Category: New Audio

Single Review by William Ruben Helms

Long Island-born, Brooklyn-based DJ/producer/emcee J57 is probably best known among hip-hop heads as a member of the Brown Bag All-Stars, one of the more prolific and underrated crews in contemporary hip-hop. And over the last couple of years in particular, J57 has received attention and critical praise for a production style that channels the sound of hip-hop’s golden age — i.e., big, boom bap beats, heavy synth-based orchestration paired with ridiculously tight, catchy hooks. As a result of being mentored by the legendary DJ Premier, the Brooklyn-based producer, DJ and emcee has assisted Premier on production work with the likes of Nas, Ed Sheeran and Sam Smith. And naturally, those contributions have directly led to collaborations with Joey Bada$$, Action Bronson, Method Man, Raekwon, Mack Wilds, The Roots and others; in fact, if you’ve been frequenting JOVM over the past few months, you’d likely remember that J57 produced “The Purple Tape” off Method Man’s recently released The Meth Lab.

Also, if you’ve been frequenting JOVM over the past couple of years you’d also be familiar with local emcee Koncept, who like the aforementioned J57 is a member of Brown Bag All-Stars. Over the past few years, there have been few emcees who have been as productive, prolific and consistent as Koncept, who has released a number of impressive singles and albums. Of course because of their connection in Brown Bag All-Stars, it shouldn’t be surprising that J57 and Koncept have been frequent collaborators, including for Koncept’s forthcoming EP The Fuel, slated for a November 20 release.

EP title track “The Fuel” featuring guest vocals by Akie Bermiss features Koncept dexterously rhyming about having the desire and determination to succeed in even the most difficult of situations, including desperate, hand-to-mouth poverty, working soul-crushing jobs with you dignity and sense of self intact. And he does so over a soulful production that features soaring organ chords, Akie Bermiss’s earnest vocals, and boom-bap drums. It’s conscious and thoughtful hip-hop based around deeply personal experiences and hard-fought wisdom — and it clearly draws from hip-hop’s glory days, when a song like “The Fuel” would dominate even mainstream radio. But no worry, real hip-hop featuring emcees actually saying something important over dope production is still alive and well; sadly, we all have to make more of a concerted effort to find it and support it.

Single Review by William Ruben Helms

2015 has been a busy year for Detroit‘s Guilty Simpson as Stones Throw Records released his latest full-length effort Detroit’s Son earlier this year, and he’s released a couple of incredible, non-album singles featuring collaborations with a number of internationally-based producers. Simpson’s latest single “Greatness” is a collaboration with London-based producer Stone Tone, and it’s comprised of Simpson’s gruff baritone rhyming about being determined to succeed in the face of all odds, haters, duplicitous snakes and others over a production featuring a looped, twisting and turning piano sample, soaring synths and strings, which give the song an inspirational feel, while being bolstered by boom-bap drums. Simply put, the track is real hip-hop and not that bullshit you’d hear on your conglomerate mainstream hip-hop radio station, as the song features an incredibly talented emcee actually saying something relevant and meaningful over dope beats. Certainly, after playing the song you should feel as though you could (and should) go out and there and achieve your own dreams — right this very second.

Single Review by William Ruben Helms

Fronted by primary songwriter David Childs, the Philadelphia, PA-based rock band Manwomanchild can trace their origins to when the band originally formed in Rhode Island, back in 2008. With a lineup comprised of David Child (vocals, guitar and synths), Mason Neely (drums) and Craig Gifford (bass), the trio recorded their self-titled debut EP in February 2010, and they received international attention after the release of “Chile, La Roja,”a song specifically written to show support for Chile’s Men’s National Soccer team during the 2010 World Cup; in fact, the song was featured in 4 national newspapers and 2 national TV stations across Chile.

