Category: New Audio

New Audio: JOVM Mainstay LutchamaK Releases a Dubby and Hypnotic Banger

There are few artists I’ve written about as much over the past 20+ months than the frenetically prolific French electronic music producer and JOVM mainstay LutchamaK. During that period, LutchamaK has managed to release an increasingly eclectic array of material — through EPs, albums and standalone singles — that have seen him bouncing around effortlessly between a number of different electronic music styles, genres and sub-genres.

2021 may bee among the most prolific and productive of the JOVM mainstay’s career. He started the year with Pi, a full-length album written and recorded in at three-month inspired burst that resulted in some of the darkest and heaviest material, he has written and released to date. Then he released the Quest EP, an effort, which featured experimental yet very melodic material. A few months after that, he released Rapscallion, which featured the Radioactivity-era Kraftwerk meets 90s techno-like “James Blitz 007.” Then there was Seven Hybrids, which featured the hypnotic club banger “Moonbright,” and the  Larry Levan house music-like “Davai.”

After a mere month hiatus, the prolific, French JOVM mainstay released his latest full-length album Threshold. Threshold, as LutchamaK explains ” . . . an invitation to a post-techno trip with strong electro dub accents.” Album single “Irie Vibrations” may be the best example of what to expect of the album: Tweeter and woofer rattling beats are paired with shimmering, reverb-drenched synths and spacey vocal samples. The end result is a track that meshes elements of Lee “Scratch” Perry-like dub with club friendly trance and house.

Formed a little over two years ago, the rising New Orleans-based metal outfit Total Hell features an All-Star cast of the city’s metal and punk scenes: Sick Thoughts‘ and Trampoline Team‘s DD Deth, a.k.a. Drew Owen (drums, vocals); Static Static and Heavy Lids‘ John Henry, a.k.a Henry Hell; Persauders‘ and Tirefire’s Jason “Panzer” Craft (guitar); and Trampoline Team’s Micheal He-man, a.k.a Michael Maniac (guitar).

The New Orleans-based metal outfit’s self-titled debut EP is slated for a November 19, 2021 release through Goner Records. The tracks on the EP reportedly sees the band crafting melodic rippers with a floor-to-ceiling hugeness but while doing so in an economical manner. “Recorded on a Tascam 8-track cassette live at home (aka “The Parkway”) by Michael He-Man and the process was a nightmare,” Total Hell’s DD Deth explains. “Original tape crapped out on us back in early 2020 so we had to redo the whole thing.” 

The EP’s first single “Clones from Hell” begins with a hellish sounding countdown before roaring out of the gate as a Motörhead-like ripper, centered around scorching, felt-melting riffage, thunderous drumming and howled vocals. Lyrically, the song is perfect for the season: clones from hell have run amok! But seriously though, play this one loud and imagine yourself in a sweaty mosh pit.

New Audio: Istanbul’s Groovemonk Returns with a Hypnotic Banger

Groovemonk is an Istanbul-based electronic music producer, who has developed and honed a unique sound influenced by his love of ’90s club music, rave and breakbeat sounds, jazz, disco, hip-hop, funk, soul and others.

Earlier this year, I wrote about “In Silico,” a glitchy and feverish collage of constantly morphing sonic ideas held together by tweeter and woofer rocking bets, euphoric hooks and a relentless energy that constantly twists, turns. And while being off-kilter and angular, “In Silico” managed to posses the accessible and club friendly air of classic house.

Since the release of “In Silico,” the rising Turkish producer has prolific, releasing a boatload of new material, including his latest track “Gasp.” Opening with a slow-burning and melancholy introduction with chiming percussion and glistening synths, “Gasp” slowly builds up into a club banging and hypnotic bit of techno centered around tweeter and woofer rocking 808s, skittering beats, arpeggiated synths and euphoric hooks.

Along with JOVM mainstay LutchamaK, the Turkish producer are part of a collection of a electronic music producers, who are pushing the boundaries of electronic music while managing to be accessible and club friendly.

New Audio: JOVM Mainstay El Dusty Teams Up with DJ Buddha and Hitz on a Club Banger

Over the past handful of years, Corpus Christi, TX-born and-based Latin Grammy-nominated producer, DJ, songwriter, arranger and electronic music artist and JOVM mainstay El Dusty has been simultaneously hailed as the inventor of cumbia electronica and a pioneer of nu-cumbia while establishing a swaggering, genre defying, club friendly sound with elements of hip-hop, drum ‘n’ bass, house music, trance, electronica and cumbia inspired by its mastermind’s experiences growing up near the US-Mexico border.

Since the release of the JOVM mainstay’s full-length debut, 2018’s Cumbia City, the Corpus Christi-born and-based producer and artist has been extremely busy: he’s the founder and head of his own label Americano Label — and through the label, he has produced and released new material, including his popular Americano Beat Tape Vol. 1 and a boatload of acclaimed one-off collaborations. 

