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"Dreams 1000000 (angelfire remix) "infuses pulsating techno energy into the divine melancholy of the original.  It highlights the natural progression of growth: pain < acceptance < strength.

"Dreams 1000000" is from JIMMY EDGAR's acclaimed 2022 release, LIQUIDS HEAVEN.

More on angelfire.

Second-generation Jamaican, Floridian rapper Wahid shares his new single “WILT” (Feat. Kaelin Ellis). “WILT” is a monstrous boom bap jaunt with a dexterous and poignant flow documenting a tough period in the rapper's life.

Through Wahid’s sonic storytelling he refuses to submit to negativity and fatalism. His hip-hop collective had just wrapped their first national tour. Their DMs were flooded with A&Rs offering deals and producers looking to collaborate. One major label president – who had signed some of the biggest artists of the last quarter-century – told them that they were on the path to becoming global superstars. Then the group split up. It was over before it even began.

The ensuing depression was all-consuming. There were days where Wahid didn’t budge from bed, drawing the blinds closed, and numbing the wounds with bottle after bottle of liquor. Despite his best efforts to salvage the wreckage, none of his attempts yielded anything positive. But through the duress, he discovered his inner resilience and perseverance.

If you’re looking for comparisons, let’s start with if Black Thought was born two decades later and raised in Central Florida by a Jamaican DJ father who raised his progeny on a booming system of rocksteady, dancehall and reggae dubplates. As a teenager in the late 00s, his older brother exposed him to the classics of hip-hop’s second Golden Age. As Wahid describes it: “Nas made me want to rap, listening to the GZA’s Liquid Swords made me good at it, and Black Thought helped me refine my skills.”

But what makes Wahid sui generis is his gift for merging classic MC traditions with forward-thinking cadences and melodies. In his double-time acrobatic flows, he’s distinctly post-Kendrick Lamar, and Lil Wayne – blessed with a novelist’s eye for minor detail and a virtuoso’s gift for ransacking hidden pockets of a beat. He can turn a warped post-Dilla instrumental to ashes with 16 bars and croon a plaintive falsetto wail on the hook that wouldn’t sound out of place on a Jeremih album or sounding like a lost fifth member of TDE’s Black Hippy Crew which is no coincidence as 'WILT' was inspired by the flows Wahid heard on Isaiah Rashad’s ‘House is Burning’ album as he wanted to emulate those cadences plus the carefree vibe.

Out now - - ‘Inside’ is the debut solo album from Kiwi composer, producer, mixing engineer, and multi-instrumentalist Serebii. Having mostly worked on collaborative projects in the past, the record reflects his innate connection with music as a vehicle for communication and expression. For Serebii, ‘Inside’ is an introspective body of work and an invitation for listeners to take a glimpse inside the artist’s musical prowess. Written, recorded, and mixed himself in 2022, it was birthed between the artist’s home studio in Aotearoa, New Zealand, and his travels in Germany. Beginning with a series of groove-ridden upbeat tracks, the album effortlessly transitions into slower, longer, and textured offerings, Serebii’s smooth vocals taking the listener on a journey into the depths of his song writing.

Serebii resides in Tāmaki Makaurau, Aotearoa (Auckland, New Zealand,) and nspired by the Japanese concept of Komorebi 木漏れ日 which encapsulates sunlight leaking through trees, Serebii is a portmanteau that embodies the essence of serenity. For the artist the intention of this alias is to conjure up a feeling that represents the glistening light dancing in nature’s seasonal cycles through his musical offerings. In blending elements of meditative sounds, soul, folk, electronic and R&B, Serebii generates a production that invites listeners to a soundscape where they have the freedom to shape what the mix reflects to them. By centring dance and the sensuous physicality of movement, the composer considers the role that sonic sound plays in creating an experience that belongs to the listener. Whereby they can get lost in a world of their creation. Primarily known for his unique and creative production style, Serebii has worked alongside artists such as Leisure and Ayaluna. He has played the festival and touring circuits in New Zealand including opening for Moonchild & Allen Stone. In 2021 and 2022 he released collaborations with long-time friend and co-producer Arjuna Oakes through LA-based record label Innovative Leisure (BADBADNOTGOOD, Allah-Las). Their 2021 release ‘First Nights’ debuted at #5 on KCRW's top 30 Albums chart and has had extensive play on BBC6 and BBC1xtra. 

By producing ‘Inside’, Serebii creates an oeuvre that intends to be a space holder for the experiences and moments listeners flow through. His provocation is for listeners to feel the expansiveness of the contours of their body as they move to the album’s chords, melodies, and tones, feeling into the power of their personal truth and connection to the sonic vibrations. Set for release on September 15th via Innovative Leisure, ‘Inside’ is a deeply personal debut packing an emotional punch. 

Stream/purchase the album.

Read more about Serebii on Wonderland.

