Posts Tagged ‘Jay Som’

Pendant is the new project of Oakland based Christopher Adams (calculator, Never Young, Dye). ‘Through A Coil’ is the debut full-length album from Pendant. The album was recorded and mixed by Melina Duterte of Jay Som.
‘Through A Coil’ will release on Tiny Engines in November of 2019. formerly of the noisy rock band Never Young. In a couple months, he’ll release his debut album, Through A Coil, which was recorded with Jay Som’s Melina Duterte.

He’s sharing its title track, a fuzzy blowout that rips and roars and takes over your entire head as Adams’ voice peeks through the layers with spiritualistic mantras: “Oh, the lives we never live/ And the ones we have to come/ Sing and weep concurrently/ In rotation through a coil.” – Stereogum

“Recorded by Melina Duterte of Jay Som fame, Pendant melds tender songwriting with an atmosphere that plunges the listener right in to the heart of the compositions…a muted display of guitar-pop, laced with a poignancy that becomes more prevalent with each passing, somewhat faded hook.” – Gold Flake Paint

Pendant is the project of Christopher Adams (calculator, Never Young, Dye). Through A Coil is the debut full-length album from Pendant. Recorded and mixed by Melina Duterte of Jay Som.
The album will release on Tiny Engines in November of 2019.

Melina Duterte is a master of voice: Hers are dream pop songs that hint at a universe of her own creation. Recording as Jay Som since 2015, Duterte’s world of shy, swirling intimacies always contains a disarming ease, a sky-bent sparkle and a grounding indie-rock humility. In an era of burnout, the title track of her 2017 breakout, Everybody Works, remains a balm and an anthem.

Duterte’s life became a whirlwind in the wake of Everybody Works. After spending her teen years and early 20s exploring an eclectic array of musical styles—studying jazz trumpet as a child, carrying on her Filipino family tradition of spirited karaoke, and quietly recording indie-pop songs in her bedroom alone—that accomplished album found her playing festivals around the world, sharing stages with the likes of Paramore, Death Cab for Cutie, and Mitski.

In November of 2017, seeking a new environment, Duterte left her home of the Bay Area for Los Angeles. There, she demoed new songs, while also embracing opportunities to do session work and produce, engineer, and mix for other artists (like Sasami, Chastity Belt). Reckoning with the relative instability of musicianhood, Duterte turned inward, tuning ever deeper into her own emotions and desires as a way of staying centered through huge changes. She found a community; she fell in love. And for an artist whose career began after releasing her earliest collection of demos—2015’s hazy but exquisitely crafted Turn Into—in a fit of drunken confidence on Thanksgiving night, she finally quit drinking for good. “I feel like a completely different person,” she reflects. Positivity was a way forward.

The striking clarity of her new music reflects that shift. After months of poring over pools of demos, Duterte, now 25, essentially started over. She wrote most of her brilliant new album, “Anak Ko”—pronounced Anuhk-Ko—in a burst during a self-imposed week-long solo retreat to Joshua Tree. As in the past, Duterte recorded at home (in some songs, you can hear the washer/dryer near her bedroom) and remained the sole producer, engineer, and mixer. But for the first time, she recruited friends—including Vagabon’s Laetitia Tamko, Chastity Belt’s Annie Truscott, Justus Proffitt, Boy Scouts’ Taylor Vick, as well as bandmates Zachary Elasser, Oliver Pinnell and Dylan Allard—to contribute additional vocals, drums, guitars, strings, and pedal steel. Honing in on simplicity and groove, refining her skills as a producer, Duterte cracked her sound open subtly, highlighting its best parts: She’s bloomed.

