Category: Folk Rock

Single Review by William Ruben Helms

New Audio: Rising Aussie Artist Tullara Shares a Lush, Feminist Anthem

Tullara is a Ramornie, Australia-born, Grafton, Australia-based indie pop and folk/roots rocker, whose 2017 debut EP, Better Hold On went on to win a Best EP Award at the 2017 Australian Roots Music Awards. Since then, the rising Aussie artist, who proudly adheres to a DIY ethos, which includes being self-managed, has amassed over 1,700,000 streams on Spotify.

She has opened for acclaimed and beloved Aussie acts like Xavier Rudd, The Waifs, Ocean Alley, Bernard Fanning and Paul Dempsey, Cold Chisel‘s Ian Moss, INXS‘ Andrew Farriss, The Dreggs, Jeff Lang, Troy Cassar-Daley and a lengthy list of others. She has also opened for international acts like Donavon Frankenreiter, Wallis Bird, The East Pointers and a list of others during their respective Australian tours. And adding to a growing profile, the rising Aussie artist has made a run of the global festival circuit, playing sets at Woodford Folk Festival, Queenscliff Music Festival, Goolaholla Festival, Artswell Festival, Robson Valley Music Festival, Cur LeCheile Festival, Umefolk, Floating Castle Festival and a growing list of others.

Building upon a growing national and international profile, Tullara will be releasing her highly anticipated full-length debut, Rebound this year. Recorded and produced in Vancouver, Rebound reportedly showcases a bold, genre-defying evolution of her sound that embraces modern pop and rock, while blending her introspective lyricism with catchy melodies and cutting, world-class, modern production.

Released earlier this year, the forthcoming album’s first single “I Don’t Believe in Giving Up” features looping, reverb-soaked electric banjo paired with lush electronics serving as a supple bed for the Aussie artist’s expressive delivery singing lyrics about self-value and self-determination. Drawing from Celtic folk and contemporary pop, the new single sonically brings rootsier Dido to mind while being a feminist anthem.

Video by William Ruben Helms

Throwback: Happy 78th Birthday, James Taylor!

JOVM’s William Ruben Helms celebrates James Taylor’s 78th birthday.

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Throwback: Happy 84th Birthday, Carole King!

JOVM’s William Ruben Helms celebrates Carole King’s 84th birthday.

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Throwback: Happy 84th Birthday, Graham Nash!

JOVM’s William Ruben Helms celebrates the legendary Graham Nash’s 84h birthday.

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New Video: Tom Woodward Shares BruIsing Neil Young-like “Phoney Messiah”

Over the course of the past two decades, Aussie singer/songwriter Tom Woodward has crafted a unique brand of baroque folk-rock, cosmic country psychedelia and fuzzed out lo-fi jams through the release of 11 albums and 10 EPs.

During that same period, Woodward has lived a deeply fascinating life, writing songs that document his thoughts and experiences: He cut his teeth and honed his craft in the Canberra and Melbourne music and arts scene in the mid-2000s before touring across Australia, Japan and the States.

2015’s Beautiful Shadows received critical acclaim from international media outlets including For Folk’s Sakes and The Huffington Post, and earned him a Canberra Critics Circle Award. Adding to a growing national and international platform, Woodward has played sets at the National Folk Festival and The Multicultural Fringe Festival, as well as opening slots for Abbe May, The Drones, Mikelangelo & the Black Sea Gentleman, Cash Savage & the Last Drinks, Machine Translations, Steve Poltz and a lengthy list of others.

Back in 2023, Woodward put down his guitar and embarked on a two-month walk up Australia’s east coast, which ended with a hospital stay and a hard-earned respect for the fragility of life. 18 months later, he got deported as an illegal alien from the USA.

Woodward’s 11th album, the recently released Adam Casey-produced Come Come Karma features the previously released “Termination Day” and “If You Wanna Stay Alive,” “Sails In Your Heart,” and the album’s latest single “Phoney Messiah.”

