I wrote about Buckingham Nicks and Stevie Nicks and Fleetwood Mac and nerdy songwriting analytical stuff and all that “you two hos feed your own melodramatic narrative” bullshit for NPR Music’s Turning the Tables series. Read it here.
Carly and I took ’77 Music Club from our apartment to Bridgeport, CT for a guest session with the always fun and funky and wonderful Chris Frantz on his monthly WPKN radio show. We had a blast playing and talking about some of our favorite tunes that we’ve covered on the pod so far. ICYMI, listen to the archived interview here.
If you’re on the East Coast, you know by now that it’s been cold. So cold that iguanas in Florida are freezing and falling out of trees. So cold that sharks are dying from cold shock. So cold that the penguins at the zoo have to stay inside.
It feels like no better time than during this arctic freeze for Remora (AKA New York DJ/producer Maroje T.) to release his Symbiotic EP on Kraftjerkz Records. Its beats are just as crisp and cool as the air outside, but the movement it inspires will warm you up.
Merriam Webster defines symbiosis as a cooperative relationship, the living together or close union of two dissimilar organisms — Remora’s latest is just that. It’s the dual existence of raw drum beats and deep filters, the interwoven relationship of music that makes one part of your brain want to think and the other part just want to dance. It’s a push and a pull, a give and a take.
This is all a part of what makes Remora’s music so unique. It bounces between genres, weaving influences of metal, punk, and electro-breakbeat. It’s experimental by nature. It’s something to make you dream on the dance floor. And amid all the insanity the world is going through right now, it’s a welcome form of escapism we all need.
Symbiotic is available to order on vinyl through Halyconhere.
Preview it on Soundcloud here.
Maroje T.’s last release, Anaphase, previously vinyl-only, is now available for digital download through Bandcamp and can be ordered here or previewed on Soundcloud here.
So, Pocket recommended my own article to me as part of their Best of 2017. Which, like, WHAT?! Then I found out it was one of the most-shared music features across a bunch of sites this year (again, WHAT??!). I’m still processing it all. I didn’t write as much as usual this year, but I’m proud of this piece and so humbled that it was a small part of an overdue story about a deserving and inspiring artist. I hope it helped more people appreciate or revisit her work, and maybe fit into a much larger conversation about women reclaiming their part of the narrative in 2017.