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Grupo HNE are “Black Angels” in new video
Grupo HNE have released a new video this morning combining two of their singles “Black Angels / Big Pictures.” Directed by Box Lo this two-fer also features guest verse/appearances by fellow Miami artists Shottie (on “Black Angels”) and Money Mogly (on “Big Pictures”). Bringing a Spanglish element to their boom-bap Grupo HNE (pronounced Henny) features DJ Exes as emcee as well as producer DJ Heron and multi-instrumentalist Nando (percussion, keyboards, vocals).
Speaking on “Black Angels” Exes said “the sample was taken from legendary band Los Angelos Negro and the vocal sample basically means ‘you wouldn’t dare’ I took it from there. There are three verses on this song. This is barely done anymore due to attention spans not being what they used to but the song dared me, so challenge accepted.”
Regarding “Big Pictures” he added “the song is inspired by a picture of my mother that I walk by when I visit her. To me, the picture reminds me of rough times when I was younger. Even though the perception of those times was bad, my mother gave us a positive outlook, saying good times are around the corner.”
In addition the group also recently released a video for the single “The Palmetto” also featuring close comrade Orion. All of these recent releases will culminate in the release of the group’s debut LP, Calle HNE to drop in late June.
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Samuel Evanson closes out his defining year with ‘Christmas Bells’, a glistening synth-pop cut that feels both nostalgic and sharply future-facing. In typical Evanson fashion, the track wraps big emotion inside clean, crystalline production, pairing shivering synths with a drum pulse that flickers like fairy lights. It’s steeped in the glittery sentiment of 1980s holiday pop, but Evanson’s voice—raw, warm, and a little unsure—keeps it grounded firmly in the present.
There’s an intimacy running beneath the sparkle, a tug of vulnerability that recalls the earliest, most delicate stages of a new romance. Evanson leans into that emotional ambiguity, shaping a festive anthem that isn’t interested in perfection but in possibility. The track’s candied melodies mask a nervous heart, and that juxtaposition is exactly where his artistry thrives.
‘Christmas Bells’ ultimately lands as an unforced evolution from his acclaimed debut album. Evanson continues proving himself a master of mood and melody, and here he turns holiday tropes into something quietly affecting. It’s both a seasonal delight and a subtle reminder of why he’s become one of indie-pop’s most magnetic new voices.
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