Inspired by the lush, poppy sounds of 80s bands such as Prefab Sprout, the Cure, and Cocteau Twins—as well as the ecstatic guitarwork of contemporary Vancouver band Weed—Anak Ko sounds dazzlingly tactile, and firmly present. The result is a refreshingly precise sound. On the subtly explosive “Superbike,” Duterte aimed for the genius combination of “Cocteau Twins and Alanis Morissette”—“letting loose,” she says, over swirling shoegaze. “Night Time Drive” is a restless road song, but one with a sense of contentedness and composure, which “basically encapsulated my entire life for the past two years,” she says—always moving, but “accepting it, being a little stronger from it.” (She sings, memorably, of “shoplifting at the Whole Foods.”) Duterte focused more on bass this time: “I just wanted to make a more groovy record,” she notes.

The slow-burning highlight “Tenderness” begins minimally, like a slightly muffled phone call, before flowering into a bright, jazzy earworm. Duterte calls it “a feel-good, funky, kind of sexy song” in part about “the curse of social media” and how it complicates relationships. “That’s definitely about scrolling on your phone and seeing a person and it just haunts you, you can’t escape it,” Duterte says. “I have a weird relationship to social media and how people perceive me—as this person that has a platform, as a solo artist, and this marginalized person. That was really getting to me. I wanted to express those emotions, but I felt stifled. I feel like a lot of the themes of the songs stemmed from bottled up emotions, frustration with yourself, and acceptance.”

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The title, Anak Ko, means “my child” in Tagalog, one of the native dialects in the Philippines. It was inspired by an unassuming text message from Duterte’s mother, who has always addressed her as such: Hi anak ko, I love you anak ko. “It’s an endearing thing to say, it feels comfortable,” Duterte reflects, likening the process of creating and releasing an album, too, to “birthing a child.” That sense of care charges Anak Ko, as does another concept Duterte has found herself circling back to: the importance of patience and kindness.

“In order to change, you’ve got to make so many mistakes,” Duterte says, reflecting on her recent growth as an artist with a zen-like calm. “What’s helped me is forcing myself to be even more peaceful and kind with myself and others. You can get so caught up in attention, and the monetary value of being a musician, that you can forget to be humble. You can learn more from humility than the flashy stuff. I want kindness in my life. Kindness is the most important thing for this job, and empathy.”

Released August 23rd, 2019

Jay Som (aka Melina Duterte) is releasing a new album, “Anak Ko”, on August 23rd via Polyvinyl Records. Previously she shared its first single, “Superbike,” via a lyric video for the track. This week she shared another song from the album, the dreamy “Tenderness,” . Weird Life produced and directed the video.

In a press release Duterte says “Tenderness” is “a feel-good, funky, kind of sexy song” that is in part about “the curse of social media” and how it affects relationships. “That’s definitely about scrolling on your phone and seeing a person and it just haunts you, you can’t escape it,” Duterte adds. “I have a weird relationship to social media and how people perceive me-as this person that has a platform, as a solo artist, and this marginalized person. That was really getting to me. I wanted to express those emotions, but I felt stifled. I feel like a lot of the themes of the songs stemmed from bottled up emotions, frustration with yourself, and acceptance.”

Anak Ko is the follow-up to 2017’s acclaimed Everybody Works, also on Polyvinyl (among most bloggers Top 100 Albums of 2017). Duterte was based in the Bay Area, but relocated to Los Angeles prior to recording the new album. She recorded Anak Ko at home as the sole producer, engineer, and mixer. A previous press release pointed out that “in some songs, you can hear the washer/dryer near her bedroom.” Although it wasn’t a completely solitary affair, the album also features plenty of guests, including Vagabon’s Laetitia Tamko, Chastity Belt’s Annie Truscott, Justus Proffit, and Boy Scouts’ Taylor Vick, as well as her touring bandmates Zachary Elasser, Oliver Pinnell, and Dylan Allard.

The album’s title is pronounced “Ah-nuh Koh,” which means “my child” in Filipino. It was inspired by a text message from Duterte’s mother, who often addresses her as “anak ko.” “It’s an endearing thing to say, it feels comfortable,” Duterte said in the previous press release.

