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Cool Band Alert… “a veritable buffet of dancefloor-ready sounds, from bubbly disco rave-ups and gritty underground club bangers, to stretched out slow jams that ache with sincerity.” Bandcamp
“A delightfully deranged party girl whose bleepy vintage synths, sleazy chug and tireless disco keeps things weird in the right way” The Guardian
“Gelli Haha is ready for her close-up. The LA artist’s debut LP is for fans of weird and whimsical pop concoctions, offering 10 tracks that would feel at home in either a contemporary art exhibit or a discotheque.” The Boston Globe
“well worth your attention” KCRW
“… an album of such effervescence it is practically a geyser” The Quietus
Gelli Haha’s stellar debut album Switcheroo is here. A shapeshifter, a sonic acrobat, a performer with one foot in the cosmos and the other in arthouse theatrics, Gelli Haha (pronounced Jelly-Haha) is a space for pure creative chaos that exists somewhere between Studio 54 and Area 51. Gelli’s music thrives on duality: playful but profound, tongue-in-cheek but sincere. Switcheroo is the soundtrack to the Gelliverse, a sensory adventure sphere created by Gelli.
With a shared taste for off-kilter pop and vintage gear, producer Sean Guerin (of De Lux) joined Gelli in turning freshly-formed demos into a high-voltage experiment, abandoning meticulous structure for something freer and more electrifying. Every song on Switcheroo makes use of a myriad of recording toys; wacky analog effects, such as the Eventide Harmonizer, MXR Pitch Transposer, and various Electrix units, fashion an intentionally flawed and strictly silly texture throughout the album. Switcheroo is an exercise in letting go, an inside joke turned theatrical spectacle.
Jonah Yano surprises fans with a new song produced by Mk.gee “Homerun 2021”.
The two first began working on this song back in 2021 after a stint where Yano stayed with Mk.gee in LA, often revisiting the instrumental from their first jam session and writing lyrics on a drive home after returning to Montreal. It’s a sonic reminder of that time in Yano’s life and his friendship with Mk.gee, who added his enigmatic production and guitar tones to compliment Yano’s tender voice.
"Inspired by Brazilian popular music, hip-hop, baile funk, indie, and experimental electronic music, the São Paulo-based artist crafted a sound all his own" - BILLBOARD (Emerging Latin Artists On Our Radar)
"as laid back as it is endlessly replayable" - THE FADER
Hailing from Brazil, dadá Joãozinho and Popoto (Raça) wanted to make a straight forward pop tune but with a raw intensity. The result is "Olha Pra Mim," the first single from an upcoming EP titled 1997. dadá Joãozinho describes the track this way: "Me and Popoto (Raça) wanted to make a straight forward pop tune, make it as raw as it can be. Popoto's lyricism really inspired me to make things inteligible and relatable. We lived together for some months in 2020 and did a lot of music that found its way in other projects. So having this tune out together makes it a full circle moment for me."
"it’s a nesting egg of an album, seven songs concluding with the 30-minute improvisation that inspired the album. The majority of the album traverses jazzy climes, where Feist-era Canadian indie and Prince demos are part of the same ecosystem and love in all its forms is the life-giving sun" - THE FADER
Jonah Yano is always shifting the unstable ground his songs rest on, revising it, making it anew. Often his compositions are warm, soulful, and hazily impressionistic, but Yano prefers to resist easy genre categorization, flitting, instead, between jazz and folk traditions, R&B and hip-hop, rock and ambient and electronic. On portrait of a dog — the 2023 LP he made with frequent collaborators BADBADNOTGOOD, praised in Pitchfork for its “cryptic, diaristic intimacy” — the Japanese-Canadian musician weaved his lilting, wistful voice into a harvest-hued mosaic of heartbreak and family memory, for which he recorded hours of conversations and digitized thousands of old photographs to wrestle with his grandfather’s encroaching dementia. The album featured guest contributions from Slauson Malone and Sea Oleena, with string arrangements by Eliza Niemi, Leland Whitty, and Yano. On Jonah Yano & the Heavy Loop, his forthcoming record out Oct. 4, Yano has once again upended his musical direction, crafting an experimental, chimerical album with the live ensemble-turned-studio band (Christopher Edmonson, Benjamin Maclean, Leighton Harrell, Felix Fox-Pappas, and Raiden Louie) that he’s been painstakingly scouting for the last three years. Yano has conceived of this as a kind of double-record; the anchoring song, The Heavy Loop, is a 30-minute feat of improvisation that sees the band leaning into noise music and free sound, and constitutes the “raw materials” of the album’s freewheeling soundscapes. “Concentrate,” the lead single, smoulders over subdued keys, bright guitar arpeggios, jazzy drums, and clarinet work from Clairo, whom Yano and his band opened for during her 2022 EU/UK tour. “If souvenir is about what I feel, and portrait of a dog is about what I remember or want to remember, then this album is about what I think,” says Yano. “And maybe that’s the difference.”