A couple of years after the release of their self-titled full-length debut at the end of 2010, the band relocated to Philadelphia, and since their relocation the band wrote and recorded the soundtrack for Decidedly’s mobile game, Floyd’s Worthwhile Endeavor — and the band’s last single “The Difficult Years” was released to praise from the music blog Surviving the Golden Age.

The band’s latest single “Return to Ithaca” sounds as though it were inspired by early 60s mod-era British rock — in particular, think of The Kinks — as the song pairs a pretty and hummable little melody with a bubblegum pop-leaning wistful hook reminiscent of “Video Killed the Radio Star” and The Kinks’ “I Go To Sleep” but somehow a little bit breezier. At the song’s core is the sort of wistful nostalgia that should be familiar to most of us — a familiar and beloved part of our lives and pasts getting torn down in the face of relentless progress. But the song also suggests that all things must pass and that life does as it always does — push you forward.

More important, “Return to Ithaca” is an time-specific example of finely crafted pop, complete with vivid novelistic imagery — you can practically picture yourself walking along the Charles River in Cambridge, MA with the same observations and thoughts of the song’s wistful narrator.

Single Review by William Ruben Helms

RITUAL is a London-based production and electronic music trio, who have quickly risen to both national and international attention with the release of the “Low Season,” the first single off the band’s recently released EP, The City To The Wilderness, as the group has seen airplay and praise from BBC Radio personalities Annie Mac, Huw Stephens and Jo Whitley, as well as airplay from KCRW and praise from Hot 97‘s Peter Rosenberg. Adding to a growing profile, EP single “Josephine,” which features Lisa Hannigan recently surpassed 1 million Spotify streams, and was adding to the BBC Introducing playlist on BBC 1 XTRA.

“Too Deep,” the EP’s last single, which features vocals by up-and-coming vocalist Delilah, the members of the group is largely influence by the band’s fascination with the inherent duality of male-female duets. “We’ve always been fascinated by dual female/male vocals on records — the electricity of the connection between two people, two different takes on the same emotion and the tension and harmony this creates.” Throughout “Too Deep” there’s a tension through the song that’s palpable and yet mesmerizing as Delilah’s vocals express an aching desire but with a steely confidence and an angst-filed vulnerability; after all, there’s the acknowledgement that one’s desire may well be unrequited or not taken seriously. The male vocalist expresses need but with a plaintive urgency. And this is paired with a sparse, minimalist production of skittering and stuttering drum programming, gently undulating synths, swirling electronics and bleeps and bloops that emphasize the song’s tension between fiery sensuality and hyper modern iciness — while  being a moody marvel of modern production techniques. 





Single Review by William Ruben Helms

New Audio: Soldiers of Fortune’s Swaggering, Jam-Leaning, New Single

Comprised of Brad Truax, who’s a touring bassist for renowned indie rock act, Interpol; Kid Millions, who’s best known for his work with Man Forever and Oneida; Barry London, who’s Kid Millions’ bandmate in Oneida; and Matt […]

Single Review by William Ruben Helms

Texas-born, New York-based singer/songwriter Melany Watson has been performing music for as long as she can probably remember — but she can trace the origins of her music career to two particular events: performing in school choirs and touring the Southeast Texas Ol’ Opry circuit alongside her mother, as the mother and daughter country music duo Melva Lee and Melany. According to Watson, her own artistic self-discovery was inspired by Whitney Houston and The Bodyguard soundtrack, and a lengthy list of 90s R&B vocalists, which naturally opened a new world of expression to her. After singing Whitney Houston’s “I Will Always Love You” at a local karaoke bar when she was 12, Watson had what she has called an epiphany — that she was singing and performing the music she had to devote her life to. And as a result, Watson realized that she needed to set out on her own path.

So far Watson has had quite an accomplished career, as she’s performed at PBS‘ Christmas at Belmont with Trisha Yearwood while as an undergrad at Belmont University, was a Top 100 Finalist during Season 6 of NBC‘s The Voice and she recently backed YouTube pop sensation Tori Kelly during Kelly’s performance on The Tonight Show with Jimmy Fallon. And among some within the music industry, Watson has been compared favorably to Etta James, Whitney Houston, Mariah Carey and others — but with a country music leaning towards lyrics that tell stories informed by her own experiences.