In the press release Duterte said the album is about the importance of patience and kindness and that those concepts have helped her growth as an artist. “In order to change, you’ve got to make so many mistakes,” she said. “What’s helped me is forcing myself to be even more peaceful and kind with myself and others. You can get so caught up in attention, and the monetary value of being a musician, that you can forget to be humble. You can learn more from humility than the flashy stuff. I want kindness in my life. Kindness is the most important thing for this job, and empathy.”

For “Superbike,” Duterte’s aim was to merge Cocteau Twins and Alanis Morissette for a song that she said lets “loose over swirling shoegaze. I came up with the vocal melody while chopping onions during a rare snowstorm in Joshua Tree, definitely one of my favorite memories from making the album.”

The album is due out in North America on Polyvinyl, in Australia/New Zealand/Asia via Pod/Inertia Music, and in the rest of the world via Lucky Number.

Back in February Jay Som also shared a brand new song, “Simple,” that was released as part of the Adult Swim Singles series. That song is not featured on the new album. Last year Jay Som teamed up with Justus Proffit for a collaborative EP, Nothing’s Changed.

Jay Som’s new album, Anak Ko, out August 23rd, 2019.

Melina Duterte aka Jay Som, photo by <a href="https://www.lindseybyrnes.com/">Lindsey Byrnes</a>

Melina Duterte, the artist better known as Jay Som, has announced a new record called Anak Ko (“my child” in Tagalog). The follow-up to 2017’s Everybody Works is out August 23rd (via Polyvinyl Records). she’s shared the record’s first single “Superbike.” It arrives with a video that features a behind-the-scenes look into the making of Anak Ko.

Melina Duterte recorded, produced, engineered, and mixed Anak Ko at her Los Angeles home. It includes contributions from Vagabon, Justus Proffit, Chastity Belt’s Annie Truscott, and Boy Scout’s Taylor Vick, as well as her Jay Som bandmates Zachary Elasser, Oliver Pinnell, and Dylan Allard. According to a press release, the title was inspired by a text message from her mother, who often tells her, “Hi anak ko, I love you anak ko.”

“Superbike” hops and skips across the shoegaze spectrum, starting out jangly and pretty before winding up in a gauzy drone. The result is intoxicating, with all eyes on upcoming album  Anak Ko.

“Superbike” is taken from Jay Som’s new album, Anak Ko, out August 23rd, 2019.

This week Jay Som (aka Melina Duterte) announced a new album, Anak Ko, and shared its first single, “Superbike,” via a video for the track. She has also announced some tour dates.

For “Superbike,” Duterte’s aim was to merge Cocteau Twins and Alanis Morissette for a song that in a press release she says lets “loose over swirling shoegaze. I came up with the vocal melody while chopping onions during a rare snowstorm in Joshua Tree, definitely one of my favorite memories from making the album.”

Anak Ko is the follow-up to 2017’s acclaimed Everybody Works, also on Polyvinyl Records . Duterte was based in the Bay Area, but relocated to Los Angeles prior to recording the new album. She recorded Anak Ko at home as the sole producer, engineer, and mixer. A press points out that “in some songs, you can hear the washer/dryer near her bedroom.” Although it wasn’t a completely solitary affair, the album also features plenty of guests, including Vagabon’s Laetitia Tamko, Chastity Belt’s Annie Truscott, Justus Proffit, and Boy Scouts’ Taylor Vick, as well as her touring bandmates Zachary Elasser, Oliver Pinnell, and Dylan Allard.

The album’s title is pronounced “Ah-nuh Koh,” which means “my child” in Filipino. It was inspired by a text message from Duterte’s mother, who often addresses her as “anak ko.” “It’s an endearing thing to say, it feels comfortable,” Duterte says in a press release.

In the press release Duterte says the album is about the importance of patience and kindness and that those concepts have helped her growth as an artist. “In order to change, you’ve got to make so many mistakes,” she says. “What’s helped me is forcing myself to be even more peaceful and kind with myself and others. You can get so caught up in attention, and the monetary value of being a musician, that you can forget to be humble. You can learn more from humility than the flashy stuff. I want kindness in my life. Kindness is the most important thing for this job, and empathy.”.

