Category: New Audio

New Audio: Human Love Returns with a Trippy Motorik Groove-Driven New Single

Formed in 2010, the critically applauded New York-based act The Dig — Emilie Mosseri (vocals, bass), David Baldwin (vocals, guitar), Erick Eiser (keys, guitar) and Mark Demiglio (drums) released two albums and two EPs — 2010’s full-length debut Electric Toys, 2012’s Midnight Flowers and 2013’s Tired Hearts EP and You & I EP. Last, the member of the New York-based act relocated to Los Angeles. and the move managed to spark  a major period of transformation for each of the individual bandmembers — with each member pursuing their own creative projects. 

Notably, Emilie Mosseri established himself as a film and television composer, who earned widespread acclaim for crafting the score  for A24 Films‘ critically applauded Last Black Man in San Francisco, as well as the scores for the TV series Homecoming, which currently stars Janelle Monae and Kajillionaire, which will star Miranda July.

Ironically, working separately proved to have a unifying effect on the band’s individual members — they were emboldened to take new risks, which resulted in a completely new musical project for its longtime collaborators — the newly named Human Love. Black Void EP, Human Love‘s Sonny DiPerri-co-produced, four song debut EP is slated for a July 10, 2020 release, and the effort sees the longtime collaborators completely altering the creative process they were used to through their run as The Dig. “In the past, one person would bring in an idea and we’d build everything from there, but now the process is so much more collaborative, with everyone bringing in their specific perspective to everything we make,” the band’s David Baldwin says in press notes. “I think there’s something beautiful about us going in different directions and then coming back together like this,”EmilIe Mosseri adds “We’re taking what we’d explored on our own and feeding it back into this music, and pushing everything forward to create something completely new.”

Reportedly, Black Void will see the band crafting cinematic material with a pulsating, dance floor friendly energy and a psychedelic vibe — all while revealing the idiosyncratic impulses of each individual member of the band. Last month, I wrote about the  This Is Happening-era LCD Soundsystem-like “Goldmine,” a track centered around a sinuous and strutting, disco-influenced groove paired with Baldwin and Mosseri’s ethereal vocals singing surrealistic lyrics. “‘Goldmine’  is the song that inspired us to start Human Love,” the members of the band explain in press notes. “When the four of us are together, one of our favorite things to do is jam on one riff endlessly.  To us this song conjures up a feeling of transition.  When we first started writing it we were still in our previous band together, and by the time we finished it we had decided to start something new.  It has a feeling of leaving something behind.  Deciding to move away from what’s comfortable and familiar, and embrace the unknown.”

“Lemon Dove,” Black Void’s second and latest single is trippy song featuring shimmering synth arpeggios, a shuffling four-on-the-floor led motorik groove and ethereal vocals — and while centered around an improvised, free-flowing and summery air, the the song manages to bring Kraftwerk and Evil Heat-era Primal Scream to mind. 

“The process of making Lemon Dove was spontaneous,” the band’s Erick Eiser recalls in press notes. “All of the ideas came out fluidly without music second guessing. It’s really exciting to work on music when spontaneity reigns over deliberation. The harmonies and music in the first section of the song were inspired and adapted from a Debussy Prelude and there’s a spirit to the music that connects with the name of the band as a lyric that we found really special. It’s about love. It’s about summer.”  


Lammping · Greater Good (side A)

Lammping is an emerging Toronto-based psych rock act featuring multi-instrumentalist Mikhail Galkin and drummer Jay Anderson. The duo’s full-length debut Bad Boys of Comedy is slated for a July 21, 2020 release through Nasoni Records — and the album’s material, which is rooted in power chord-devein riffs and thunderous drumming finds the duo taking a fresh and eclectic approach to psychedelia while eschewing easy categorization: the material draws from Tropicalia, Turkish psych, New York boom-bap hip hop beats and Crosby, Stills, Nash and Young-like multi-part harmonies among other things.

