Category: Indie Pop

Video by William Ruben Helms

New Video: The Hazily Psychedelic Visuals for The Babe Rainbow’s “Monkey Disco”

Throughout the fall, I’ve written quite a bit about the up-and-coming Bryon Bay, Australia-based band The Babe Rainbow. And as you may recall, the act, which is comprised of Bryon Bay, Australia-born and-based founding members Jack “Cool-Breeze” and Angus Darling The Hothouse Flower with Venezuelan-born pianist Lu-Lu-Felix Domingo can trace their origins to when its founding duo started a songwriting partnership while in middle school; however The Babe Rainbow started in earnest in late 2015 when the founding duo met Venezuelan-born pianist Domingo while they were traveling in France.

The trio’s self-titled debut was produced by King Gizzard and the Lizard Wizard’s Stu Mackenzie, and from album single “Johny Stays Cool,” the band specializes in lo-fi, off-kilter funk inspired by African Diaspora-like rhythms and breezy, Tropicalia-like melodies, while being reminiscent of The B52s. Interestingly, the album’s latest single “Monkey Disco” finds the Australian band meshing sweaty, tribal house, Afropop, psych pop and lo-fi New Wave in a way that’s reminiscent of Fear of Music-era Talking Heads and Zonoscope-era Cut Copy, but while possessing an off-kilter, quirky quality. 

The recently released music video was written and directed by S.L.Kristofski and The Babe Rainbow in conjunction with the Y.P.S.M.C (Young People’s Society of Music for Chameleons) and features hazily lysergic imagery and vibrant colors — and much like the sounds that accompany it, it manages to be mischievously anachronistic. 

Video by William Ruben Helms

New Video: Sego Returns with an Ambitious and Anthemic, Guitar Pop Single Paired with Slick and Mischievous Visuals

If you’ve been frequenting this site over the past couple of years of its almost eight year history, you’ve likely come across a couple of posts featuring the Mapleton, UT-born, Los Angeles, CA-based duo Sego.  And as you may recall the duo, which is comprised of Spencer Peterson and Thomas Carroll, relocated to Los Angeles to seriously pursue careers in music, where they quickly developed a reputation for a sound that at the time, employed contemporary production techniques while maintaining an eccentric and human touch; in fact, a single like “Townland,” found the duo adopting a sound that was reminiscent of  Talking Heads and Superhuman Happiness, while it’s follow up, “Obscene Dream” off their full-length debut, Once Was Lost Now Just Hanging Out was reminiscent of Sound of Silver-era LCD Soundystem. 

Now, it’s been some time since I’ve personally written about them but interestingly enough, the duo’s latest single “Sucker/Saint” finds the duo adopting a jangling, hook-driven, 90s grunge rock-inspired sound, reminiscent of Pixies, The Posies and others — and much like the sources that they song seems to draw from, Sego’s latest manages to balance an easy going, garage rock jam feel with some of ambitious songwriting that finds the duo nodding at psych rock, krautrock and guitar pop. 

Directed by Jared Clark Gay, the slick accompanying video for “Sucker/Saint” finds the duo in a   studio with their backing band, performing the song but it employs the use of multi-split screens, in which at points you’ll see the song’s lyrics, while quickly switching back and forth between color, black and white and wild psychedelia within a turn of a phrase. 

Single Review by William Ruben Helms

Comprised of childhood friends Ben Grant and Paul Dutton, the up-and-coming, Seattle, WA-based duo Ravennas have been playing music since grade school — from drum lessons to junior high jazz band to their own creative pursuits in which Dutton contributes his expertise in music theory and instrumental mastery with Grant’s guttural artistic instinct. And with their DoM-produced debut single “Meet In A Garden,” the duo’s sound manages to be an effortless blend of psych pop, electro pop and indie rock that’s reminiscent of Amoral-era Violens, In Ghost Colours-era Cut Copy and Forever and Horizon-era Painted Palms as the song is propelled by jangling guitar chords, an angular bass line and soaring hooks. But what makes the song remarkable to me is that the Seattle-based duo manage to balance a deliberate attention to craft with an earnestness of feeling and purpose.