“Illuminate,” the first single off Watson’s forthcoming EP, Lilith in Virgo pairs Watson’s effortlessly soulful vocals with a slick, modern production comprised of skittering percussion, shimmering synths, swirling electronics and twinkling piano chords in a way that meshes 90s inspired R&B and soul, contemporary electro pop and a very subtle nod to the country music that Watson grew up listening to and performing. While possessing a dramatic and moody heft, as the song thematically discusses what it truly means to be in a relationship and to be someone’s soulmate, the ethereal production suits Watson’s vocals perfectly, as the arrangement allows room for Watson’s vocals to soar and dart through and above the mix.

If you’ve been following the blogosphere over the course of the past year, you’d likely know that this year has been a big year for pop music — and an even bigger year for women artists, as a number of women artists have dominated the attention of the blogosphere. And with the release of “Illuminate” Watson adds her name to a growing list of artists that are making a name for themselves.

Single Review by William Ruben Helms

Dave Groszek is a Brisbane, Australia-based singer/songwriter, multi-instrumentalist and producer and his solo recording project, Groszek specializes in a very deliberate, ambient yet cinematic electro pop. His latest single “Your Eyes” is an eerily sparse and slow-burning track comprised of twinkling keyboard chords, stuttering and skittering percussion, swirling electronics paired with Groszek’s plaintive and soulful crooning. But underneath the song’s icy surface layer is an urgent, aching desire at the song’s core — and in some way the song is reminiscent of the work of Beacon, Seoul and others, thanks to its plaintive and thoughtful nature.

Single Review by William Ruben Helms

bells roar is the DIY solo recording project of Albany, NY-based singer/songwriter, producer and multi-instrumentalist Sean Desiree. Originally, the project began with just Desiree’s vocals accompanied by guitar but over the last few years, the project’s sound has taken on elements of hip-hop and electro pop, which has further expanded the project’s sound — all while allowing Desiree to keep her voice ever present.

Desiree first started to receive attention with the release of her self-titled debut, which featured drumming from Kiran Gandhi, who was part of M.I.A.‘s touring band during the Matangi tour. And as a result, Desiree had opened for the likes of MSMR, Mirah, K. Flay, and Chrisette Michele. Her sophomore effort, Second Chances, Vol. 1 was released through Tom Morello‘s Firebrand Records, and the effort, which was largely inspired by the work of renowned poet bell hooks thematically focuses on pushing back against white supremacy and speaking truth to power. Considering the events of the past 18 months and the emergence of the Black Life Matters movement, hearing music that fearlessly discusses the sociopolitical and socioeconomic issues of the day in a thoughtful and serious manner feels desperately necessary — especially since many of those issues are largely being ignored among mainstream radio-friendly artists.

“Slow (remix)” is the first single off Second Chances, Vol. 1, and the single is a slow-burning, atmospheric single comprised of slowly cascading synths, swirling electronics, mournful horns, stuttering and skittering drum programming and shimmering and angular guitar chords paired with Desiree’s piercing and achingly mournful vocals.  In some way, the song sounds as though it were drawing influence from the Cascine Records roster — moody, 80s-inspired synth pop but in this case with a powerful and needed message. And although the song feels incredibly and desperately sad, its tinged with hopefulness at its core — in some way it suggests that things can get better, but that it requires actual work. Maybe we can all learn from that, huh?

You can catch bells roar on tour. Check out the following page for info: http://bellsroar.tumblr.com/shows

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for MS MR, Mirah, K Flay, and Chrisette Michele you can tell that her sophomore EP, due out November 13th, 2015 is going places. bell’s roar has the potential to be the voice of her generation and she refuses to be ignored.