Back in February Jay Som shared a brand new song, “Simple,” that was released as part of the Adult Swim Singles series. That song is not featured on the new album. Last year Jay Som teamed up with Justus Proffit for a collaborative EP, Nothing’s Changed.

“Superbike” is taken from Jay Som’s new album, Anak Ko, out August 23rd, 2019. via Polyvinyl. 

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Jay Som’s “Turn The Other Cheek” technically came out in May of 2017, as part of the Our First 100 Days compilation, a collection of 100 songs from 100 artists that were released following President Trump’s first 100 days in office. All profits raised from the project would go to benefit causes that, even then, were threatened by Trump’s policies: the climate, women’s rights, immigration and fairness.

“Turn The Other Cheek” is now widely available for streaming, and it offers a jarring chance to reflect on how much worse things have gotten since those first 100 days. It’s hard to believe that there was once a time when the depravity of the administration could still surprise us, before the knowledge of child detention camps and apocalyptic climate policies and overwhelmingly illegal campaign activities were commonplace.

But listening to Melina Duterte’s tender, slinky little ballad, it feels like it’s broadcast from a different world. In some ways it is—the song comes to us from a time when a small part of the population believed that Biblical ascription of neighborly love could act as a ward against the administration’s cruelty; that they could, indeed, be killed with kindness. The song now feels like a different sort of broadcast, one that warns of the eroding effects of Trump’s unending cruelty. “If you think I’m not scared, think again / I’m just a wreck, I can’t fight, I won’t try,” Jay Som sings. That’s a scarier thought now more than ever.

Jay Som’s single, “Turn The Other Cheek,” originally part of the Our First 100 Days comp

There are some storming new release’s tomorrow. There’s albums out from Franz Ferdinand, Ezra Furman, Joan As Police Woman, Brigid Mae Power, MGMT, Son Lux,GoGo Penguin, Fu Manchu, Susanna and a ‘Best Of’ from Bring Me The Horizon (with a very limited red vinyl version still available). Reissues? Of course! How about coloured vinyl from Lords Of The Underground ,Or the first three Ramones albums? Or a fantastic compilation of Nina Simone early recordings?. 

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Brian Fallon – Sleepwalkers

SLEEPWALKERS sees Brian Fallon once again pushing timeless rock ‘n’ roll into the modern era, recasting British Invasion rock, first generation UK punk, and American pop and soul into a near irresistible sound he’s dubbed – with a nod and a wink towards The Who – as “Heavy R&B.”

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Ezra Furman  –  Transangelic Exodus

Transangelic Exodus Ezra Furman’s second album for Bella Union, is a new landmark for the American singer-songwriter: “not a concept record, but almost a novel, or a cluster of stories on a theme, a combination of fiction and a half-true memoir,” according to its author. “A personal companion for a paranoid road trip. A queer outlaw saga.” The music is as much of an intense, dramatic event, full of brilliant hooks, with an equally evolved approach to recorded sound to match Furman’s narrative vision. In honour of this shift, his backing band has been newly christened: The Boy-Friends are dead, long live The Visions. In other words, the man who embodies the title of his last album Perpetual Motion People is still on the move… Or in the vernacular of the new album, on the run. His musical DNA remains intact – a thrilling, literate form of garage-punk rooted in The Velvet Underground, Jonathan Richman and ‘50s rock’n’roll.
Standout tracks include the album’s lead single Driving Down To LA, a sparse, but explosive, mix of doo-wop and digital crunch. Another is the haunting Compulsive Liar. Transangelic Exodus addresses another kind of coming out, as Furman addresses his Jewish faith on record much more openly than before, from the shivery ballad God Lifts Up the Lowly (which includes a verse in Hebrew) to the exquisite Psalm 151 and the line “I believe in God but I don’t believe we’re getting out of this one” in Come Here Get Away From Me, a heady blend of rock’n’roll rumble and ghostly clarinet. Crossing between love, gender, sexuality and religion, and singing in solidarity with the innocent, persecuted, oppressed and threatened, Ezra Furman has soundtracked the current fear and loathing across America like no other, while pushing ahead with his own agenda, always on the move.

