Category: New Single

Larry & Joe is an acclaimed folk duo that performs a unique fusion of Venezuelan and Appalachian folk featuring harp, banjo, cuatro, fiddle, maracas, guitar, upright bass and whatever else they could fit in their tour van. The duo features:

  • Joe Troop, a North Carolina-based Grammy-nominated bluegrass and old-time musician, who spent over a decade in South America with his acclaimed “latingrass” band Che Apalache. With the pandemic, Troop got stranded in his old stomping grounds and as a result, his primary project was forced into hiatus. Troop shifted into action, working with asylum seeking migrants. 
  • Larry Bellorín, a Monagas, Venezuela-born, North Carolina-based Llanera music legend, and asylum-seeking migrant. Bellorín has worked various construction jobs to make ends meet, and writes and performs music in whatever spare time allowed.

Currently based in North Carolina’s Research Triangle, Troop and Bellorín are versatile multi-instrumentalists and singer/songwriters on a mission to prove that music has no borders and that music is the universal language. Their work is a distinct blend of their musical and cultural inheritances and traditions paired with storytelling about the ways that music and social movements coalesce. 

The duo’s latest single is an ebullient rendition of “Mi Burrito Sabanero,” one of the most beloved and oft-covered Latin holiday songs ever written. The duo’s rendition features a bilingual intro and break, and lyrics mostly sung in Spanish, as well as a playful and dexterous nod to “Here Comes Santa Claus” on the violin. The song also adds some instrumentation to the arrangement that aren’t on the most known versions — including banjo and others. “Mi Burrito Sabanero” further cements the duo’s boundary busting sound and approach rooted in a deep empathy, playfulness and a much-needed sweet, kindness, while offering something for everyone to enjoy.

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New Audio: JOVM Mainstay MAGON Shares Shimmering and Introspective “I Don’t Take You For Granted”

Over the past handful of years, I’ve managed to spill copious amounts of virtual ink covering the remarkably prolific Israeli-born singer/songwriter, musician and JOVM mainstay MAGON. Now, if you’ve been frequenting this site during that particular period, you might recall that shortly after the release of his fifth album,  A Night in Bethlehem, the Israeli-born artist, along with his partner and young daughter relocated to Costa Rica, where he continued an ongoing period of remarkable prolificacy with his sixth album, Did You Hear the Kids?

Did You Hear The Kids? featured what may arguably have been the broadest and most expansive sonic palette of any of his previously released work — and a collaboration with Paris-based indie duo SOS Citizen

The Isreali-born and now-Costa Rican-based artist’s seventh album, the recently released Chasing Dreams sees him collaborating with local indie rock outfit Las Robertas, who acted as his backing band for the recording sessions. Chasing Dreams sees the JOVM mainstay continuing a slow-burn expansion of his sound with the incorporation of string arrangements, which add a lushly cinematic and dreamy quality to the material.

In the lead-up to the album’s release, I wrote about two of the album’s previously released singles:

  • Album title track “Chasing Dreams,” a song built around strummed acoustic guitar, shimmering pedal steel and gentle drumming paired with Magon’s dreamily laconic delivery. “Chasing Dreams” seems indebted to Exile on Main Street-era Rolling Stones and Harvest-era Neil Young with some subtle nods to country and folk. Much like the material on his last two albums, “Chasing Dreams” is rooted in the sort of deep, heartfelt introspection informed by living a full, messy and well-lived life and getting older — with the song touching upon themes of maturation, love and enjoying cherished family and personal bonds while you have them.
  • Under the Sea,” a child-like lullaby that sounds a bit like Yellow Submarine and “Octopus Garden”– perhaps as a result of a lush, 60s psych rock-inspired arrangement performed by the JOVM mainstay and his new collaborators Las Robertas, and an unfussy production. But at its core, the song is rooted in the pure and whimsical sense of exploration and curiosity of childhood.

“I Don’t Take You For Granted,” Chasing Dreams‘ third and latest single is a lush and introspective bit of psych rock/psych folk built around glistening, finger-plucked guitar, shimmering and cinematic strings and gently padded drumming paired with the JOVM mainstay’s laconic delivery. Much like its predecessors, “I Don’t Take You For Granted” is rooted in the same introspective, deeply lived-in lyrics that reflect a hard-earner, harder-won maturity and a contented sigh of recognition that adult love is so very difficult to find and harder to keep.