Bad Boys of Comedy‘s second and latest single is the noise rock meets shoegazer-like “Greater Good.” Centered around dense layers of fuzzy and distorted power chord-driven riffs, thunderous boom bap beats, layered harmonies and an enormous arena rock friendly hook reminiscent of Foo Fighters, “Greater Good” as the emerging Canadian psych duo explains is an exploration of working class paranoia that feels — and sounds — remarkably accurate.

Born in Central Asia, the rising Berlin-based singer/songwriter, multi-hnstrumetnnalist, composer and producer Liam Mour can trace the origins of his music career to when he learned to play the piano at six — and at an early age, he began to record and produce music on mixers and tape machines. Because of his background, Mour was gradually drawn to enhancing his technical skills in music production.

After relocating to Berlin, Mour set up his own studio at Funkhaus Berlin, where he has pursued a number of musical projects, which have allowed him to play with Nils Frahm, tour with Gold Panda and to open for Four Tet and Max Cooper.

Mour’s latest single “Douro” is a slick synthesis of ambient electronics and techno thump that’s centered around layers of chiming percussion, shimmering synth arpeggios, a mournful horn sample and skittering beats. Sonically, the hook-driven track may remind listeners of Bonobo and Octo Octa — but with a subtle darkness just under the shimmering surface.





Hologramme · Préface (Printemps) – Hologramme

Clément Leduc is a Montreal-based multi-instrumentalist, composer, producer, songwriter and electronic music artist, who initially made a name for himself by collaborating with fellow Canadian artists Geoffroy, La Bronze and Dead Obies.  Leduc stepped out from behind the dials and knobs and into the spotlight as a solo artist with his solo recording project Hologramme. Leduc’s self-produced, 2015 Hologramme debut was released to critical applause, eventually landing on ICI Musique‘s Best Albums list an being named GAMIQ’s Best Electronic Album of the Year.

Leduc spent  2018 in Berlin, where he soaked up new influences and new sounds that wound up deeply influencing his critically applauded,  sophomore album last year’s Felicity, an effort that saw him collaborating with Les praises’ and Hubert Lenoir‘s Felix Petit, Gustafson’s Adrien Bletton, Senegalese guitarist Assane Seck, and Laurence-Anne‘s Laurent Saint Pierre to create a dream-like and sensual soundscape that drew from the  music of South Africa and South America.

The Montreal-based multi-instrumentalist, composer, producer and songwriter has had an enormous year so far: he released a five song remix EP Felicity tracks with remixes by Fakear, Robert Robert, Ouri and others, earlier this month — and he released his first bit of new material since the release of Felicity with “Alaska,” a slow-burning and atmospheric track centered around shimmering synth arpeggios, bubbling electronics, shuffling and clattering beats and sultry vocal samples that’s both dance floor friendly and cinematic.

“Préface (Printemps),” the rising French Canadian producer’s second and latest single of 2020 continues a run of cinematic material with elements of deep house and techno  — but while being a less polished and urgent track centered around shimmering synth arpeggios, tweeter and woofer rocking beats, sultry vocal samples within an expansive song structure featuring atmospheric and dreamy sections. Much like its predecessor, the track will bring comparisons to Bonobo and Octo Octa — but while balancing earnestness with ambition.



New Audio: Video Age Releases a Slow-Burning and Shimmering New Single

With the release of their first two albums, 2016’s full-length debut Living Alone and 2018’s sophomore album Pop Therapy, the New Orleans-based act Video Age — founding members Ross Farbe and Ray Micarelli, along with Nick Corson and Duncan Troast — received attention for crafting hook-driven material with a decidedly 80s synth pop-inspired sound.

Following the release of Pop Therapy, the band’s songwriting partners and co-founders Farbe and Micarelli were eager to write new material and continue upon the momentum they had just started to build up. The band convened at Farbe’s home studio to work on the band’s highly anticipated third album, Pleasure Line, which is slated for an August 7, 2020 release through Winspear, who recently signed the band.