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Jay Som –  Jay Som

Jay Som is the moniker of San Francisco-based musician Melina Duterte who, at 22, has already self-released a debut album: a collection of finished & unfinished songs titled “Turn Into”, signed to Polyvinyl Records, and is opening for Mitski across the US and Canada. “Turn Into” sees a wide release this July via Polyvinyl (and vinyl/CD later this year). “Turn Into” was recently described by Pitchfork as “deceivingly textured and intricate pop songs—flush with nimbly intertwined guitar melodies and distressed fidelity”. While Gold Flake Paint said of Duerte: “Melina Duerte is a wizard. Quite how she manages to eek such lustrous, iridescent wonder out of a collection of scraps (“finished and unfinished songs”) is proof that what lies in her songwriting is something mystical, an intangible force of feeling that floods the rooms and walls within which it finds itself”.

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MGMT – Little Dark Age 

MGMT release their fourth album Little Dark Age – the follow-up to their 2013 self-titled album is released via Columbia. It features production from Patrick Wimberly (formerly of Chairlift) and Dave Fridmann (Flaming Lips, Spoon, Tame Impala). MGMT are back and more creative, robust, toned and energised in years. The best songs have that eccentric edge but with the pop layer of 2008 debut Oracular Spectacular. Opener She Works Out is a mangled, sunshine pop take on Air’s Sexy Boy whilst You’re Small is an Alice in Wonderland take on the Beatles Across the Universe. It’s a record that embodies a whole world of vulnerability, confusion and unsteadiness without losing shape. Little Dark Age is back to MGMT’s crowd pleasing best.

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Twin Peaks – Sweet ’17 Singles

Throughout the second half of 2017, Chicago’s Twin Peaks released a run of a half dozen limited-edition 7″ singles the band affectionately dubbed Sweet ’17. Only 300 copies of each 7″ were made, and subscriptions sold out almost immediately. But due to popular demand, Twin Peaks have compiled all of the songs from the series onto a LP release. Sweet ’17 Singles follows in the footsteps of Down In Heaven, the band’s 2016 full-length release, which expanded on the garage-inspired sounds of 2014’s Wild Onion.

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Bat Fangs –  Bat Fangs

NC/DC superghouls Bat Fangs pick up where Roky & the Aliens blasted off — cranking acid-soaked ’80s hard rock for the living and the dead. Making heady heavy music for third eyes and stiff upper lips, Betsy Wright (Ex Hex) shreds ‘n’ howls over Laura King’s (Fleshwounds, The Moaners) deep-thunder drums. Let the Bat Fangs sink in!

Ron Wood & Ronnie Lane – Mahonneys Last Stand OST

What do two Faces do when their lead singer (bon vivant Rod Stewart) doesn’t show up for the Ooh La La recording sessions? They work on a soundtrack for an obscure film by actor and friend Alexis Kanner (most famous for his guest roles on the late-’60s TV series The Prisoner), and draft the uppermost rank of British rock royalty to play on it!

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Franz Ferdinand – Always Ascending

Always Ascending’ is nothing short of a rebirth. The album’s ten songs are a triumphant recasting of one of everyone’s favourite groups, bursting with fresh ideas and vigorous sonic experimentation. Always Ascending is the new album from Franz Ferdinand. the album’s 10 songs are a triumphant recasting of the group, bursting with fresh ideas and vigorous sonic experimentation. Always Ascending recorded at RAK Studios, London and Motorbass in Paris, with the help of French producer extraordinaire Philippe Zdar (Cassius, Phoenix, The Beastie Boys), the mutual affection between band and producer seeping into every dazzling groove. Always Ascending shows Franz Ferdinand broadening their palate, as exuberant as it is euphoric, creating a sound that singer, Alex Kapranos, refers to as “simultaneously futuristic and naturalistic.”

