Imperfect Fifth premieres Plaza to Plaza

My album is finally out!

 〰〰〰〰wrote the first lyrics to the first song driving across california, land of strip malls and shopping plazas 〰 which turned into songs from the perspective of different plazas, tourists, private cars, and mannequins in aging department stores thanks to sam smith for his piano playing on Mannequin, roy robertson for mixing, henry was for mastering, and priscilla mars for visuals 🙏


 “Plaza II”—from Blue’s coming Plaza To Plaza, a title which recalls a certain conceptually relevant album—has polished and pixelated 80s synths, a deadpan robo rhythm track and a pervasive spirit of something almost like paranoia. Maybe it’s a similar feeling to wondering if all those screens you’re watching are watching you back, or maybe that’s the idea in the video, with Blue hosting a talk show from a lost cellphone. Who’s the special guest? Well, he’s talking right to you, isn’t he? Plaza To Plaza is out Aug. 24 and you can pre-order it here!

White Nylon on Rocktails


Desde Los Ángeles, el proyecto pop solista Dakota Blue lanza su último single y lo describe como “la banda sonora para escapar en el auto, un himno para los trastornados”. Su dark pop queda al descubierto en los primeros segundos de la canción.Como una especie de suspense en forma musical, las tensiones son tan necesarias como los golpes de efecto. En este caso, el artista logra que esos momentos se mantengan para dar fuerza en forma de impulso en el momento justo."


New single White Nylon premiered today on Buzzbands LA

Kevin Bronson says: 
Dakota Blue’s loner pop casts alternately wry and earnest eyes at the tightrope act of living in Los Angeles. -  “White Nylon” is steeped in noirish cool. “An indie rock anthem for the deranged, a paranoid soundtrack for the getaway car,” Blue says. And, we might add: The perpetrators have succeeded in losing themselves in the crowd, leaving no fingerprints.

Colossus video out now - premiere

For the Rabbits has this to say: 

Colossus is a darker, more downbeat piece, Dakota’s always impressive voice is to the fore, accompanied initially by minimal pulses of synth and the lightest touch of processed percussion. Latterly it subtly swells as additional vocals and distant strings enter; getting thicker and denser without ever going towards any sort of clichéd crescendo.

The accompanying visuals, seem to take bright imagery, and suck the colour from them, mirroring the tracks low-key subtlety. It’s a simple but hugely effective trick; which is a rather neat summation of Dakota Blue, an artist finding the beauty in the everyday and almost mundane: making real life sound this intriguing is a hugely impressive accomplishment.

BOLO video premiere

Third Coast says:

"a picture of surreal isolation, rife with a subtle sense of foreboding—but more than that, the song is a sultry stunner.

"Bolo" begins with rolling percussion, reminiscent of that Western classic "Rawhide," before being joined by spare guitars and Dakota Blue's hesitant croon. The accompanying video follows the artist as he traipses (sometimes backwards) through empty industrial neighborhoods. We linger over his shadow stretching across the pavement, the footage becoming slightly distorted as it moves into shots of abandoned factories. He wanders these landscapes as a lone observer, like an astronaut exploring the deserted cities of a parallel earth—an effect that's heightened by the use of disorienting overlaid shots. Paired with Dakota Blue's simmering, understated sound, "Bolo" plays like film noir, teasing what promises to be a mesmerizing LP.