Single Review by William Ruben Helms

Led by its founder and primary singer/songwriter Arthur Lee, the Los Angeles-based band Love was one of the first racially diverse American pop/rock bands in a time when it was largely unheard of — the late 1960s-early 1970s. And although they had a sound influenced by rock, garage rock, folk and psych rock, the band had found modest commercial success during the peak of their recording career; however, in the roughly 40 years since the band’s breakup the band has been praised by critics as one of the finest and most important American rock acts of its era, with their third album Forever Changes being regarded as the band’s masterpiece. In fact, Forever Changes has recently been listed on a number of greatest albums lists and the band has been inducted into the Grammy Hall of Fame, among some other relatively recent recognitions.

Despite their relative anonymity to most music listeners, the band’s influence has managed to quietly loom larger than perhaps the members of the band could possibly imagine, as bands like Television Personalities, The Jesus and Mary Chain, The Damned, The Stone Roses, Primal Scream, The Hellacopters, The Bluetones, Ricky and others have publicity cited the band and Forever Changes as an influence on them, have covered Love songs or had titled an album in tribute.

Over the past couple of years, there’s been a resurgence of interest in Love and as a result, the band has been re-issuing long lost material. Lee and company, along with High Moon Records will be re-issuing a deluxe edition of the last proper Love album, Reel to Reel on CD and digital for the first time ever, and on vinyl for the first time in 41 years. The deluxe re-issue features the official album’s 11 tracks and 12 previously unreleased bonus tracks, including the album’s second single, the previously unreleased single “Graveyard Hop,” which is of course, perfect for Halloween season.

Recorded in one take  “Graveyard Hop” is an impromptu, satirical take on “Jailhouse Rock” that’s absurd, hilariously campy, falling completely off the rails unhinged, menacing and perhaps just as important, raw, primal straight out of the garage rock with Lee howling like a man possessed — or set on fire. And the band manages to sound like Chuck Berry‘s backing band after drinking a fifth of Jack Daniels and smoking PCP as the song clocks in at a 107 seconds. But man, the song kicks ass takes names and leave you panting for more.

Single Review by William Ruben Helms

Comprised of Darren Weiss (vocals and drums) and Danny Present (bass), the Los Angeles-based duo of Papa have been playing music in a variety of bands and projects since they were 11.  The duo have spent the past couple building up a national profile as they’ve toured the country’s major festival circuit, and have opened for the likes of Cold War Kids, Of Monsters and Men, Girls, Handsome Furs, and Florence and the Machine, among others and after an incredibly busy schedule, the duo went into the studio and began working on material that reportedly is a change in sonic direction that was largely influenced by the experiences they’ve had over that period , playing half-filled clubs to sold-out amphitheaters, self-releasing material and having major label support and back again.

Weiss and Presant’s latest single “Hold On” is the first original material they’ve released since the release of their 2013 full-length effort, Tender Madness and the single is a funky track with a propulsive rhythm, soaring hooks paired with urgently sung lyrics to craft a song that feels anthemic and club-ready while possessing a direct, intimate emotionality. It’s radio friendly pop that feels and sounds carefully and thoughtfully crafted while possessing an upbeat, swagger.

Weiss and Present will be embarking on a short West Coast tour over the later part of the fall. Check out the tour dates below.
Tour Date: 
Nov 27  – The Echoplex  Los Angeles, CA
Dec 1 – The Chapel  San Francisco, CA
Dec 2 – Don Quixotes  Santa Cruz, CA
Dec 6 – Constellation Room   Santa Ana, CA
Dec 9 – The Casbah    San Diego, CA
Dec 10 –  Crescent Ballroom – Phoenix, AZ
Single Review by William Ruben Helms

Now, if you’ve been frequenting JOVM over the past 6-8 weeks, you may have come across a post or two about the Austin, TX-based quartet VIDEO. The band which features members Bad Sports, Wiccans, Radioactivity and The Wax Museums have developed a local and national reputation for being pioneers of a genre that they’ve dubbed “Hate Wave,” which possesses elements of punk rock, hard rock and melodic dissonance. In other words, their sound is loud and absolutely furious.

