FI_11march

First Impressions: Kanye West, Chromatics, M.I.A & More

FI_11march

First Impressions is an interns roundtable review of songs on their first (or second) listen. Each week we review six new songs from the past week, each giving them a score out of five and awarding our pick of the week. This week we pick part tracks by Kelela, Kanye West, Chromatics, M.I.A + more. 

Kelela
A Message

Sam: “If I was your ex...girlfriend” - that line is everything to this song. At first it’s mystifying and haunting but that line grabs you and brings you closer. It’s the most subtle of hooks but Kelela and Arca have done a masterful job of creating an intriguing track that rarely wavers if we’re talking waveforms.

This song trades in silence, with the quick breaks in noise building the intensity and making Kelela’s voice even more powerful. It’s as if Bjork and Janet Jackson reproduced and it’s unbelievably good. 5 Sam’s Pick

Bianca: Take one glance at the Youtube comments surrounding this track and you’ll notice constant comparisons of Kelela to FKA twigs. Whilst she does bear some similarities to the London songstress (produced by Arca, synonymous R&B stylings and their unique explorations of love and sexuality), Kelela is an artist in her own right. While treading a bit slow for my liking, it’s a hauntingly beautiful song with a truly sensational video clip to boot. 3.5

Alex: There’s a quiet intensity to this track which demonstrates a haunting vocal. A Message shows a raw and vulnerable side to Kelela there’s a true sadness and hurt behind the lyrics which really evokes something within me. The video for the track is equally beautiful in comparison to the song with her twitching sharp movements which exaggerate the breaks in the song. 3.5

Cashmere Cat
Adore

Sam: To me, this song is like Be My Baby part 2 but the thing that makes it ever so slightly better is Grande loosens up a bit. The hook of this song is absolutely ridiculous. She seems to be just singing anything that comes to mind, but it shows that she’s having a little fun with Cashmere Cat in the studio. We’ve kind of lost the appreciation for vocal runs over the past decade. When Mariah was the queen of RnB you got the sense that she was doing anything she could to shock with her voice. Grande is doing the same thing here and she sounds brilliant. 4.5

Bianca: Meh. Ariana Grande never really strikes a chord with me so it’s no shock that she hasn’t in this circumstance either. Cashmere Cat’s production is crisp and catchy but not enough to detract away from Grande’s voice. 2.5

Alex: I’ve never really been a fan of Ariana Grande and this track isn’t doing anything to help that opinion. I mean if you loved Ariana’s last album then this track will be right up your alley. Stylistically it sounds just like something that many of ended up as a bonus track on the album. That being said if we isolated Ariana’s vocals and just focused on Cashmere Cat’s production on the track it’s clear that there was some potential to the track. I would have just liked to see a bit more oomf. 3

Kanye West
All Day

Sam: What more is there left to say about Kanye? He’s spent the last few weeks owning Paris, New York and London with fashion, music and speech with his most impressive promotional campaign of his career. My Beautiful Dark Twisted Fantasy was such a success because it was a communal effort where Kanye brought out the best in every artist that featured on that record. Then Yeezus was Kanye’s solo chest-puff. On All Day it feels as if he’s adopted that communal atmosphere again, blending together hip-hop, grime, organic whistles and trap in what could be his largest sounding track yet. 4.5

Bianca: Has it only been a week since All Day has been released? I feel like this track has already been amongst West’s repertoire for an age. It manages to mix old Kanye with new Kanye in a beautiful way; it’s a punchy, genre-smorgasbordin’ smackdown that traverses between a manifold of stylings without sounding messy. McCartney’s jovial whistle is a pleasant addition. With its credits expanding to 17 individual artists, it seems that too many cooks doesn’t spoil the broth. 4.5 Bianca’s Pick

Alex: Well, well, well Mr West it seems there is something I like of yours. I’ve always been a hard line no when it comes to Kanye’s music in the past, but I’ve got to admit this track is absolutely killing it.. The pumping bass that runs as the heartbeat to the track cuts straight to your bones and could make even the stiffest person break into a little groove. 4

Deutsch Duke
Battleground

[soundcloud width="750" height="200"]https://soundcloud.com/deutschduke/battleground-1[/soundcloud]