“Phoney Messiah,” is bruising song that seemingly channels Crazy Horse-era Neil Young, anchored a swirling haze of fuzzy power chords and Woodward’s urgent, incantatory delivery as his song’s narrator guides the listener through a world of conmen, carnival barkers, gurus, strongmen and internet demagogues prey on our hunger for meaning and her need for easy answers to deeply complex solutions.

The accompanying video is an uneasy, reeling fever dream featuring a collage of our current hellscape, presented as entertainment and clickbait, which further emphasizes the song’s critique’s of false prophets in the digital age.

Video by William Ruben Helms

Throwback: Happy 74th Birthday, John Mellencamp!

JOVM’s William Ruben Helms celebrates John Mellencamp’s 74th birthday.

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Throwback: Happy Belated 84th Birthday, David Crosby!

JOVM’s William Ruben Helms belatedly celebrates David Crosby’s 84th birthday.

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Throwback: Happy 80th Birthday, Stephen Stills!

JOVM’s William Ruben Helms celebrates Stephen Stills’ 80th birthday.

Video by William Ruben Helms

Throwback: Happy 79th Birthday, Neil Young!

JOVM’s William Ruben Helms celebrates Neil Young’s 79th birthday.

Video by William Ruben Helms

Throwback: Happy 73rd Birthday, John Mellencamp!

JOVM’s William Ruben Helms celebrates John Mellencamp’s 73rd birthday.

Video by William Ruben Helms

Throwback: Happy Belated 90th Birthday, Leonard Cohen!

JOVM’s William Ruben Helms belatedly celebrates the 90th anniversary of the birth of Leonard Cohen.

Video by William Ruben Helms

New Video: Permanent Moves Teams Up with Jessie Shelton on Gorgeous “Don’t Forget Us”

Formed back in 2016, Brooklyn-based indie electro folk/rock outfit Permanent Moves features two highly acclaimed artists:

Julia Sirna-Frest: Fest is a Brooklyn-based musician, performer and director, who has a number of credits to her name, including [Porto] (WP Theater, The Bushwick Starr); Lunch Bunch (PlayCo, Clubbed Thumb); Seder (Hartford Stage); A Tunnel Year (The Chocolate Factory); The Offending Gesture (Mac Wellman); Comfort Dogs: Live from the Pink House (JACK). She’s a founding member of the Obie Award-winning Half Straddle Company, which has produced a handful of plays including Ghost Rings (TBA/PICA); Ancient Lives (The Kitchen); Seagull (Thinking of you) (The New Ohio, International Tour); In the Pony Palace/Football (The Bushwick Starr, International Tour); Nurses in New England (The Ohio); The Knockout Blow (The Ontological).

Frest is also a founding member and co-frontperson of Doll Parts, Brooklyn’s premiere Dolly Parton cover band and a founding member, songwriter and frontperson of Permanent Moves.

Shane Chapman: Chapman is a Brooklyn-based composer and musician. As a computer, he has written scores for film, theater and podcasts, Silent Forests, Emily Black is a Total Gift (Daaimah Mubashir, Fisher Center), Comfort Dogs (William Burke, JACK) and Cleopatra Boy (A Host of People, National Tours).

As a musician, he has performed and recorded with The Peter Ulrich Collaboration and is the music director of Doll Parts. Chapman is a member of the local rock band Anacortes, with whom he has released two albums. And he’s a co-founder and songwriter with Permanent Moves.

Frest and Chapman’s work together in Permanent Moves has seen them create a unique blend of eclectic arrangements and soaring harmonies inspired by the likes of Neko Case, Sufjan Stevens and Elbow that has seen them perform in a variety of configurations — from a 15 member band down to a duo. Lyrically, their material is often based on found texts.

The pair’s full-length debut, Don’t Forget Us: A Chekhovian Song Cycle was released last week, draws from the work of famed Russian playwright Anton Chekhov features guest spots from Hadestown‘s and 36 Question‘s Jessie Shelton, Karl Blau, Starr Busby and a list of others.