Joan As Police Woman – Damned Devotion

A new album from Joan As Police Woman, which sees a return to the darker, sensual sound of her celebrated early releases. ‘Damned Devotion’ finds Joan Wasser at her rawest yet. Brand new album from Joan As Police Woman, which sees a return to the darker, sensual sound of her celebrated early releases. A beautiful soul-searching record and the one that Joan has spent her whole life building up to.

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Various Artists Revolutionary Spirit – The Sound of Liverpool 1976 – 1988

Extensive 5CD / book set exploring the ‘second wave’ of music on Merseyside, from 1976-1988 Features classics, rarities, album tracks and previously unreleased gems from Echo And The Bunnymen, Teardrop Explodes, OMD, The La’s, Frankie Goes To Hollywood, Dead Or Alive, China Crisis, A Flock Of Seagulls, Wild Swans, Big In Japan and many more. 5CD and 56 page A5 book format contains many artists’ own sleeve-notes, previously unseen photographs and essays from key observers and participants in the city’s music scene – Bernie Connor, Mike Badger, Yorkie and Joe McKechnie. Curated and designed by the people who brought you Scared To Get Happy, Still In A Dream, Manchester – North Of England, Silhouettes And Statues and many more extensive box sets. A remarkable journey through the music of a generation inspired and enabled by punk rock to step out from behind the shadow to the Fab Four. Packed with first-hand artist sleeve-notes, insightful essays, imagery and brilliant, essential music, this is a story long in need of telling.

Robert Plant – Live At David Lynch’s FESTIVAL OF DISRUPTION (DVD)

Eagle Rock Entertainment release Robert Plant & The Sensational Space Shifters Live At David Lynch’s Festival of Disruption. Filmed as part of one of Los Angeles’s most anticipated cultural events, David Lynch’s inaugural Festival of Disruption took place at the Ace Hotel Theatre, LA in October 2016, raising funds for The David Lynch Foundation.

Performing with The Sensational Space Shifters since 2012, Robert Plant continues to shift the musical goalposts, blurring the lines between rock, blues, folk & world music and finding new life in exotic beats and African rhythms. With a set including a new take on beloved Led Zeppelin classics, stripped down versions of ‘Black Dog’ and ‘Whole Lotta Love’ are met with a rapturous response from the packed theatre audience, with whom Plant enjoys a genuine rapport. Also included are ‘Babe, I’m Gonna Leave You’ and ‘Going to California’, alongside solo standouts ‘Turn It Up’, ‘The Enchanter/Rainbow’ and ‘Little Maggie’. This is a rare opportunity for fans to witness the legendary frontman as they’ve never seen or heard him before. This David Lynch curated event aims to feature artists with ‘knowledge and mystery’, undoubtedly Robert Plant has an abundance of both

9th February
Bring Me The Horizon – ‘2004-2013’ limited vinyl 2LP
Bring Me The Horizon – ‘2004-2013’ 2LP
Don Broco – ‘Technology’ limited picture disc 2LP & CD box set

Europe – ‘Out Of This World’ limited blue vinyl LP reissue
Brian Fallon – ‘Sleepwalkers’ 2LP
Franz Ferdinand – ‘Always Ascending’ limited coloured vinyl LP
Fu Manchu – ‘Clone Of The Universe’ LP
Ezra Furman – ‘Transangelic Exodus’ coloured vinyl LP
Gogo Penguin – ‘A Humdrum Star’ limited coloured vinyl 2LP
Holy Motors – ‘Slow Sundown’ LP
Joan As Police Woman – ‘Damned Devotion’ limited pink vinyl LP
Brigid Mae Power – ‘The Two Worlds’ LP
MGMT – ‘Little Dark Age’ LP
OST – ‘Three Days Of The Condor’ limited gold vinyl LP reissue
Ramones – ‘Ramones’ remastered LP reissue
Ramones – ‘Leave Home’ remastered LP reissue
Ramones – ‘Rocket To Russia’ remastered LP reissue

