We are delighted to premiere Coma Culture’s beautiful new single “Martha,” prior to the release of their debut album, Camouflage. Coma Culture is the new indie-rock project from Young The Giant’s Eric Cannata and Francois Comtois, along with producer/songwriter Jon O’Brien. 

Previous releases found Coma Culture dealing with the complexity and shallowness of modern life, as well as the feel-good, carefree joy that comes from falling in love. Mixed by Yuuki Matthews, “Martha” finds them pushing into complex emotional territory as they candidly navigate the struggles of addiction. 

Soft swirling synths and gentle keys establish an unwavering honesty that is present throughout, as ghostly vocals let us know from the start that this is a direct confession to the narrator’s wife, Martha. Droning sounds mimic the repetitive background pull that is dependence, while the narrator reveals “Sometimes I wake up in a cold sweat / And I need something in my veins”. The beat intensifies, different elements of percussion set in and a whirlwind of synths come forward as though we’re moving through a maze of old alluring habits and resisting them. Despite that, there is also a felt sense of a glimmer of hope, something that keeps grounding the narrator and it comes in the form of another person, in this case, Martha herself. 

On the track, O’Brien said: "'Martha' is a story about waking up and fighting through the haze of addiction—choosing to live selflessly for at least one day and attempt a change for the person you love most. My biological father has spent most of his life in prison and drug addiction has always been a constant battle. The song is based on the premise that there is a fork in the road, a choice is to be made, and the future looks daunting but hopeful."

The optimism mentioned by O’Brien is felt when swelling strings arise, giving us a sense that the right choice will be made and despite the difficulty, the narrator will be able to pull through for the person they love. This stunning instrumental outro ends with the words “I woke for you today, Martha,” hitting us straight in the gut and reminding us of the truly positive ways other people can help shape our lives. 

Pre-order Camouflage, due out June 25th via Gourmet Music and Repost by Soundcloud. Photo by Kelly Victoria.

“No Risk," the recent single from Cults, is a tribute to brave beginnings, and a testament to the power of dynamic manipulations. Through their expert instrumental arrangement, the band is able to communicate three unique interpretations of the same set of lyrics and take the listener on a complete journey. The first time through the chorus, the vocal is accompanied only by a piano. When the singer opens with the line “no risk, no believing or leading,” there is a hint of doubt; like she’s not yet fully convinced of the sentiment, and needs to say it out loud in order to believe. The second time through a driving drum beat bursts in, and it feels like the journey has officially begun; risks have been taken and there’s no going back now. The final iteration mirrors the first, just vocal and piano. It feels like the protagonist is taking a moment to glance backward, both reflecting on how far they’ve come and recognizing the doubts that still persist.

To close out the song the drums return in all their inspirational fervor, and the singer delivers repetitions of the title, “no risk.” Here, the song acknowledges that stepping into the unknown will always be frightening, but reminds us that such is the cost of new experiences which often prove to be worth the risk.

“We can’t seem to find a reason to stay quiet,” urges Ela Minus on “megapunk," a new single that propels revolutionary fight from its blistering opening line. The Brooklyn-based Colombian singer’s staccato speech-singing over a trance beat manifests her passionate movement for change within us. Post-punk and new wave influences drive the hallucinogenic beat while her message on the current political climate sits in the heart of punk rebellion, drawing undoubtedly from her time as the drummer of Colombian hardcore band Ratón Pérez when she was just 12 years old. “When I wrote this song last year, I was worried it would lose context if not released immediately,” she said on the track. “I could not have been more wrong. This is the perfect time to put this out. We have to keep going. Ánimo y fuerza.” The track is accompanied by a hallucinogenic music video following her black, white, and pink punk aesthetic, and marks her second single released on Domino.

Biig Piig is the stage name of Irish-born, Spanish-raised, London-based singer-songwriter Jessica Smyth. The first I heard of Biig Piig was her single release “Switch,” which came earlier this year, but, admittedly, I was late to the party. Known for her hip-hop beats and sultry vocals, Biig Piig has garnered millions of streams on songs like “Perdida,” “Sunny,” and “Vice City.” With her unique blend of vocal techniques—transitioning from singing to rapping and back again seamlessly—on “Don’t Turn Around,” Biig Piig sticks to her guns. Maya Angelou famously said, “When people show you who they are, believe them.” In her latest release, Biig Piig not only believes them, she lets them know where they stand, as she riffs, “I see you now, exactly who you are / No place for patience, no need to press restart.”

If “Don’t Turn Around” sounds familiar, it’s because in this latest release, Biig Piig samples from Montell Jordan’s iconic 1999 R&B track, “Get It On Tonite.” Jordan’s song had, in turn, sampled Jamaican-born Claudja Barry’s 1976 soulful disco ballad, “Love for the Sake of Love,” another iconic number. For “Don’t Turn Around,” Biig Piig collaborated with cowriters Joerg Evers, Jordan Reid, and Juergen S. Korduletsch, and producer JD. Reid. The result is an instant groove with just the right mix of nostalgic R&B and neo-soul, and a splash of disco, bringing the sounds of decades past into the contemporary genre-bending realm of indie-pop. Bet you can’t listen just once.

With love from Madrid, garage-pop band Hinds releases a wildly emotive and reverberant cover of The Clash’s “Spanish Bombs." With their gorgeous Spanish accents and a more deeply rock-forward sound, the dream ladies of Hinds give the track a bit of refurbished energy. Bringing additional chaos into what is already a chaotic concept—the bombing campaign of several holiday resorts in southern Spain—the girls of Hinds holler and yelp into static-riddled darkness. This rendition of “Spanish Bombs” is the musical equivalent to the tenderness and fire of being a young, devil-may-care creature of living.

Gabe Goodman’s new single “Immortals” is a fresh take on an age-old feeling. For centuries, music, literature, poetry and film have depicted the pain of admiring someone on a pedestal. Perhaps this track is so titled because the subject matter will be relevant for eternity. When Goodman ponders, “Is your kindness a service to me?” he dredges up something classic and relatable: raw self-doubt born from deep-seated insecurity. He covets something he feels is out of his reach, thus allowing himself to envision an outrageously fantastical outcome were it to come true. It likely won’t, so he’s safe in imagining that a mere touch would render him invincible: “Would I also feel immortal if you touched me?” We’ve all been there at one time or another. Gabe, you get us.

Tastefully and imaginatively produced by Goodman and Will G. Radin, the track is enhanced by a whimsically animated lyric video that is worth at least a few replays.

Montreal-born Love Mansuy looks inward on “I’ll Be There,” an earnest commitment to endlessly support his young son Carter. Mansuy, who did not have a relationship with his own father until recently, chose to feature Carter’s voice on the track. Whether it’s when “there’s ketchup in ya hair” or “ya in a padded cell,” Mansuy promises simply, “I’ll be there.” Vulnerability poses a challenge among men and especially in BIPOC communities. Mansuy depicts it beautifully both in the song and its accompanying video, which he intended to “reflect on not only the need for Black men to show up for their sons, but the need for Black men to be there for Black women.” In the video, protest footage airs as a mother braids her daughter’s hair, and reminds us that the emotional toll of this constant exposure is often forgotten amidst charged protesting and calls for legal reform. As we’re all looking for ways to continue showing up for the Black community, I invite you to consider donating to Black Emotional and Mental Health Collective, which advocates for increased accessibility to emotional and mental healing for the Black community through methods ranging from therapy to the arts.