Sam: I love when new Aussie talent release tracks early on in their career that stack up to what’s going on internationally. That’s exactly what Battleground does. The production is crisp yet interesting and the vocals melt around the track. They are buried under so much production and yet they still manage to tug at the heart strings, aided by dense, rushing synths and the beat that falls in and out. Pretty special stuff. 4

Bianca: This is truly mesmerising. Soulful vocals enveloped in a delicious combo of house and funk have me hooked from start to finish. There’s not really more I can say about this except that I love it. 4.5  

Alex: Yess now this is more my style. Soul-Funk to the core. Effortlessly cool and electrifying. 4

Chromatics
I Can Never Be Myself When I’m Around You

[soundcloud width="750" height="500"]https://soundcloud.com/johnnyjewel/chromatics-i-can-never-be-myself-when-youre-around[/soundcloud]

Sam: So far Chromatics’ forthcoming record is turning out to be a pretty melancholic affair. I suppose that’s always the case but on their previous record they were yearning for love and on this one it seems like they’ve found it but they’re not completely satisfied. On I Can Never Be Myself When I’m Around You, it feels as if the lyrics are given more breathing space than the band have ever offered and it’s because they’re some of the best they’ve ever offered up. The central lyric of “I can never be myself when I’m around you” really cuts to the core as the dense, atmospheric production is halted in the verses to drive home the central message of the song. 4

Bianca: I'm getting nostalgic vibes for the washed-out electro-pop of the late 00's with this one. The shimmering synths wash over you as Ruth Radelet’s pensive vocals lull you into a dreamstate. It’s a beautifully bittersweet ode to love. 4

Alex: It’s an uptempo affair into indietronic which will wash over you like a wave in the sea. Punching beats, soaring synth work and muted echo-y vocal that has massive potential. I wouldnt be surprised if some DJ out there at the moment is currently remixing this with a deep house or banger feel and getting ready to play this in a club. 4

M.I.A.
CanSeeCanDo

[soundcloud width="750" height="200"]https://soundcloud.com/miauk/canseecando[/soundcloud]

Sam: I thought M.I.A.’s last record Matangi was brilliant because it seemed like she’d finally found a way to meld together her pop sensibilities and her penchant for experimentalism. CanSeeCanDo almost does that but it’s let down by a chorus that doesn’t really go anywhere. Bad Girls had a similar vibe but it was bolstered by the various instrumentals behind the track that reinforced its melody. As much attitude as she brings to this one it really feels a little forgettable by the end. Maybe if she’d incorporated the “na, na, na” part at the end as the main hook of the song it may have added something more to it. 3

Bianca: I feel this track had so much potential. I’m really into “CanSeeCanDo” part of the track but unfortunately all parts surrounding that fall flat. Literally. Is she sounding flat to anyone else? 3

Alex: Can anybody say Bad Girls  2.0? It’s M.I.A people. As if you need any more reasons to give this track a listen and then subsequently slut drop it low to the floor. 4.5 Alex’s Pick

 

If you feel the need to abuse us for our opinions, you can reach this week's writers below:

Content Director: @sam_interns

Managing Director: @bianca_interns

Contributor: @alexMYCS

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5 Songs You Shouldn't Miss Today

5songs

There were a flood of tracks that came out today. From Kanye to Action Bronson to our very own Courtney Barnett, it seems that March is the month everybody has picked to drop new material. We didn't want the day to go by with you all missing out on what's on offer so we thought we'd package them all here for you convenience. Your welcome.

EDIT: As I was writing this Cashmere Cat dropped a new song. SRSLY WTF IS UP WITH TODAY.

George Maple
Where You End And I Begin (Feat. Grande Marshall)

[soundcloud width="750" height="200"]https://soundcloud.com/futureclassic/george-maple-where-you-end[/soundcloud]

You know an Aussie artist is good when she can stand out on a day when some of the biggest names in music drop new tracks. Future Classic's latest hope George Maple has today delivered us Where You End And I Begin and detailed the tour she's set to embark on. The new track is giving us strong throwback Mariah Carey vibes with sultry synths complimented by Maple's airy vocal. It's the first time the singer has channelled more of an RnB vibe than a brooding electro-pop aesthetic and it works completely. The addition of rapper Grande Marshall is a nice touch too.