The band’s latest full-length effort, The Entertainers is slated for an October 30 release through Jack White‘s Third Man Records, and the album’s first single “New Immortals,” was a scorching thrash punk song with a sneering, in-your-face because we don’t give a fuck about anything vibe. The album’s latest single “Shackles” sounds as though its drawing from The Sex Pistols “Pretty Vacant” and Public Image, Ltd. as the song consist of slashing, angular guitar chords, propulsive drumming and shouted call and response vocals paired with the same we don’t give a fuck about anything vibe of the album’s first single, complete with a bitter, snarling irony. And if it doesn’t inspire a sweaty mosh pit in a dark club, there’s something deeply wrong with the world we live in.

Single Review by William Ruben Helms

Comprised of Mikkel B. Jakbosen (vocals and guitar), Morten Hansen (drums and vocals), and Steffan Petersen (guitar and bass). the Copenhagen, Denmark-based trio The Foreign Resort have received international attention for a sound that meshes elements of new wave and post-punk in a way that’s dark and moody and yet possesses an upbeat infectiousness. In fact, “Under Bright Neon Stars” the first single off the Danish trio’s soon-to-be released The American Dream EP is a swooningly Romantic and anthemic song consisting of shimmering guitars, a tight motorik groove similar to New Order‘s “Blue Monday” and “5 8 6,” paired with urgent and plaintive vocals that float over the propulsive mix. If you can’t image a club full of concertgoers shouting along to the song’s hook, there’s something wrong with you.

After listening to the song a number of times, the song seems to evoke the swelling hope and crippling fears of newfound love and in a way that should remind even the most jaded listener of their own foolhardy youth with a wistful smile.

The band is embarking on a fall tour. Check out the out dates below.

Tour Dates
10.22 • recordBar (Kansas City, MO)
10.23 • 3 Kings Tavern (Denver, CO)
10.24 • Lot 1 (Los Angeles, CA)
10.25 • Alex’s Bar (Long Beach, CA)
10.26 • The Merrow (San Diego, CA)
10.27 • Fulton 55 (Fresno, CA)
10.28 • Hemlock Tavern (San Francisco, CA)
10.30 • Kelly’s Olympian (Portland, OR)
10.31 • Substation (Seattle, WA)

Single Review by William Ruben Helms

Bay Area-based duo Maybe the Moon, comprised of Karmen Kimball (vocals, keyboards) and Alex Lasner (guitar, keyboards) can trace their origins to when the two met at an “End of the World” Party — a party on December 21, 2012, the end of the 13th cycle of the Mayan calendar, and the alleged end of the world as we knew it. While at the party Kimball and Lasner chatted and bonded over a mutual of Bryan Ferry and Roxy Music. As the story goes, during their conversation the duo discovered that at one point, they had attended the same elementary school. Shortly after their meeting, the duo got engaged and they started working on the material that would become the singles that they’ve released over the course of the past year to 18 months or so.

Now, if you’ve been frequenting JOVM over the past 12-18 months, you’d likely come across a couple of posts on the Bay Area-based duo. Their latest single “Washout” continues the duo’s burgeoning reputation for carefully crafted, thoughtful electro pop with lyrical content that possesses a novelist’s attention to their character’s psychology and psychological motivations, and nuanced psychological states; in other words, the song’s characters speak and feel like fully-fleshed out people — like someone you may have known or dealt with at some point. In the case of “Washout,” the song’s narrator regretfully and candidly speaks of a relationship that she sabotaged.  She speaks of that period with a little bit of perspective, and with the recognition that she had someone who lovingly dealt with her until they couldn’t deal with her anymore. Of course, the duo has also maintained elements of the sound that have caught my attention over the past few months — moody and minimalist production composed of slowly cascading synths and sparse yet propulsive beats paired with Kimball’s ethereal and mournful vocals, which evoke a desperate and urgent desire to connect with another, and a fear of the heartache that connection can bring. Thoughtful and detailed pop is sadly relegated to misfit status, and it’s shameful because in the increasingly perilous times we live in, we need music that forces us to think and moves us to feel something.