 

Video by William Ruben Helms

New Video: The Dark and Sultry Visuals for K. Flay’s Anthemic “Blood in the Cut”

Born Kristine Meredith Flaherty, the Wilmette, IL-born, Los Angeles, CA-based singer/songwriter K. Flay emerged into the national and international scene with 2014’s Life as a Dog, an album that peaked on the Billboard Heatseekers Albums chart at #2 and Billboard’s Rap Albums chart at #14. She then signed with Interscope Records last year, as the first artist signed to Dan Reynolds’ Night Street Records, who released her latest effort,  the Grammy nominated album Every Where Is Some Where — receiving nods for Best Engineered Album, Non-Classical with album single “Blood in the Cut” was nominated for Best Rock Song. Adding to a growing profile, Flaherty has made national televised appearances on NBC’s Late Night with Seth Meyers, TBS’ Conan, and has received praise from The New York Times and Pitchfork for material that features socio-political commentary and detailed lyrics, while reportedly being one of the most deliberate and dynamic effort to date, an effort that manages to capture the anxieties and uncertainties of today’s world. 

As for the Grammy nominated “Blood in the Cut,” the song has been a smash hit as it has amassed over 250,000 track equivalent units in the US according to Nielsen Music, spending more than 6 months on the Billboard Alternative Songs chart, peaking at #4, and was certified Gold in Canada, reaching #1 on the Canadian Alternative charts. And when you heard the song, you’ll see why it’s been an attention grabbing, smash hit: the incredibly self-assured song features Flaherty’s sultry cooing over a sleek production featuring bluesy guitar chords, propulsive drumming, swirling electronics and an anthemic hook reminiscent of Alanis Morrisette’s Jagged Little Pill, The Black Keys, Garbage and others, essentially balancing a careful tightrope between the blues, electronic rock and arena rock. 

Single Review by William Ruben Helms

 

With the release of his debut single “Last Words,” the London-born and-based, 23 year-old, singer/songwriter Issac Gracie quickly established himself as one of Britain’s best, up-and-coming artists. And interestingly enough, his most recently released EP revealed a young artist and young man, who reportedly was in flux — and much like most 20 somethings, was in the midst of working out who exactly he is, what he wanted and what exactly he was doing. But with “Terrified,” the EP’s follow-up single, Gracie builds upon a growing profile with a self-assured yet deeply personal song that finds the up-and-coming singer/songwriter expanding upon the sound that first caught attention — in this case with lush backing instrumentation and the sort of soaring and anthemic hooks reminiscent of Snow Patrol and Jeff Buckley.

Gracie is currently putting the finishing touches on his full-length debut, which is slated for a Spring 2018 release through Virgin EMI Records, and you should expect a bevy of live dates to support the album soon.

 

 

Single Review by William Ruben Helms

The up-and-coming, Helsinki, Finland-based Lake Jons retreated to a cabin deep in the Finnish forest to record their full-length debut album, an album that finds the trio establishing a unique sound that effortlessly blends ambient, lo-fi pop, psych, soul and folk. And as you’ll hear on the percussive and moody album single “Breathe Out The Fumes,” the trio’s sound nods at the likes of Caveman‘s Coco Beware, Fredrik‘s Flora and sleek contemporary electro pop and electro soul.

Single Review by William Ruben Helms

New Jersey-based pop duo Fascinations Grand Chorus can trace their origins to a long-held rivalry between its members and a free-standing and deeply competitive argument they had over which one was the better songwriter, based on a health respect and admiration of each one’s individual musicianship and songcraft; however, despite their countless, good-natured arguments, the duo bonded over their mutual love of The Misfits, 1910 Fruitgum Company and antiquated arcade games, while also recognizing that teaming up would be beneficial to navigate the contemporary music scene. And with “When You’re Mine,” the first single off their soon-to-be released EP Angelsea, the duo specialize in recording utilizing the analog techniques of Joe Meek and Phil Spector  — and much like contemporaries such as Pavo Pavo, Drakkar Nowhere and others, Fascinations Grand Chorus’ manages to be mischievously anachronistic with their current single sounding as though it was released in 1962 or 1982, but with a subtly modern sheen.