Action Bronson
Baby Blue (Feat. Chance The Rapper)

[soundcloud width="750" height="200"]https://soundcloud.com/actionbronson/baby-blue-ft-chance-the-rapper[/soundcloud]

"Action Bronson is really one of my favourite people out there making music so we did a couple songs and one of them I think is going to be the next single," Mark Ronson told triple j last month and voila, here it is. This is basically a dream-team of the hottest things around right now and rightfully so it sounds brilliant. It's probably the most explicitly melodic thing we've heard from Mr. Wonderful yet and we can thank Chance The Rapper's oddly soulful hook for that. Ronson ensures that the production is modern while being exquisitely classic - horns included.

Cashmere Cat
Adore (Feat. Ariana Grande)

Life is all about creating and returning favours and that's exactly what Cashmere Cat and Ariana Grande have learnt. Cashy produced Be My Baby on Grande's latest record and now she has contributed vocals to his track Adore. The pair of them together are like Ilana and Abbi from Broad City in that they are a match made in heaven and nothing will ever come between them <3 This will probably appear on Cashmere Cat's debut album if he has time to release it in between becoming the world's biggest pop producer and all.

Courtney Barnett
Depreston

So, Courtney Barnett is basically our biggest export right now. She's gearing for the release of her debut album Sometimes I Sit and Think, and Sometimes I Just Sit at the end of this month and the internet is lapping up the news. Depreston follows the first single Pedestrian At Best and demonstrates a distinctly different tone. On Pedestrian she was like a steam-roller but her she far more gentle, melancholic even. She's also about to head out on a world tour which she's no doubt going to kill so good for her.

Tink
Ratchet Commandments

Chicago rapper Tink has been chipping away at the scene for a while but it seems she's ready to officially arrive. She's been working with mega-producer Timbaland and this is one of the cuts the pair have worked on together. The beat has an undeniable funk to it whilst just bubbling under Tink's cocky vocal. If anything, it's taking us back to Tim's work with Missy Elliot back in the day. Tink establishes a clear voice from the get-go with an effortless flow that manages to create moments of gasping excitement. 2015 is going to be the year when Tink hits the big time and it may be the first artist in a long time that Timbaland has introduced to the mainstream.

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Ty Dolla $ign Joins Forces With Charli XCX, Tinashe And Cashmere Cat

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Norwegian producer Cashmere Cat is becoming the go to producer at the moment. He produced Ariana Grande's brilliant Be My Baby last year and also popped up on Kanye West's Wolves last week. Now he's produced the latest Ty Dolla $ign single with Stargate and got Charli XCX and Tinashe on board as well. It's an all star lineup for Drop That Kitty which will appear on Ty's debut album "coming soon", according to his YouTube.

The track centres around XCX's abrasive hook, with Ty and Tinashe delivering silky smooth vocals to perfectly juxtapose the hook. Before Fancy Charli XCX would have been such an odd choice for a hip-hop track but now she's suddenly become the Ashanti of this decade, which we're fine with.

Charli XCX will be in the country soon for Groovin The Moo. Dates below:

Wednesday, 29th April
Metro Theatre
Sydney

Friday, 1st May
Corner Hotel
Melbourne

Thursday, 7th May
The Met
Brisbane

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10 Songs You Need To Hear This Week: CHVRCHES, Azealia Banks, Collarbones + More

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It’s coming dangerously close to the end of the year which means everybody is rushing out music before people replace new music with the Mariah Carey christmas album (the first one, of course) for a good two months. That’s very good news for us, as a website that likes to dabble in new music, because we have a plethora of things to choose from each week. Here’s 10 songs that we will be keeping locked away for the Christmas period new music drought.

Little Simz x Jakwob - Time Capsule

If you don’t know Little Simz, it’s time you got on her Soundcloud and got to know this London rapper. She’s firing off some killer verses over beautifully crafted beats and her latest, Time Capsule proves that. This retrospective track, goes from warm and encapsulating to industrial and hard in a matter of seconds, providing a thrilling listen.

[soundcloud width="750" height="200"]https://soundcloud.com/littlesimz/little-simz-jakwob-time-capsule-ft-caitlyn-scarlett[/soundcloud]

Nao- Good Girl

You may know London songstress Nao from the killer track she did with Jai Paul’s brother A.K., So Good. Good Girl proves that the singer has even more to offer, with a soulful, personable voice that finds just the right route through distant beats. It’s got the same kind of effortless pop vibe as Solange’s True EP and we’re more than ok with this.