“For the past 7 years we have been working on and performing these songs in a myriad of ways from a 16 person band at Ars Nova to a duo set in a living room in Vancouver, Canada. We have both been drawn to Chekhov’s work because it speaks to the questions we often sit around talking about,” Frest and Chapman explain. “What are the lives not lived? How does one survive the monotony of everyday life? Failure, living up to one’s potential, longing for a bigger life. You know, the hits of the human condition.

“This album feels very ripe for this moment because the past few years has led many people to reassess their lives, to question whether they’ve made the right choices,” the Brooklyn based duo continue. “For us in the performing arts, the entire industry was yanked away and it feels like a chance to ponder our existence, a very Chekhovian thing to do. His work reminds us that life is lived in the in-between moments. Huge things happen in a Chekhov play, people die, love is lost, a gun might go off but the focus is watching the characters muck through it as we all must do. We’re hoping to give people a good soundtrack for their personal mucking. We can all be uplifted by a good horn section, right? As Charles McNulty put it so elegantly: ‘Chekhov’s art doesn’t seek to correct but merely to point out that as we’re dreaming of better days our real lives are quietly unfolding.'”

Don’t Forget Us: A Chekhovian Song Cycle‘s latest single, album title track “Don’t Forget Us” is a gorgeous and anthemic ballad featuring Jessie Shelton’s powerhouse delivery full of longing and ache, and anchored around a lush, folk-meets-country/country-meets-folk arrangement. The duo explain that the song is “emblematic of both the mood and lyrical themes of the album. The song is for anyone who’s ever feared that someday would arrive too soon only to find that you are the same person you’ve always been.”

Shot at Mark Fox‘s studio, the accompanying video features the duo and Shelton performing the song in the artist’s paint and picture-strewn studio.

Single Review by William Ruben Helms

Toulon, France-based singer/songwriter, composer, producer and guitarist Pierre Grech has long been influenced by folk, indie rock, hip-hop, jazz, contemporary classical and electronica. Interestingly, the Toulon-based artist has had a lengthy career that can be traced back to the early 2000s: He was the frontman of experimental electronica act SLiDD — and around the same time, he co-wrote and arranged material on three Jen H. Ka albums. 

Both as a solo artist and bandleader, Grech has played shows across Paris and Southern France with re-arranged and re-imagined renditions of his material in several different iterations, including electro rock, acoustic, cello-guitar duo, rock trio and others. But over the past few years, Grech has been refining and honing his songwriting and compositional approach, and his guitar playing. This has resulted in his latest project,  _telemaque_,which finds the Toulon-based artist drawing from his long-held influences while crafting pop that’s energetic yet sensitive. 

Grech has been rather prolific over the past couple of years: Last year, he released his _telemaque_ debut June EP, which featured the OK Computer-era Radiohead-like, EP title track “June.” He followed that up with two more singles:

  • “December Sun,” which is supposed to appear on his full-length debut. Reportedly, the most rock-leaning song on the album, “December Sun” saw the French artist continuing to refine his sound and approach with the song still drawing from Radiohead but also nodding at krautrock and folk.
  • “Your liquid smile,” the breezy samba meets OK Computer/Kid A-era Radiohead-like single that features guest spots from Kentaro Suzuki (bass) and Joakim Toftgaard (trombone), and was centered around a loose yet hypnotic groove featuring a supple bass line and skittering beats, a looping guitar-driven melody and a mournful, modal trumpet line, which gives the song a wistful, nostalgic air. 

The French JOVM mainstay will be releasing a new EP, We see you when you don’t see us in Spring 2023. The EP’s first single “The Sailor” continues a run of gorgeous, folk-leaning indie rock centered around strummed guitar, Grech’s plaintive vocal, a gorgeous horn and string arrangements. “The Sailor,” which is inspired by The Odyssey and William Ernest Henley’s “Invictus, was written shortly before the birth of Grech’s third child — and is rooted in earnest yet metaphorical songwriting.

In the case of “The Sailor,” Grech uses the metaphor of a sailor, who has come through a storm and is sailing a calm sea. But the song is actually addressed as a message to his children, offering advice on how to live life — to appreciate life’s beauty, fragility in its joys and tribulations.