Inspired by a vast range of influences including Janet Jackson, David Bowie and Paul McCartney, Pleasure Line finds the band crafting neon-bright 80s pop-like melodies to create an optimistic sound — with the material taking on a rosy hue.  “I’m often trying to create a more idealized version of the world I’m in,” Video Age’s Ross Farbe says in press notes. “In fact, some of that optimism may come as a result of both Farbe and Micarelli getting married this year — just a few weeks apart from each other. “We’re feeling the love,” Farbe says. 

Written as a salve that protects against cynicism. the album’s material is meant to help the listener see and feel a world full of romantic potential. But the album isn’t centered around one-dimensional puppy love — it’s the sort of fulfilling love that’s complicated, confusing and never easy; but ultimately worth it. Earlier this year, I wrote about “Shadow On The Wall” a decidedly  80s synth pop track — i.e., Tom Tom Club, Talking Heads and early Madonna — with a subtle hint of 70s AM rock. But while the track is superficially dance floor friendly, it manages to hint at something much darker under the surface. Pleasure Line’s second and latest single, album title track “Pleasure Line” is a slow- burning Quiet Storm meets Prince-like track centered around shimmering synth arpeggios, a sinuous bass line, twinkling keys, Nile Rodgers-like guitar and an infectious hook. Interestingly, the song manages to be thematically about a restless anxiousness that eventually turns into possibility and love; of making comfort out of discomfort.  

New Audio: Emerging French Producer Oris Beats Teams Up with Julián Cruz on a Sultry and Atmospheric Single

Oris Beats is an emerging 22 year old Paris-based producer whose work is inspired by R&B, Drake and 40. Interestingly, the emerging French producer can trace the origins of his music career back to when he turned 15: he started bursting with musical ideas whenever he listened to sounds. Since then, the emerging French producer has produced material from a series of equally emerging artists including Kyle Dion’s “Hold On To Me,”  and “Timed Out” Anfa Rose “Talented,” and “Tangier,” and Pso Thug’s “Demoniak 2.” 

Last year, Oris Beats took a trip to Toronto in which he met a series of artists — and he got the idea of working with some of them on his latest EP With You. The EP’s latest single “Won’t Forget,” is a slow-burning and atmospheric track, centered around shimmering synth arpeggios, wobbling low end paired with Julián Cruz’s plaintive vocals. The end result is a track that’s sultry yet brooding. 

Her Songs · Lost a Little (feat. Dani Murcia, Emily C. Browning, Emmavie, Marie Dahlstrom & The Naked Eye)

During the course of this year, I’ve written a bit about Her Songs, a multi-national collective of women artists that features:

  • Dani Murcia (vocals, piano, guitar, production), a Colombian-American, Miami-born, New York-based R&B/pop/soul singer/songwriter, whose lush harmonies and haunting melodies has been influenced by the likes of JOVM mainstay Nick Hakim, Kimbra and Matt Corby. Her latest EP Breaking Light consists of stories focusing on grieving her father’s suicide and searching for beauty in pain.
  • Emily C. Browning (vocals, guitar), a Christchurch, New Zealand-based indie soul artist influenced by the likes of Emily King, Lianne La Havas and Nai Palm. Her work features conversational-style lyrics, that offer a deep perspective and insight into the human experience.
  • Francesca Hole, a French-born, London-based singer/songwriter and guitarist, known as The Naked Eye (vocals, guitar). Influenced by Nai Palm, Lianne La Havas, Maya Angelou, Joni Mitchell, D’Angelo, Bruno Major and others, Hole’s work as she describes it, are autobiographical songs about life experiences, relationships and overcoming hardships that meshes elements of jazz, soul, folk and R&B. Her latest EP Love’s Grave was released last April.
  • JOVM mainstay, Marie Dahlstrom (vocals, piano, percussion and production), a Rosklide, Denmark-born, London-based singer/songwriter, who has been largely influenced by the R&B and soul she heard in her home as a child — in particular Edwyn Collins, Womack & Womack and Gloria Gaynor were on regular rotation. Dahlstrom discovered Dwele, Dire Straits, Erykah Badu, Kirk Franklin and Fleetwood Mac in her teenage years.Dahlstrom first gained attention as a solo artist in her native Denmark, eventually becoming a three-time Scandinavian Soul Award winner. Since relocating to London, the Danish-born singer/songwriter she has become an internationally recognized sensation, best known for crafting a warm and ethereal synthesis of jazz, classic soul and R&B. Interestingly, after successful collaborations with Tom Misch and Alfa Mist, the Roskilde-born, London-based singer/songwriter has been busy writing the material, which would eventually comprised her long-awaited full-length debut. Slated for release latest this year, the album was recorded in Los Angeles, Copenhagen, and London and features collaborations with James Vickery, Jeremy Passion, Elijah Fox, Beau Diako and a list of others.
  • Emmavie (vocals production), a London-based singer/songwriter and producer, whose work is an amalgamation of 90s R&B and her love for digital audio experimentation. She has built up a reputation for being a highly sought-after collaborator, working with IAMNOBODI, Buddy, ROMderful, Jarreau Vandal, Alfa Mist, Nick Grant and Jay Prince. Emmavie has had her work featured on the Oprah Winfrey Network-produced series Queen Sugar. And adding to a growing profile, the London-based singer/songwriter and producer was scouted by  DJ Jazzy Jeff, who flew her out to his house in Delaware to write and record music with Mac Ayres, Robert Glasper and Redman as part of the Playlist Retreat.