Deriving their name from the Nahuatl word for The Mockingbirds, the Richmond, CA-based Los Cenzontles (pronounced senn-SONT-less) — is an acclaimed touring and recording band and nonprofit cultural arts academy for kids. Over their three-plus decade history, the recording and touring outfit has dug deep into cultural traditions, creating a vibrant, contemporary sound infused with the gutsy soul of Mexico’s rural roots, releasing over 30 albums. 

The collective have supported those albums with tours across the US, Europe, the Dominican Republic, Cuba and Mexico. And they’ve collaborated with an eclectic array of acclaimed, internationally recognized artists including The Chieftains, Los Lobos, Los Tigres del Norte, Ry Cooder, David Hidalgo, Linda Ronstadt, Taj Mahal and a lengthy list of others. 

Their core members also serve as the programming staff and teachers of Los Cenzontles Academy, where they have been passing on musical traditions to new generations and inviting their students to perform with them on stage and participate in production projects since 1994. 

Released earlier this year, the Richmond, CA-based outfit’s remarkable 33rd album Son Con Son, En el Suelo Americano sees the prolific collective collaborating with son jarocho masters Grupo Mono Blanco and Cuban cuatro master Kiki Valera to create material that meshes Cuban Son cubano with Son jarocho from the Mexican state of Veracruz. 

Over the past couple of months I’ve written about two album singles”

The Mono Blanco-penned “Matanga,” a virtuosic and shimmering mesh of Mexican folk and Cuban folk cultures built around an arrangement that features Cuban congas; Zapeteado de tarima, a percussive drum-like instrument that you tap your feet on; quijada, a percussive instrument made from the jawbone of a donkey, cow, horse or mule that’s cleaned of tissue and dried out, so that the loose teeth rattle when struck with a fist; jarocho jarana, an eight-stringed guitar-meets-mandolin-like instrument with the strings in five courses — usually arranged in two outer strings with three double-courses in between; requinto, a smaller, higher-pitched version of a guitar, and used throughout much of Latin America; cuatro cubano, another mandolin-meets-guitar-like instrument that can be single-stringed, double coursed or tripled coursed paired with Mano Blanco’s soulful delivery singing lyrics that tackle the universal themes of love and loss. 

“Matanga” was rooted in a unfussy production that captures remarkable musicianship and old-fashioned craftsmanship with the immediacy, familiarity and playfulness of a bunch of friends jamming together on the porch on a Sunday afternoon, playing the beloved old songs and finding something new every single time.

Como un Perro” is a slow-burning and shimmering ballad that meshes both Cuban and Mexican folk traditions that sounds like the salsa, meringue and bachata ballads.

Son Con Son, En el Suelo Americano‘s latest single “Sobre Una Tumba, Una Rumba” is a great old standard that sees the prolific Californians collaborating with Group Mono Blanco and Kiki Valera. The new single continues a remarkable run of material rooted in virtuosic and soulful playing, an unfussy yet clean production that captures an you’re-in-the-room immediacy while seamlessly meshing Cuban and Mexican folk traditions in a way that bring back fond memories of my own childhood here in Queens.

New Audio: Sentiom Teams up with Jes Hudak on Lush “Cosmos”

Travis Stewart is a sound designer, composer and electronic music producer, best known as Sentiom. Over the past two-plus decades, Stewart has composed music for film scores before gradually moving towards electronic music as one-half of the EDM duo Paragon Axis, an outfit whose material has amassed over one-million streams across DSPs. With Sentiom, Stewart crafts lush and melodic techno/deep house that frequently sees him pairing organic melodies with aggressive synthesizer work and driving bass lines.

Earlier this year, I wrote about “No Limits,” a track that featured glistening synth arpeggios, skittering 808s, a relentless motorik-like groove and rousingly anthemic hooks and choruses paired with a sultry pop starlet-like vocal sample. The result was a song that seemed to channel Robyn and Little Boots with a similar crowd-pleasing accessibility.