Single Review by William Ruben Helms

Guitarist, composer and (occasional) actor Dweezil Zappa, as we all know is the son of the legendary Frank Zappa. As the story goes, when Dweezil was born, his father Frank listed the boy’s religion as “musician” and gave him a Fender Master when young Dweezil had turned 6. Learning directly from guitar heroes, Steve Vai, Eddie Van Halen and others, Dweezil Zappa became a renowned musician himself, releasing his first album, produced by Eddie Van Halen when he was 12. And although Dweezil has a long-held reputation as a musician in his own right as he won a Grammy in 2008, he has spent the better part of the past decade or so carrying on his father’s musical legacy by performing renditions of his father’s material with Napoleon Murphy Brock, Steve Vai, Terry Bozzio and others in Zappa Plays Zappa.

Dweezil Zappa’s forthcoming album, Via Zammata’ slated for a November 27 release marks his return to his own original music — and the album features collaborations with John Malkovich, who reads Plato’s Allegory of the Cave over one of Dweezil’s original composition and a posthumously released song that Dweezil wrote with his late and legendary father. As Dweezil explained in press notes “This whole record is about finding my own voice in the world of music. I decided to collect songs I had written from the past that I felt had strong bones and build new arrangements around them. I also wanted to write new material that would reflect my current musical state of mind. I’ve learned so much in the past 10 years of playing my father’s music. I wanted to be able to express new compositional, arranging and playing skills with my own new musical vocabulary.”

The album’s first single “Dragon Master” is the only song that Frank and Dweezil had a chance to collaborate on. Frank had written the lyrics back in 1988 and he had asked Dweezil to write music to his lyrics. According to Dweezil: “At that time, heavy metal was topping the charts and my dad was lampooning the genre with his lyrics. For this record, I decided to fully embrace the epic metal-osity of his lyrics and create a deadly serious face melting riff to back them up.” The single begins with an oud, blistering heavy metal power chords and Frank’s utterly ridiculous, 80s-inspired metal lyrics about Satan and other subjects sung by Shawn Albro, who was once a member of U.P.O. Yeah, the song’s lyrics are stupid as hell but holy shit the song kicks ass — and it’s a lot of fun.

Single Review by William Ruben Helms

Imre Kiss is a Slovakian-born, Hungarian-based producer, electronic music artist and designer, who first emerged onto the European electronic music scene with the release of his acclaimed Raw Energy, which was released by London-based label Lobster Theremin Records. (I have to admit that’s a pretty catchy name for a label.)

As the story goes, Kiss’ full-length debut, Midnight Wave, which was released just the other day is essentially a reissue, as the album was initially released as a limited edition cassette tape through Hungarian label Farbwechsel. The cassette was essentially a commercial failure as it was quietly released to little fanfare, but interestingly enough, Lobster Theremin’s label head Jimmy Asquith has a developed a reputation for discovering and signing obscure artists from Bandcamp tapes. Asquith had discovered Imre Kiss’ Midnight Wave sometime after the artist had returned to his hometown just outside of Bratislava, and was impressed by the ambient and atmospheric material, which was heavily influenced by British industrial electronica, Kraftwerk and Chris Carter’s The Spaces Between; in fact, Asquith had made it a personal mission to release the works of an unknown artist, who he felt deserved further attention.

“Gray’s Legend,” the first single off Midnight Wave consists of layers of undulating and cascading synths, skittering percussion, swirling and ambient electronics floating off into the ether, subtle industrial clang and clatter in the distance to create a sound that manages to simultaneously cinematic and intimate while evoking a sense of desperate isolation and loneliness.