Deep from the heart of Southern California's music scene emerges Charlie Vettuno, a dynamic Pop/Hip-Hop/Dance duo that's been making waves with their enigmatic sound. These two brothers have been on a relentless journey of musical exploration, blending influences from Soul, Rap, Electronic, Alternative, and Pop genres to create their unique sonic tapestry & draw inspiration from iconic producers like Timbaland, The Neptunes, and the legendary Missy Elliot, Charlie Vettuno has emerged as a formidable force in the world of house music.

Charlie Vettuno's signature style has earned them praise from notable publications such as Rolling Stone Magazine and leading them to work with the likes of Raphael Saadiq & Ari Lennox alongside their music being featured in Amazon's Harlem Series.  

"French Toast" features the sultry sounds of Chante' Love Song as Charlie’s new muse pushes him to explore intimacy in a way he never imagined.

"There’s a sense of the other-worldly to his music" - CLASH

“channels easy-listening exotica a la Stereolab” - SHINDIG

It was somewhere in remote Alaska that Michael Gold—who records and performs pop–infused psych-rock as Mirror Tree—began to realize that he was officially on the road less traveled. “I was flying around between all these native villages and all these little, muddy gravel air strips in a single-engine Cessna, in and out of snowstorms, and landing on ice-covered runways,” says Gold, who worked for several years as a pilot in the Last Frontier, and currently is based out of Los Angeles, and flies a 737 for a major airline. “Being a musician to me always felt like the path of least resistance a little bit, you know? And when I touched down in a place like Bethel, Alaska, I felt very firmly off of the path of least resistance.”

Until Gold decided to fly away from the world he knew, music was always right there in front of him. Gold’s mother, Sharon Robinson, is a Grammy-winning singer/songwriter who collaborated extensively with the late Leonard Cohen, co-writing some of his classics like “Everybody Knows.” Robinson was close friends with Cohen, and Cohen was Gold’s godfather: “He was definitely a big part of my world growing up, for sure,” Gold explains.

Raised in L.A., Gold was formally trained in classical and jazz piano, and the wonders and possibilities of music seeped into him. He continued pursuing music in college, studying jazz piano at nearby CalArts, where he lived in a barn in the remote town of Val Verde, which was at one point known as the “Black Palm Springs.” Around this time, he joined the indie-disco band Poolside as a keyboardist/vocalist, bouncing around the world on tour with them, as well co-writing songs like the disco-rock-fusion epic “Feel Alright.” (18 million streams on Spotify and counting.)

But the call of the wild never stopped pulling Gold—driven in large part by adventures he would go on as a kid with his dad to places like the Mojave Desert. And, after getting his pilot’s license, he decided to trust his instincts (and some good advice from a fellow pilot) by heading to Alaska. “I basically just bought a plane ticket, and knocked on all of [the local airline services’] doors with my resume in hand,” he laughs. For the first time in years, Gold wasn’t thinking like a musician anymore, and went back to enjoying some of his favorite bands—like Stereolab and Broadcast—solely as a listener. “It just kind of changed the way I heard music,” he explains. “I wasn’t analyzing it for the purpose of learning, for the purpose of becoming a better musician anymore. I was just kind of feeling it.”

But he couldn’t stay away from making music for long. After coming back to L.A., Gold began writing and recording again, and soon teamed up with former Poolside bandmate Filip Nikolic to develop his sound—something like a mishmash of Supertramp and King Gizzard & the Lizard Wizard. When the two were honing in on the vibe they were going for, tapping into Spaghetti Western soundtracks and Tropicália, they realized they would ideally need a Farfisa organ, which Gold conveniently happened to have in storage—but hadn’t ever used before, and wasn’t sure would even work. Sure enough, though, “We plugged it in and it fired right up,” Gold marvels. “And that just became the backbone sound of that whole album.”

With Gold serving as the main writing and performing force of Mirror Tree, and Nikolic producing the set, while co-writing and performing on some tracks as well, Mirror Tree took flight. Gold would demo out songs and at his home studio, and then bring them to Nikolic’s studio, where they would work together to create grooves worthy of ELO for the chillwave generation. Songs like “300 Miles” and the title track “Mirror Tree” take the vintage Farfisa reverb and twist it into something modern, infused with a non-Western sensibility and a simultaneous Western accessibility. On rippers like “See It Through” and “Echoes Competing,” Gold combines his virtuosic keyboard abilities with earworm choruses and subtle poetics: “Cigarette thrown in the wind,” he sings in his falsetto on the latter track. “Mirror shows the glow / Driving on alone.”

As the project went on, the image of the Mirror Tree stuck with Gold—a metaphor for the way that light and life bounces off of people and things around us. Soon he realized that it was the appropriate title for the album and the band at large—and served as an ethos for everything that brought him to where he is today: “I’m not a super spiritual person, but whenever someone dies, I really get a lot of comfort that they are just kind of being constantly reflected on everyone,” he says. “Their presence—you get to keep it through the people that they affected.”

Mirror Tree's self-titled debut is out now and available to stream, buy digitally or buy physically.

Read more at Northern Transmissions.