet enthralling vibe of brand new musical duo Lewis Del Mar has attracted a growing population of indie fans. Opening the first song, released this past June, with the audacious line, “Can you please sit the f*** down?,” the duo set a trajectory of fearless brilliance. Their third and latest single, “Wave(s),” continues to bring honest wordplay to life with dazzling acoustic guitar riffs and an assortment of unique percussion sounds. With only three songs out on Soundcloud and no profile on iTunes or Spotify, the Rockaway Beach, N.Y. natives embrace the distinctive and underground nature of their music. Without truly belonging to any genre, Lewis Del Mar flirts with electronic, surf rock and alternative styles to create its own awesome and new feel.
Song of the Week: “Hello” by Adele
Release Date: Oct. 23
It’s here. Adele’s highly-anticipated third album, “25,” arrives Nov. 20, and fans and critics alike are talking about how big the release will be. Nearly five years ago, her last album, “21,” sold 11.2 million copies and won seven Grammys. “Hello,” the pre-released single, has already racked up over 110 million views on YouTube in 5 days. Adele returns with the same balance between delicacy and power, with breathtaking vocal strength and subtle instrumentation. Combining the catchy chorus riff with a dark and melancholic text, she weaves elements of pop and soul to create an elegance fully supported by her impassioned voice. From a listener who was not dragged into the crazed and widespread popularity of “21,” “Hello” demonstrates Adele’s stunning singing and songwriting talents and hints at more brilliance in her upcoming album.
Song of the Week: “Bad Blood” by Nao
Release Date: Oct. 21
Nao has upended and claimed the nu-R&B aesthetic as her own by using its tenets as a base instead of a constraint. Dark, 808 driven beats with warm synths. No media until you’ve cultivated an image of staunchly refusing media. Obscure ambient samples. Collaborating with critical darlings. Nao winks and charms her wobbly synths into the song, dotting them in short spasms. The song doesn’t take half measures; It’s either completely silent or has the soundscape enveloped in her extravagant production. She opens up the blinds and invites light in. “Bad Blood” is a shining example.