Stewart’s latest Sentiom single, “Cosmos” is a slickly produced, club and lounge friendly banger built around lush synth arpeggios, skittering tweeter and woofer rattling beats and a relentless groove. Vocalist Jes Hudak contributes soulful vocals singing introspective lyrics over the remarkably danceable production. The result is a song that sonically brings Snap!‘s “Rhythm Is A Dancer” to mind — but with a sleek, modern production.

Jules de Gasperis is a French-American singer/songwriter, multi-instrumentalist and producer, who initially started his career behind the scenes working with the likes of Ratatat and KUNZITE‘s Mike Stroud and Low Hum. de Gasperis’ latest musical project Edgar Everyone sees the French-American singer/songwriter, multi-instrumentalist and producer stepping out into the spotlight as a solo artist — with a unique sound, approach and style that he developed through his work as a producer. 

de Gasperis sees Edgar Everyone as a project that will allow him to fully explore himself as a musician and as a human. Last year, I wrote about the Tame Impala-like “Suddenly You Move,” which paired de Gasperis’ yearning vocal and some remarkably well-placed, razor sharp hooks with squiggly synth arpeggios, a relentless and funky motorik groove. The song first conveys the sensation of being lost and yearning for someting and not quite knowing how to get it before building up to a euphoric climax, which conveys the song’s narrator has finally found what he had been seeking for so long.

The French-American artist’s latest single “Align Me” sees him collaborating with New York-born, Los Angeles-based multidisciplinary artist Ash Petti. After relocating to Southern California back in 2020, Petti quickly found her stride as a singer/songwriter rooted in her natural ability to create memorable melodies and captivating lyrics. Her solo recording project Pretty Pistil sees Petti creating a unique sound that plays between the boundaries of number of genres, including alternative pop, indie pop, dream pop and electro R&B that showcases her dreamy and seductive delivery.

de Gasperis and Petti’s collaboration can be traced back to when the French-American artist and producer started working with her as a producer, which included some co-writing sessions for her latest EP Venus Way.

“Align Me” is built around a subtly French touch-like production featuring woozy synth arpeggios, some disco funk guitar paired with skittering beats. Petti’s yearning and ethereal delivery effortlessly darts, dives and floats over the dance floor friendly production like a boxer bobbing and weaving away from their opponent’s punches.

de Gasperis explains the the song’s origins can be traced to when he was playing around with the synth chords that wound up becoming the song. His thought at the time was that Petti’s voice would be a great fit. “Next thing I know, she was super into the idea, and she sent me a voice memo of what became the full melody for the track,” de Gasperis recalls. “It all fit perfectly.”

“I felt extremely connected to the song when Jules showed it to me,” Petti adds. “Once we spoke about his vision for it, I knew with our common spiritual concepts and with our intentions, we were going to create something really lovely and powerful. When I began channeling the lyrics, I started to think about my trust in the universe. Having an inner knowing that we are all connected to something greater, something that is cosmic, brings me comfort and excitement.

“I believe that the source of creation is inside all of us who welcome it in. It’s about recognizing that I have built a healthy relationship with nurturing my creative energy, and also acknowledging that one must act on these creative chances so that they can bring them into fruition,” she adds. “It’s also about bringing recognition to the fact that if you don’t fuel and take care of your creative energy, you can miss out on opportunities as well as stunt your growth in making authentic, meaningful art, and connections.

“I let this knowledge, and passion for a life full of creation align me.”

French singer/songwriter, producer and multi-instrumentalist Deji Seigert is the mastermind behind the emerging synth project Neon Valley. Inspired by late 70s and early 80s pop, Seigert’s work, which is created in his home studio, has a decidedly nostalgic feel — with a modern twist. 

After working on Disiz‘s latest album L’Amour, the French singer/songwriter, producer and multi-instrumentalist released, the St. Lucia-like “Fortune Cookie,” a moody, hook-driven bit of synth pop built around glistening synth arpeggios, a funky and propulsive bass line and Seigert’s punchy yet plaintive delivery. Thematically, the song thematically touches on the simultaneously feelings of disillusionment and nostalgia for seemingly better times.

