Felicia Catharina & Sandro Carr’s New collaborative Single ‘Free’ Soars with Ethereal Pop and R&B Elegance
A sumptuous feeling rushes through the head, rather like sampling an avant-garde dessert that balances sweet reverie with a subtle tang. Indeed, “Free,” the new offering from Dutch sonic visionaries Felicia Catharina (of Arnhem) and Sandro Carr (Amsterdam), shunned cookie-cutter genres with its tenuous hybrid of blushing pop and stubborn R&B undercurrent. Felicia’s velvety vocals slink around each beat, exuding warmth and self-belief — a perfect accompaniment for seekers of an introspective but grandiose listening experience. The track’s chiller, vaguely dreamy feeling also finds purchase in an undercurrent of triumph, echoing notes of Lorde’s raw sensitivity, Banks’s moody fervor and Florence + The Machine’s dazzling theatrics.
Even so, the richly textured production might come across as conspicuously thick to some listeners; the hypnotic repetition can drown out passages in which one may wish for a sudden jolt or flourish. But the track’s message remains true: there is power in vulnerability, a singularity in stepping up unashamed. With its propulsive pulse, “Free” targets the needy and self-expressive, and is a kind of sonic blanket — a glimmering cascade of chords, and a scattering of defiant percussion. It might not be everyone’s cup of tea, but for the fearless individual who is tempted to brave a fresh soundscape, this anthem calls like a flickering lighthouse of freedom.
Enjoyed the read? Consider showing your support by leaving a tip for the writer
TRENDING NOW
A roof leaks from the inside first; by that law of damage and repair, Khi Infinite’s new single “HOUSE” reads like both confession and renovation permit. The Virginia native, fresh from a high-water…
Heartbreak teaches a sly etiquette: walk softly, speak plainly, and keep your ribs untangled. By that code, Ghanaian-Norwegian artist Akuvi turns “Let Me Know” into a velvet checkpoint, a chill Alternative/Indie R&B…
Call it velvet jet-lag: Michael O.’s “Lagos 2 London” taxis down the runway with a grin, a postcard of swagger written in guitar ink and pad-soft gradients. The groove is unhurried yet assured…
A Lagos evening teaches patience: traffic hums, neon blooms, and Calliemajik’s “No Way” settles over the city like warm rainfall. Producer-turned-troubadour, the Nigerian architect behind Magixx and Ayra Star’s “Love don’t cost a dime (Re-up)” now courts intimacy with quieter bravado…
Unspoken rule of Saturday nights: change your type, change the weather; on “Pretty Boys,” Diana Vickers tests that meteorology with a convertible grin and a sharpened tongue. Following the sherbet-bright comeback…
A good record behaves like weather: it arrives, it lingers, and it quietly teaches you what to wear. Sloe Paul — Searching / Finding is exactly that kind of climate—nine days of pop-weather calibrated for the slow slide into autumn…
There’s a superstition that moths trust the porch light more than the moon; Meredith Adelaide’s “To Believe I’m the Sun” wonders what happens when that porch light is your own chest, humming. Across eight pieces of Indie Folk and Soft Pop parsimony…
Every scar keeps time like a metronome; on Chris Rusin’s Songs From A Secret Room, that pulse becomes melody—ten pieces of Indie Folk/Americana rendered with candlelight patience and front-porch candor. The Colorado songwriter, now three years…
Cold seasons teach a quiet grammar: to stay, to breathe, to bear the weather. Laura Lucas’s latest single “Let The Winter Have Me,” arriving through Nettwerk, alongside her album “There’s a Place I Go,” treats that grammar as a vow…
A campfire flickers on the prairie while the city votes to forget—rrunnerrss, the eponymous debut by the Austin-born band rrunnerrss led by award-winning songwriter and composer Michael Zapruder, arrives as both shelter and flare…