[soundcloud width="750" height="200"]https://soundcloud.com/thisnao/nao-good-girl[/soundcloud]

Collarbones- Only Water (Feat. Oscar Key Sung)

We’re big fans of Australian duo Collarbones, basically just because they’re cool guys but we’re also very much obsessed with their music. A new album, Return, will find its way into your ears by the end of November but in the meantime they’ve dropped Only Water with Oscar Key Sung. The pair make perfect sense together and the track is a bubbling, dense creation of beauty.

[soundcloud width="750" height="200"]https://soundcloud.com/collarbones/only-water-feat-oscar-key-sung[/soundcloud]

Klo. - Under Lie

From one Australian duo to another, Melbournites Klo. have been churned out two great songs already and their third, Under Lie, may just be the best. It seems more ambitious than its predecessors, with the vocals of Chloe Kaul far more self-assured than we’ve heard before. She ducks in and out of the heights of her range over a broken-down, minimal beat that gives plenty of space for a slinky melody. This isn’t hype anymore, these guys are good. Real good.

[soundcloud width="750" height="200"]https://soundcloud.com/klomusic/underlie[/soundcloud]

BenZel- Touch (Feat. Ryn Weaver)

So Ryn Weaver popped out of nowhere to become the popstar most likely to in 2014 and BenZel also seemingly came out of nowhere (but then it turned out they were actually Two Inch Punch and Benny Blanco, so yeah). As such, this pairing makes total sense as a fresh little pop song of budding stars. Weaver delivers a few stunning verses in between BenZel’s beat-heavy assault. It’s an aesthetic we haven’t heard from them yet and makes us excited for the diversity of the Men EP

[soundcloud width="750" height="200"]https://soundcloud.com/officialbenzel/touch[/soundcloud]

Future- Never Satisfied (Feat. Drake)

A clip of this track was actually on Future’s brilliant Honest, which is a little odd. The album was obviously snatched from them before they could finish the song but thank goodness Drake and Future got back to work and finished the track. The difference with this version is that there’s an extra Future and Drake verse and you don’t get that overwhelming sense of disappointment that comes with a song finishing at 1 minute and 56 seconds. Ugh.

[soundcloud width="750" height="200"]https://soundcloud.com/mikewillmadeit/future-never-satisfied-ft-drake-prod-by-mike-will-made-it[/soundcloud]

Tourist- Illuminate (Feat. Years & Years)

One night I got drunk and proclaimed that Years & Years were going to be the biggest band this year. Obviously, that was slightly hyperbolic but I still believe they’re going to be a big deal. Maybe more in the Alt-J way than The Rolling Stones way. Anyway, they’ve teamed up with budding British producer, Tourist for the delectable Illuminate. Basically, it’s one of the smoothest cuts we’ve heard since Disclosure’s Latch. The voice is velvety and malleable and the beat flicks and rush as if to orchestrate the heart.

[soundcloud width="750" height="200"]https://soundcloud.com/touristmusic/illuminate[/soundcloud]

CHVRCHES- Dead Air

It’s really not a week at all if Glasgow trio CHVRCHES aren’t in the news in someway. This week they’ve contributed to the soundtrack of small independent movie, The Hunger Games, which has actually been curated by fresh 18 year-old, Lorde. CHVRCHES suit the whole, dim-lit, serious vibe of The Hunger Games and bring a finessed loveliness to the table on Dead Air. The chorus is gloriously climatic, reminding just how freekend good this band is.

Azealia Banks- Ice Princess

If time is money, then it’s no wonder Azealia Banks is broke. Oh Azealia, how we’ve waited for this album. For all the fuss she’s created over the past few years, she dropped Broke With Expensive Taste with relatively little fanfare just dropping it straight on iTunes like she’s Beyonce. Upon first listen, Ice Princess, is the standout. A quick tongued track that oscilates between a traditional hi-hop instrumental and a four-to-the-floor dance beat. Banks sounds completely in control and refreshingly laid back.

Ryn Weaver- OctaHate (Feat. Cashmere Cat)

So this week is obviously all about Ryn Weaver, which we’re fine with if we’re going to jump on the next big popstar train. Our last mention of Weaver comes in the way of the remix Cashmere Cat did of her song Octahate, which he actually produced in the first place. The remix sounds far more CC than the original, with solemn, building verses and hell-raising drops. He keeps Weaver’s vocals pretty much intact which is nice because we quite like her voice.