 

Single Review by William Ruben Helms

New Audio: Charlotte Day Wilson Returns with her Most Soulful and Radio Friendly Single to Date

Charlotte Day Wilson is a  Toronto, ON-based internationally renowned singer/songwriter, who initially began her musical career as the frontwoman of local renowned jazz, funk and soul act The Wayo — and with the release of “After All,” Wilson quickly emerged as an up-and-coming talent within her hometown’s soul, funk and jazz scene, eventually collaborating with the likes of BADBADNOTGOOD and River Tiber. Now, if you had been frequenting this site last year, you’d know that with the release of her full-length debut CDW, which featured critically applauded singles “After All,” “Work” and “Find You,” that Wilson established herself as a singer/songwriter and producer, who would pair thoughtful and personal lyrics that betray a wisdom and experience far beyond her years, with minimalist, electronic production.

“Doubt,” Wilson’s latest single manages to simultaneously be her first bit of new material in over a year and while being a teaser for much more material next year, the song is a bit of sonic left turn sonic direction with Wilson pairing her soulful vocals with a production that nods at Bilal, Erykah Badu and others, as it features fluttering synths, a sinuous bass line, jazz and ballad-inspired drumming with warm blasts of guitar and a soaring hook. And while arguably being one of the most radio friendly songs she’s released to date, the song’s narrator expresses a deep, crippling uncertainty over her own worthiness that feels and sounds like the thoughts and feelings of a fully-fleshed out and confused woman that you may have known at some point.

Single Review by William Ruben Helms

With the release of their 2015 debut effort, Use Your Time Wisely, the Minneapolis, MN-born, New York-based trio Strange Names — comprised of Liam Benzvi, Francis Ximenez, and Fletcher Aleckson — quickly received attention across the blogosphere for a crafting airy and danceable New Wave-inspired pop. And as a result of the buzz around them, the members of the New York pop trio opened for Azealia Banks before eventually signing with renowned, local indie label Frenchkiss Records.

The trio’s highly-anticipated, third, full-length effort is slated for release in early 2018, and the album’s first single “Into Me” will further cement their reputation for crafting breezy, 80s inspired synth pop — and while some have made comparisons to The B52s and Phoenix, the latest single to my ears seems to draw from XTC and Violens’ fantastic Amoral as the song features a soaring hook rooted around shimmering arpeggiated synths. But underneath the song’s breezy nature is a swooning and flirtatious kiss off of sorts to someone, who is into the song’s narrator but for some perverse reason is pretending not to be.

 

Single Review by William Ruben Helms

Whitney McClain is an up-and-coming, Oregon-born, Los Angeles, CA-based singer/songwriter and pop artist, who grew up in a deeply musical family — her uncle, Marlon McClain was a founding member and guitarist in Oregon-based funk, soul and R&B group Pleasure, an act that landed a Top 10 hit win 1979 with “Glide;” in fact, the young, up-and-coming artist credits her uncle with inspiring, encoring and guiding her to go from performing in front of family and friends to writing, recording material that would be performed in front of larger crowds.

Her Mauli B. written and produced debut single, “Bombs Away” was released when she had turned 21, and the single as McCalin explains “sounded like some of the late night talks I have with my girlfriends,” as the song focuses on falling in and out of love, and trying to figure out how to pick the right lover — something that we’ve all experienced at some point or another. “Bombs Away” quickly racked up over 1 million YouTube views and building upon a growing profile, she released her debut EP, Nothing To Lose, which had three singles that also received over 1 million views and an Independent Music Awards nomination for Urban EP of the Year.