The collective can trace their origins to a conversation the five women shared on social media. Their debut 2018’s Los Angeles EP found the quintet crafting material that meshed elements of 90s R&B with contemporary electronic production. The collective’s highly-anticipated sophomore EP Toronto, Vol 1. is slated for an August 14, 2020 release. And if you’ve been frequenting this site throughout this year, you may recall that I’ve written about Toronto Vol. 1‘s first two singles: the Emmavie and Marie Dahlstrom co-written “If We Try,”  a sultry 90s neo-soul-like track that manages to sound like a synthesis of Teddy Riley-like New Jack Swing, SWV, and Erykah Badu-like neo soul — and “I Wonder,” an atmospheric and contemplative song in which the collective’s five women envision worrying about what the world would look for their future grandchildren.

“Lost A Little” the EP’s third and latest track is a soulful and uplifting R&B influenced bit of pop that is simultaneously nostalgic and hopeful for the future, as the song’s narrators reflect on their individual pasts while excitedly traveling around the world to reunite with their dear friends — in this case, the collective’s overall excitement to head to Toronto to write and record music together.  The end result is an ode to wanderlust and the excitement of what you’ll learn about yourself in a new place, and of being able to experience that new place with your best pals. “After finally reuniting together in Toronto, we felt so reflective on the entire year since the previous Her Songs retreat in LA and ‘Lost A Little’ turned into a summery, feel-good wanderlust tune about traveling the world just to meet up again,” the collective’s Emily C. Browning says in press notes. The Naked Eye adds, “‘Lost A Little’ was the 1st song written on day 1 of the Toronto week. Exploring themes of creativity and travel, the lyrics describe how we meet once a year, in a new city to create with new eyes and fresh perspectives.”




New Audio: Permanent Records and RidingEasy Records Release a Grimy Ode to Broke Ass Weed Consumption Off Brown Acid: The Tenth Trip

Over this site’s 10 year history — 10! — Brown Acid, Permanent Records’ and RidingEasy Records’ ongoing collaborative proto-metal and pre-stoner rock compilations from the 1960s and 1970s have become a regularly occurring biannual feature. Now, as you may recall, each individual edition of the series is based around RidingEasy Records’ founder Daniel Hall’s and Permanent Records co-owner Lance Barresi’s extensive, painstaking research and curation with Hall and Barresi spending a great deal of time tracking down songs’ creators. Most often, those bands haven’t written, played or recorded together in more than 30 years — but they encourage the bands to take part in the compilation process. “All of (these songs) could’ve been hits given the right circumstances. But for one reason or another most of these songs fell flat and were forgotten,” Lance Barresi explained in press notes for the previous editions of the compilation. “However, time has been kind in my opinion and I think these songs are as good now or better than they ever were.”