It’s been close to a year since I’ve last written about the Corpus Christi-born and-based JOVM mainstay but he’s been continued upon a long-held reputation for being prolific: so far, he has released two new singles — and his latest single, a collaboration with DJ Buddha, and Hitz titled “Socumbia,” a club banging mix of cambia and soca rhythms, tweeter and woofer rocking beats and soca delivered lyrics that will make you want to wine down with that pretty young thing nearby.

Formed by Eddie Roberts and Robert Walter founding members of The New Mastersounds and The Greyboy AllStars respectively, The Rare Sounds is a new act that also features The Greyboy All Stars’ Chris Stillwell and Karl Denson’s Tiny Universe and The Greyboy AllStars’ Zak Najor.

The Rare Sounds’ debut single “Yeah You” is a gritty and urgent bit of 70s-like jazz funk and fusion centered around a relentlessly funky groove and some inspired soloing that to my ears is a slick mix of The JBs Booker, T and the MGs and Headhunters era Herbie Hancock. And at its core, is the knowing familiarity, comfort and esteem held by musicians who have played together for years in a number of different projects and configurations.

Interestingly, the Robert Walter penned composition had been workshopped in several different projects but its found a home during the band’s session at San Francisco‘s Hyde Street Studios last August. Walter describes “Yeah, You!” as “70s jazz-funk and fusion before the edges and dissonance were smoothed over to make it more commercial.” 

The band will be releasing additional tracks from their Hyde Street Studios session in the coming months and plan on booking additional performances in select markets to showcase the material.

New Audio: Bordeaux’s The Prisoners Specialize in Rock Covers of Classic TV Theme Songs

The Prisoners are a Bordeaux, France-based act that specializes in rock-based covers of film and TV composers like John Barry and Lalo Schriffin — i.e, the themes of classic TV shows like Manix and The Persuaders.

The band’s newest album is slated for an October 31, 2021 release. The album’s latest single is cover of The Persauders theme song that features some prominent changes in arrangement: The Prisoners’ cover is centered around glistening Rhodes and twangy guitars and forceful drumming. The Bordeaux-based act manage to retain the original’s cinematic quality while giving it a muscular oomph.

New Audio: Acclaimed Kinshasa-Based Collective KOKOKO! Releases a New Banger

Led by Makara Biano and prolific French producer débruit, the pioneering and acclaimed Kinshasa, Democratic Republic of the Congo-based DIY electronic collective KOKOKO! is fueled by growing spirit of protest and unrest among their hometown’s young people. And much like young people across the globe, Kinshasa’s young people have begun to openly question centuries’ old norms and taboos, and they’ve openly begun to denounce a society that they perceive as being paralyzed by fear — namely,. the fear of inclusiveness and much-needed change.

The collective and their local counterparts have done this with a fearless in-your-face, punk rock sort of ethos. This isn’t surprising: the acclaimed Congolese collective’s name literally means KNOCK KNOCK KNOCK! — with the collective viewing themselves as the sound and voice of a bold, new generation defiantly banging on the doors and walls, yelling out “OUR TIME IS NOW!”

The Kinshasa-based collective’s creative processes are centered around the notion that poverty and the desperately urgent need to survive often fuels wild creativity. And unsurprisingly, they operate in a wildly inventive DIY fashion, creating self-designed and self-made instrument made from recycled and reclaimed flotsam and jetsam and recovered junk. They even built a recording studio out of old mattresses, reclaimed wood and an old ping-one table.

The collective exploded into the national and international scenes with their critically applauded, full-length debut 2019’s FONGOLA was a forward-thinking, urgent effort featuring a difficult to pigeonhole, global orientated sound with elements of disco, post-punk, hip-hop, reggae, retro-futuristic funk, Afro-futurism and the region’s traditional folkloric sounds. The end result, was a sound that seemed to come from an alien yet familiar, near-dystopian future like our own, where the ghetto and the club where one and the same.

The Kinshasa-based collective’s latests ginned “Donne Moi,” is the first bit of new material since their full-length debut. Featured on the soundtrack of FIFA 22, “Donne Moi” sees the act expanding upon their forward-thinking, sound: while still pairing their handmade instruments with electronic production, the new single is a percussive, house music leaning club banger centered around chanted and shouted call and response vocals, rousingly anthemic hooks.

“We recorded ‘Donne Moi’ in Brussels just before the pandemic hit, and we are happy it’s finally seeing a release. The song is about giving back. Giving, as well as receiving, shouldn’t be always one way.”

The collective is currently working on new material, which is slated for release next year.

Jennifer Silva is a Boston-born, New York-based singer/songwriter. Influenced by Stevie NicksAretha FranklinTori AmosThe Rolling StonesFlorence + The Machine and Alabama Shakes, Silva has received praise for her sensual and soulful stage presence and for material that lyrically and thematically explores universal and very human paradoxes — particulartly, the saint and sinner within all of us.

Silva’s debut EP was an EDM collaboration with DJ Sizigi-13 under the mononym Silva. But her full-length debut Bluest Sky, Darkest Earth, the first under her full name saw her sound leaning heavily towards singer/songwriter soul, rock and pop with 70s AM rock references.

