Singer Jordan Reynolds (pictured above) transplanted to Atlanta from Bowling Green, Kentucky. She started the band known as Rose Hotel five years ago with the release of the EP Always a Good Reason. Since then, she has released a handful of singles and albums, including 2019’s buzzy full-length outing, I Will Only Come When It’s a Yes.
The opening frames of Rose Hotel’s esoteric, Grimm’s fairytale-like visuals may remind you of the satanic car ride from Radiohead’s unforgettable music video for “Karma Police.” Except here, the mysterious figure in the red coat isn’t merely running away from the bright headlights in hot pursuit but also popping up creepily in the rearview mirror — leading our protagonist, played by Kat Saxon, into dark and eerie territory.
Iivrson: “Trapped in LA”
In a relatively short timespan, 25-year-old Jeremy Baiden, whose artist handle pays tribute to basketball megastar Allen Iverson, has generated both mysterious intrigue and serious clout. The emerging rap star has also demonstrated that he’s not just about clever lyrics or cool hooks but substance, too.
With his day job as content director at Love Renaissance (LVRN) Studios, which has nurtured the careers of 6lack and Summer Walker, it’s fair to say that the Cobb County native has plenty of insight into the hidden perils of the road to fame. He’s not the first artist to have balked at the off-putting constancy of the California sunshine and its ever-striving ethos.
The Constellations: “Felicia”
There’s a tendency in the new year to reflect upon the path that got us here. Sometimes, that involves looking back at fond memories and finding them to be, well, vaguely icky in retrospect. And with that, who knew that 2010 would feel like such a time capsule, y’all? Like the Rolling Stones’ “Under My Thumb,” the undeniably catchy but more-scummy-than-you-remembered little tune by eight-person psychedelic rock/soul “supergroup” The Constellations feels like a song that we might be inclined to shrug off as very much a “product of its time.” Even though that time was less than 15 years back.
Melodically, it’s channeling the late ’90s work of Beck and Blur. Visually, it’s like the sleazy spawn of Austin Powers and Faster, Pussycat! Kill! Kill! Frontman Elijah Jones, straight out of a Flannery O’Connor story, was the son of a Baptist deacon who once told Spin, “As long as I can find a bar, I’ll be able to write a song.” Their first album, where this song finds its home, was titled Southern Gothic and featured a collaboration with fellow Atlantan CeeLo Green.