Of course, having the original artists participate as much as possible in the compilation process can give the artists and their songs a real second chance at the attention they missed all of those years ago. And for critics and fans, the songs on the Brown Acid compilation series can often fill in the gaps within the larger picture of what was going on in and around both regional and national underground scenes at the time. Unfortunately, as a result of the COVID-19 pandemic, the release of Brown Acid: The Tenth Trip had to be rescheduled to its new release date of June 26, 2020. 

Much like its predecessors, the tenth edition finds the duo of Barresi and Hall digging even deeper into the well of material sadly reduced to obscurity. Earlier this year, I wrote about “Mr. Sun,” a song by a band that was previously featured on Brown Acid: The Third Trip — the Central Texas-based act First State Bank. Led by Randy Nunnally (vocals, guitar), First State Bank only released three singles during their six year history — 1970-1976 — with “Mr. Sun,” being a lysergic, power chord-driven, boogie woogie  synthesis of Jimi Hendrix, Grand Funk Railroad and T. Rex.  

Interestingly, not much is known about The Brood — or their grimy psych blues ode to broke-ass weed consumption “The Roach.” Originally released on the It’s A Lemon imprint, the track is centered around wailing guitar solos, screeching and arpeggiated organ blasts, howled vocals and enormous hook. And yeah, it’ll remind you of a weird little synthesis of the Rolling Stones and Steppenwolf — but with a raw, rock ‘n’ roll dirtiness that’s sorely missed.  

RockLee · It’s a Feeling (feat. Mel Pacifico & Uness)


Born Frantz-Lee Leonard, Montreal-based jazz-trained, drummer RockLee started his music career as a member of Lazy Lee. Since then, Leonard has spent the bulk of his career as a hired gun, who has toured across the globe playing pop and world music.  And as a result, Leonard has shared stages with Corneille and Wesli, Muzion, Claude Dubois, Paul Cargnello, Dominque Fils-Aimé and a lengthy list of others.

Recently, Leonard has transitioned to a life behind the scenes, as a producer. Drawing from his extensive experience as a performer and songwriter, Leonard quickly developed a reputation for being one of his hometown’s best kept secrets — but with the forthcoming release of a solo album, which will find him collaborating with a variety of different artists. Describing his sound as “a fusion of sounds meant to evoke a sense of nostalgia,” his goal as a producer is to offer a new generation of music listeners and fans the chance to sonically reconnect with the most important moments — with the tacit understanding that music is most often the emotional center of our lives.

Co-written by Paul Cargnello, “It’s A Feeling” the album’s first single is centered around a sultry Quiet Storm-like production featuring skittering beats, shimmering and arpeggiated synths, squiggling blasts of guitar, twinkling keys and an infectious, radio friendly hook paired with a soulful and achingly yearning duet between two of Montreal’s up-and-coming R&B artists Mel Pacifico and Uness. What seems to set RockLee and this particular song apart from countless others  — to my ears, at least — is the fact that the song meshes an ambitious yet accessible production and earnest songwriting with a decided sense of purpose. 





New Single: Bordeaux France’s Yudimah Releases an Uplifting Anthem

Yudimah is a Bordeaux, France-born and-based emcee, singer, beatmaker, pianist and engineer. Influenced by Kanye West, Ryan Leslie, Masego, Anderson .Paak and others, the French artist taught himself English inn order to reach the widest possible audience for his uplifting and conscious lyrics. 

The French emcee, singer, beatmaker, pianist and engineer’s latest effort Light Soul EP was released a few days ago. The EP’s latest single, the self-produced “Catchin’ The Vibe” is an upbeat track centered a slick and self-assured production featuring skittering, twitter and woofer beats, thumping 808s and an infectious hook reminiscent of Kendrick Lamar’s “Alright.” And at its core is a positive message that encourages the listener to live in the current moment, despite a society (and world) full of distraction and bullshit.