Nina Simone – ‘Mood Indigo: The Complete Bethlehem Singles’ LP & 7″
Son Lux – ‘Brighter Wounds’ limited coloured vinyl LP
Susanna – ‘Go Dig My Grave’ LP
The Wombats – ‘Beautiful People Will Ruin Your Life’ LP
Betty Wright – ‘I Love The Way You Love’ LP reissue

Ron Wood & Ronnie Lane – Mahoney’s last Stand OST CD

Toto – 40 Trips Around The Sun CD, 2LP

Johnny Greenwood – Phantom Thread CD
Chicane – Chicane – Sun:Sets 2018 2CD
Robert Plant And The Sensational Space Shifters – 
Live At David Lynch’s Festival Of Disruption DVD

With Valentine’s Day coming up and whether you’re single or coupled the day can bring on complicated mixture of memories, regrets and desires. The latest from Oakland-based dream-pop artist Jay Som depicts a specific kind of romantic encounter in a bright, meandering tune.

“Hot Bread” is featured on Love Me Not, one of two playlists (the other is called Love Me) that Amazon Music has compiled in honor of Valentine’s Day. As the titles suggest, each playlist offers a different take on love. But Jay Som’s track isn’t a gushing ode to romance or a lamentation on lost love; instead, “Hot Bread” deals with tricky, blurry feelings that fall somewhere in between.

Jay Som, aka Melina Duterte, says the song is about having a one night stand with a former lover. In the first two lines, she sings, “Will you dance with me, Jen? You won’t have to see me leave again.”

Duterte’s pleading voice and pensive guitar give the tune a light, vintage feel with a tinge of sadness. About halfway through, whistling and trumpets interrupt the song with a cheery melody, jolting you out of the melancholy chorus. Duterte says that she enjoys making songs with themes or light guidelines and that this track was “insanely fun” to write and record.

“My new microphone arrived just in time to track the song,” she says. “The warm and dry ’70s tone inspired me to make a chill but optimistic arrangement with simple lyrics … I also named the song after one of my favorite things in the world.”

“Hot Bread” concludes with Duterte repeating the line, “You’re always gonna be here,” though it’s not clear whether this means her former lover will forever be the one who got away or if their relationship has been saved. Regardless of the outcome, her ex’s “powerful love” has sunken in once again, leaving the artist feeling as scattered as the piano notes at the end of her song.

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Indie-pop powerhouse Melina Duterte, aka Jay Som, shared more new music this week via Pirouette, a 7-inch featuring outtakes from the “Everybody Works” sessions. She also released the b-side, a lovely jam titled “O.K., Meet Me Underwater.” It opens with a cascading Duterte guitar line that soon drops away, supplanted by her hushed vocals, steady bass and show-stealing percussion. The song transforms in unpredictable and exciting ways, rippling and changing like liquid. “If you’re feeling okay, meet me underwater,” Duterte urges, an invitation to immersion.

The A-side, “Pirouette,” an upbeat rock number with a great breakdown that rides on dreamy guitar arpeggios, has already been available . With the single’s official release Friday, the B-side, “O.K., Meet Me Underwater,” is now out too. The track features a similarly beautiful, but more characteristically laid-back groove, and works as a great compliment to “Pirouette.”

Listen to “O.K., Meet Me Underwater”

Two never-before-released songs recorded during the same sessions as Jay Som’s breakout debut “Everybody Works”, which landed on Best of 2017 lists from nearly everyone this year including Pitchfork, NPR, Stereogum, Rolling Stone, Entertainment Weekly, Billboard, and a slew of others.

Musically, these tracks would have been equally at home on that record, as they highlight how Melina Duterte has “perfected that tricky balance between polished ambition and lo-fi charm.”

“Both of these tracks were made during the spring of 2016 – the first demo stages for Everybody Works. They were fun to write and record but felt out of place on the track​ ​list during the finalization of the album. These tracks remain close to my heart and I’m really grateful they’re finally out in the world.” – Melina Duterte

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