Though he now resides in Montreal, Yano was born in Hiroshima in 1994, and emigrated to Vancouver when he was four. He grew up listening to blues guitar players and classic rock music, and after learning the piano under his grandmother’s tutelage as a child, picked up the guitar in a “School of Rock-esque” middle school program. He started recording demos on his cellphone in 2016, when he moved to Toronto and joined up with the city’s burgeoning underground music scene. Many of the people he met and jammed with there — Monsune, Jacques Greene, Joseph L’Étranger, BBNG — became his eventual collaborators, and taught him technical skills he would use to record his first real songs. His friendship with the Toronto-based experimental music duo MONEYPHONE culminated with a song they made together called “On Lock,” his first ever feature, and Yano released his first solo single later that year, “Rolex, the Ocean.” “It’s important for me to interface with what’s happening in whichever localized area I’m in,” says Yano. “I always want my music to reflect where I am as much as what I’m trying to say.”
In his room and the home studios of friends, he began working on a suite of songs that would form his début project, the breezy, six-track Nervous EP (2019), which blended jazz, hip-hop, and R&B influences with subtle electronica. It introduced Yano as a soulful, genre-agnostic talent with an ear for melody and intimate songwriting, and he followed it up later that year with a lush cover of The Majestics’ “Key to Love (Is Understanding),” which the original Memphis funk/soul band praised as “well done with [a] slight personal twist.” Yano’s well-reviewed début album, souvenir, expanded the panoramic sonic landscape of his first EP, seamlessly weaving together drum’n’bass, rock, ambient, soul, jazz, and more. His free association-based songwriting introduced many of the themes that would prove central to his work — memory, family histories, the nuances of interpersonal relationships, identity fractured by diaspora — and the record included a reworked version of a song called “shoes,” which Yano’s then-estranged father, Tatsuya Muraoka, had recorded 25 years before their reconciliation. In Japanese, Muraoka sang about a pair of shoes he bought for his child son, and Yano, now older, filled it in by questioning his father’s absence from his childhood due to his parents’ separation: a duet traversing oceans and decades. He released the album on Father’s Day in 2020.
Since then, Yano’s work has earned praise in major international music publications, including Billboard, The Fader, CLASH, Exclaim, Complex, and Pitchfork. He’s been featured on NTS Radio, CBC Music’s The Intro, NPR’s Weekend Edition Sunday, and performed on COLORS twice. He was twice nominated for the SOCAN Songwriting Prize, and has garnered the attention of Gilles Peterson, Benji B, and the late Virgil Abloh. He’s played the Montreal International Jazz Festival, the EFG London Jazz Festival, and toured Japan for ten solo shows in 2023. In 2024, he released the little italy demos, a three-song tape he made with his neighbour in Montreal, Le Ren. His forthcoming record features contributions from Helena Deland, Ouri, and Clairo.
"Such a forceful collection of parts woven together that you kind of feel like you can just float on it" NPR
“[Closer] wraps existential concerns of inner peace and connecting with one's surroundings inside of a tense, gentle ascendent ballad.” The FADER
“super chill and kinda takes you on this dreamy journey” BBC
Maria Chiara Argirò’s Closer is an album to get lost in. The rising electronic luminary and classically trained pianist presents a journey of self-exploration, and a manifestation of her profound connection with music. Rooted in an indescribable feeling that compelled her to create, the album transcends boundaries and tranverses the spectrum of electronic music with unparalleled depth and clarity. On the album, Maria says:
“It is about a feeling, a dreamlike feeling in motion, a feeling that we cannot describe, a dream I’m sort of walking through. Emotions/dreams/feelings that sometimes you can just imagine, a dreamlike world where we walk through to get to the core of ourselves a bit more, even if things are completely undefined and blurry. While working on the music there was this strong feeling - at times blurry and at times more defined - of getting, with every single note, closer and closer to the person I want to be. Free. Curious and consequently Aware, Connected and Closer to the people I love. There is so much noise in this world, I think being direct, gentle, light, open and connected is the key.”
Argirò has been a central figure in the UK electronic, jazz and classical worlds since she moved to London from Rome over a decade ago. A skilled pianist since childhood, she’s collaborated with everyone from These New Puritans to Jono McCleery to Jamie Leeming alongside output with Moonfish. Closer comes as the follow up to her stunning electronic jazz-fusion record Forest City, which received widespread critical acclaim across the globe and earned her fanship from Four Tet and Gilles Peterson, with the latter describing her music as “absolutely crazy good”.
The result of this journey, both sonic and personal, can be keenly felt on Closer. While it is definitely not a concept album, the record does mirror the path of inner self-exploration that Argirò has been on. Albeit moving in unpredictable ways, as it traverses the spectrum of electronic music spanning ambient to dance music, while also retaining light touches of jazz with a leaning towards experimental pop via Argirò’s more central and up-front vocals.
Closer sees its release alongside a new official video for album centerpiece “Time”. The live performance was filmed at The Cross London (King's Cross) and was directed by frequent collaborator Raoul Paulet.
Read more about the album on Line of Best Fit