McClain’s latest single “Cruise,” which was co-written with Marlon McClain, Davi Jordan and Ralph Stacy, features an incredibly sultry and self-assured vocal turn over a soulful and swaggering production consisting of boom bap drums, punctuated yet sinuous guitar and bass lines and warm blasts of soulful horn, and while being rooted around a contemporary hook-laden production, the song nods at  What’s the 411?-era Mary J. Blige.

As McClain explains in press notes, “I wanted to create a record that pushed positivity and hope that, no matter how bad it might seem, we can always work through it if we love one another. Darkness can’t exist in the presence of light. Later, it developed into a love song, but I still think it holds true to the original message.”
New Audio by William Ruben Helms

 

Livia Blanc is a French-born, Brooklyn-based singer/songwriter, who specializes in a subtly modern take on 60s-inspired, cinematic pop that mischievously nods at the likes of   Edith Piaf, Portishead and Melanie DeBlasio; in fact, the French-born, Brooklyn-based artist’s second and latest single, “Mr. Hyde,” which was produced and cowritten by The Chevin‘s Coyle Girelli and Andrew Horowitz, who has cowriting credits with Jidenna, Verite and John Legend, finds Blanc cooing in a coquettish French over a breezy yet mischievously anachronistic featuring strummed ukulele, whistling, polyrhythmic beats and soaring synths. But despite the song’s ethereal quality, the song reportedly explores the inner duality of good and evil that we all have, reminding the listener that we’re all capable of good and evil at any particular moment. Fitting for the Halloween season, indeed!

 

 

Video by William Ruben Helms

New Video: The Dreamy and Psychedelic Sounds and Visuals of Brooklyn’s Panteon

Panteon is the recording project of Brooklyn-based Yvonne Ambree, an accomplished singer/songwriter, vocalist and musician, who has toured and worked with a wide range of artists including Sleigh Bells, Little Boots, Lulu Gainsbourg, Eli “Paperboy” Reed, and legendary soul singers, such as Syl Johnson, Ann Sexton and Gwen McCrae. Ambree is also known as one-half of the critically acclaimed duo Take Berlin, whose debut EP Lionize was named one of the “Top 10 EPs of 2013” by The Huffington Post, UK. 

Ambree’s debut as Panteon, Travel Log 1 EP is slated for a January 19, 2018 release, and the material on the EP is reportedly inspired by her travels across Europe and The Americas with each track being an ode to the experience of a particular locale she had been in, making the EP, a soundtrack for traveling, whether it be on the road, through the sea or through the air; but throughout the EP, Ambree weaves narratives of discovery and identity (which, unsurprisingly come up while traveling to some far off place).  Recorded in Berlin, Brooklyn’s Bunker Studio and Manhattan’s Sear Sound and mixed by renowned producer Howie Beck, who has worked with Feist, Jamie Lidell and Chilly Gonzales while featuring some of the New York area’s most notable session musicians including Snarky Puppy’s Jay Jennings contributing flugelhorn to EP single “Ballyvaughan,” and Grant Zubritsky, who has played in the backing band of Nick Murphy, formerly known as Chet Faker and MS MR, contributing bass on the EP’s latest single “White Jaguar,” a track written as a ode to the Kogi of Colombia, an indigenous civilization, who still live in the exact same fashion as they did 400 years ago, and consider themselves as guardians of the Earth. 
The ethereal song feels like a pleasant but half-remembered reverie bubbling up from the surface of the songwriter’s and listener’s subconscious as the song features a shimmering arrangement featuring strummed acoustic guitars, a sinuous bass line, soaring keys and propulsive drumming paired with Ambree’s gorgeous vocals — and while leaning towards the dreamy, retro-futuristic psychedelia of JOVM mainstays Pavo Pavo, the song captures the sense of awe over experiencing something you can never experience back at home. 

The recently released visuals for the song features gymnasts and dancers performing — but from old grainy negatives, which emphasizes the dreamy nature of the song, while adding to its aching nostalgia.