[soundcloud width="750" height="200"]https://soundcloud.com/cashmerecat/cashylovesryn[/soundcloud]

popprincess2

Genre-pushing pop princess pairings of 2014

popprincessSomething’s been happening in the world of pop this year. Well, duh. Let me rephrase. A lot  has been happening in the world of pop this year. From Beyonce’s sly-dog release of Beyonce, to the alarming growth that’s firmly attached itself to Nicki Minaj’s behind, to Tay Tay getting busy exacerbating racial stereotypes while she’s shaking it off to Lily Allen’s comeback tour, it’s been a busy year for pop and its chart toppers. Controversial MTV appearances and obligatory twitter beefs aside though, what’s really interesting is that, in its fatigued 2014 state, pop just isn’t pop anymore. Blame exhaustion or simply growing out of that awkward preteen stage, pop is increasingly becoming less and less like the pop of the the late '90s and early 2000s.

Once guarded by boy bands in matching outfits and bad die jobs, pop was a pristine domain reserved for the Britney Spears’ and Christina’s -before she was X-tina - of the world. A clearly defined realm, with the occasional true diva slash pop princess flourishing amongst a sea of Mandy Moore’s and Jessica Simpson’s. This year however, those same pop princesses that, in say 1999 or even 2009, would’ve been left to their preordained place on So Fresh of Summer and Ryan Seacrest’s weekly Top 40, have become, for all intents and purposes, transcendent. Chameleon-like, female pop artists of 2014 are opting to work with some seriously unlikely producers, and no, we’re not just talking about the David Guetta’s and Calvin Harris’s of the world. Suddenly, Ariana Grande is bosom buddies with Cashmere Cat and Miley’s a female rebel with Alt-J. And, do you know what’s even more interesting? As pop fatigues of its own pop game, and grows out of its own pop boots, those same unlikely producers are choosing to work back and undeniably helping to carve a new path for the future of a now more mature, dynamic pop. Here we have a look at just 5 unlikely pop princess pairings released over the last year that are helping to push the boundaries of the genre ever onward.

Ariana Grande and Zedd: Break Free

When Break Free dropped earlier this year, Grande’s Zedd produced mega hit broke all the rules on its way to freedom. Music camps everywhere sat perplexed facing the same conundrum, to like or not to like. Here was a song with undeniable pop appeal. With vocals bellowing out from yet another sequin-clad Disney Channel escapee, and a house-anthem quality to its thumping bass and roller coaster rise and falls, this song was surely destined for Top 40 success, buoyed by the starry eyed 12 to 16 year old girl market, while simultaneously anticipating ridicule from more discerning music snobs. Remarkably, however, it wasn’t just the aspirational tweens that found themselves crooning along to Grande’s grammatically incorrect chorus. Zedd’s production gave not only the song a level of unexpected credibility, but Grande herself. Instead of lampooning the 21-year-old for, well, what else are Disney graduates for? Pitchfork evoked comparisons to “Swedish pop mastermind, Robyn,” while noting Grande’s “sky scraping voice” was in top form. And Slate called it a “soaring pop ballad... propelled by synth chords and a pounding bass beat.”

Ariana Grande and Cashmere Cat: Be My Baby

Grande’s debut album My Everything is riddled with collaborations from Nicki Minaj and Jessie J, to The Weeknd and Childish Gambino. It’s well and truly old news, but in case you’ve been living under a rock, everyone wants a piece of this intergalactic pop princess. Perhaps the album’s most unexpected cameo however is by Norwegian producer Cashmere Cat who, not only produced Be My Baby, but in more recent weeks has released an alternative version to the sanitised edit that made its way onto Grande’s album. Brimming with blippy synths, all out gun shots and punch-packing chorus breakdowns, Cashmere’s re-edit is effortlessly cool in a way that the original could never be. While superficially the two artists find fans in diametrically opposed walks of life, collectively the same-same-but-different tracks somewhat unashamedly demonstrate a rumbling conversation currently taking place between chart toppers and the underground. It seems intrigue and a genuine desire to bust genre wide open is a priority on all fronts at the moment: Alien-pashing pocket rocket or super-side fringed cat alike.