The Boston-born, New York-based singer/songwriter’s sophomore album Purgatory Road is slated for an October 29, 2021 release. Recorded at Vinegar Hill Sound, the Reed Black-produced album’s 10 songs thematically connect to the deep, dark places that live within us while featuring complicated, flawed, strong and yet very human characters.

Interestingly, much like its immediate predecessor, Purgatory Road‘s material draws from Silva’s personal life, and the album finds the Boston-born, New York-based singer/songwriter reflecting on her mistakes in a way that offers advice to the listener.

Purgatory Road‘s first single is the slow-burning and sensual “Landline.” Prominently featuring Silva’s sultry and bluesy crooning, and an atmospheric and unfussy arrangement of twinkling Rhodes, a sinuous bass line, strummed guitar, “Landline” continues a run of material heavily indebted to 70s AM rock and soul, centered around a similar craftsmanship. Thematically, “Landline” as Silva explains is an intimate song about personal connections; a longing to bond with someone without the distractions of modern technology with the song finding Silva yearning for the days when the phone was used for one thing and one thing only — a call.

“This song reminds me of a time when people were more connected emotionally. I feel nostalgic toward a simpler time where we had a meaningful, straightforward way of communicating,” Silva further elaborates in press notes. “We may be more technologically connected than ever before, but most of us keep people at a distance and only let them see a more polished, perfect version of ourselves that can be edited and filtered. We are also constantly multitasking on, and distracted by, our phones. I long for a time when you could just focus on talking to someone special on the telephone and connecting for hours on end with them that way. I think people need something real. Modern technology is great in many ways, but it can also be a barrier between us. A simple telephone represents an authenticity that frankly, has been lost.”

Silva is playing a single release show tonight at Rockwood Music Hall. Tickets and other information is here:

New Audio: Ninety’s Story “Heaven” Live from Groover Obsessions

Childhood friends Guillaume Adamo and Florian Deyz are the creative masterminds behind the rising Nice-based indie act Ninety’s Story. With the release of their debut single “KIKUKYU” which was quickly followed up with their debut EP, the French duo firmly established a sound and approach that was fittingly inspired by the French Riviera and by acclaimed French acts PhoenixDaft Punk and Air.

The duo, along with their backing band have opened for ArchiveMorcheebaPale Waves and Puggy and others. Adding to a growing profile. the duo wrote the music for a Citroën C4 Aircross ad campaign that aired in China —  with the band representing the company at the Paris and Hangzhou Motor Shows. Since then the band has been busy releasing a handful of singles including the breezy and anthemic “APO” and the sultry, R&B-inflluenced “Home.” 

Earlier this year, the duo along with their live band played a Groover Obsessions Les Capsules sessions at La Marbrerie that featured two songs:

  • “Heaven,” a slow-burning and brooding song that reminds me a bit of JOVM mainstays Ten Fe and Palace Winter: a deliberately crafted, anthemic song centered around expressive and bluesy guitars, shimmering synths, plaintive vocals and lived-in lyrics. 
  • “Ride,” a strutting bit of pop rock that — to my ears, at least — brings a slick synthesis of Steely Dan and Radiohead to mind. 

The rising French duo recently released the Groover Obsessions session as a mini EP. The mini EP’s first single happens to be my favorite track from the session, the aforementioned “Heaven.” With their unerring knack for crafting earnest material with anthemic hooks, I have a sense that they’ll be stars — and very soon.

Gothenburg-based indie quartet Hux Flux features members with wildly different influences and interests: Philippe (guitar) is a punk rocker; Linda (vocals, synths) loves melodies; Kara (bass, vocals) is a rock ‘n’ roller; and Stefen (drums) is a shoegazer.

Meshing all of those influences together, the Swedish quartet specialize in what they’ve dubbed “trashdance.” “So our personal influencers are a bit different, but as a band I would say that Thee Oh Sees inspire us on the experimental part, Night Beats for the overall sound, and The Coathangers for the versatility and attitude. We take our music very seriously, but as ourselves we are more of the playful types,” the band elaborates in press notes.

Hux Flux’s latest EP Banana Brain was produced, mixed and mastered by Detroit-based producer and musician Jim Diamond, best known for his work as a bassist with The Dirtbombs, and for his production and mastering work with The White Stripes and The Sonics. “We like to experiment with different types of sounds and I guess you can hear it,” the members of Hux Flux say in press notes. “We all have a bit of a different music background, but we’re aiming for some type of ‘punk indie garage that you can dance to.’”

Banana Brain‘s latest single “Date Sweater” is a mosh pit friendly stomper centered around fuzzy, reverb-drenched power chords, thunderous drumming, enormous hooks and woozily delivered vocals. Sonically, the song is a boozier, more frenetic take on The White Stripes. “You know that desperate teenage love? When you’re willing to do whatever it takes to be seen and loved?” The band says in press notes. “This song is about that. We call it ‘Date Sweater.’ A sweet story in a tough, fuzzy and raw soundbite.”