Miley Cyrus and Alt J: Hunger of the Pine

Of all the pop princess collabs on this list, Miley’s sample on Alt-J’s track Hunger of the Pine was critically the least well received. Lifted from 4x4, a non-single track on Cyrus’s Bangerz album, Sam called the sample “beyond clumsy,” while Bianca vilified Cyrus for bringing her “big wrecking ball” in and ruining the track’s chance of truly “happening.” Billboard simply lamented Alt-J’s oversight in not sampling Nelly’s verse from the same song. A non-appearance by Nelly on any track is already disappointing enough, let alone when it’s replaced by Miley. Hunger of the Pine remains however, a crystalline example of how reworks, samples and collaborations between unlikely bedfellows attribute a fresh sense of credibility artists and their music. Suddenly Miley was not just Miley of Robin Thicke infamy, but Miley, an artist in the eyes of incomparable (thank god) Alt-J.

Jessie Ware and Cyril Hahn: Tough Love

Labeled breakout producer of 2013, Cyril Hahn has steadily been making a name for himself remixing and sampling the lofty vocals of female artists at the top of their game. From Destiny’s Child, to baby sister Solange and Californian outfit HAIM to a truly x-rated, quivering pants-party rendition of Mariah’s Touch My Body, it’s not surprising that the Swiss R&B re-animator quickly turned his hand to Jessie Ware’s Tough Love. Described as “the missing link between SBTRKT and Sade,” Ware was praised for the release of her down-tempo R&B, synth-infused pop album (yes, there is such a thing), Devotion, earlier this year. While there ain’t nothing tough about the original Tough Love, when in Hahn’s hands, the breathy pop-ballad is easily transformed into a house beat that bubbles frenetically under a vocal tapestry rich in high highs and slow burn crescendos. A Hahn remix is quickly becoming the tell tale sign of a true pop princess. Watch out Ariana Grande, he’s coming for you.

Sia and Four Tet: Chandelier 

Sia’s Chandelier caught attention for a myriad of reasons. Firstly it was her bold, unapologetic announcement of return after an extended hiatus between albums. Secondly, dat video clip, am I right? And thirdly, the incredibly powerful press and TV talk show performances that accompanied its debut, all seeming to herald the return of this unique artist, while firmly maintaining her shadowy space, just beyond the limelight's desperately creeping finger tips. Read, Lena Dunham’s doppleganger act on Late Night with Seth Meyers and her back-to-the-camera recreation on Ellen. Pitchfork claimed Chandelier made “her previously released solo material seem impossibly minor by comparison,” while our own writer Sam noted a presences of guts in Chandelier absent in the work of contemporaries like Katy Perry. In the face of such pop stardom, producers and DJ reactionaries have two choices, run in the opposite direction, save daring to take on soon-to-be pop classic or conversely dive straight in, rework and take the track in a totally new direction. For his take on Sia’s Chandelier, British producer Four Tet chose the latter. Stripping out the instrumentals, Four Tet left Sia’s impossible audio intact, twanging over an fresh hip-hop inspired beat and softly sparkling keys. Like the Cashmere Cat re-release of Grande’s Be My Baby, Four Tet’s Chandelier is more than a remix or mere dialed up BPM. It reinforces pop's sky rocketing power to transcend what has been a chaste genre and a willingness on the behalf of certifiably non-pop producers to encourage this fresh approach to limits and genre. As Sam says, the Four Tet interpretation just “adds extra edge as if to take it from the hands of Commercial Radio and plop it in Triple J’s lap.”

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Cashmere Cat releases alternate version to Ariana Grande's 'Be My Baby'

cahsmere

Cashmere Cat has been playing his self-produced Ariana Grande track Be My Baby live for a while now but it's not the version that appeared on Grande's album. Today, he's dropped said edit of the track and it's much more in-line with his minimalist, R&B-trap style. He strips back most of the instrumental to reveal a starry foliage and crunching beats alongside his trademark gun sounds and creaking doors. Grande's vocals actually sound more forthright and gliding here than they do on the original with CC breathing a less-dense new life into it. The kitty kat of pop meets the kitty kat of electronica and kills it twice.

[soundcloud width="750" height="200"]https://soundcloud.com/cashmerecat/bmybbedit[/soundcloud]

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