Seigert’s latest Neon Valley single “One Night” continues a run of breezy and decidedly 80s-inspired pop anthems, with the song built around a nostalgia-inducing yet modern-leaning production featuring atmospheric and glistening synth arpeggios, buzzing bass synths, bursts of Nile Rodgers-like funk guitar paired with the French artist’s yearning vocal and his penchant for enormous, remarkably catchy hooks. Much like his previously released material, “One Night” is rooted in introspective, lived-in lyricism — with the song’s narrator detailing an age-old tale of love gained, love lost, heartbreak and longing.

‘One Night’ is a synth pop song driven by synthesizers, electric guitars and gated reverb drums that draws inspiration from the 80s. The lyrics touch on themes of regrets and loneliness,” Seigert says of the new single.

Certainly, if you’re a child of the 80s, as I am, you might have danced to a song like “One Night” at a house party or a school dance, while longing for someone you couldn’t have — or didn’t know you existed.

New Audio: JOVM Mainstay LutchamaK Shares a Breakbeat-Inspired Banger

Throughout this site’s 13-plus year history, there have only been a handful of artists I’ve written about more than the wildly prolific French electronic music producer and JOVM mainstay LutchamaK. 2023 has seen the French JOVM mainstay continuing to be as prolific as ever: 

  • Earlier this year, he released the five-track EP Zirconium, which featured material that oscillated between several different styles and genres, including tech house, breakbeats and more. 
  • Then he followed up with the seven-song EP Let The Drums Go, which featured material that frequently meshed elements of tech house, breakbeats and electro pop. 

Late last year, the prolific French electronic music producer and JOVM mainstay released the seven-song mini album Cross My Heart, which features one tech house track and mostly downtempo material. Earlier this week, I wrote about “Pillow Talk,” the mini-album’s only tech house track, a track that nodded a bit at Trans Europe Express-like minimalism before quickly morphing into a house music banger that pairs relentless tweeter and woofer rattling thump with glistening and bubbling synths, bursts of skittering hi-hat, chopped up vocal samples and the JOVM mainstay’s penchant for enormous hooks.

Cross My Heart‘s latest single “Chill Out” is a sleek and slickly produced synthesis of drum ‘n’ bass, breakbeat, ambient electronica and downtempo house that seems like a lounge friendly take on house music.

New Audio: Los Angeles’ Orgōne Shares a Slow-Burning and Soulful Lament

Tracing elements of their origins back to the 1990s, Los Angeles-based psych soul outfit Orgōne — currently Sergio Rios (guitar), Adryon de León (vocals), Dan Hastie (keyboards), Sam Halterman (drums) and Dale Jennings (bass) –is a pillar of the contemporary West Coast soul music scene, developing and maintaining a reputation for being an unmissable touring band for more than a decade, thanks in part to their arresting intensity, impeccable playing style and undeniable, irresistible chemistry.

2023 has been a busy year for the Los Angeles-based outfit: They were the studio backing band for JOVM mainstays Say She She‘s critically applauded sophomore album Silver. They then backed the JOVM mainstays on their wildly successful world tour. As the year is coming to a close, the members of Orgōne announced that they’ll be releasing their Sergio Rios-produced 15th album, Chimera.

Slated for a February 9, 2024 release through 3 Palm Records, the album’s title is derived from a mythical beast the head of a lion, the body of a goat, and the tail of a serpent. Sonically, the album’s material weaves voodoo soul, thrumming Afro funk and psych rock and evokes a dreamlike odyssey, tripping through the hazy swamps of New Orleans, and features contributions from vocalists Jamie Allensworth, Terin Ector, and Congolese artist Mermans “Mofaya” Mosengo.

“The album really took form organically. It’s raw and dark with a hopeful thread throughout that’s highlighted by the incredible soul singers we work with,” the band’s Sergio Rios says of the album. “There’s a looseness to most of the cuts, giving the album the feeling of a shadowy dream.”

Chimera‘s latest single “Lies & Games” is a heart-wrenching lament that pairs Terin Ector’s soulful and yearning delivery with a slow-burning, 70s soul-inspired arrangement of vintage spacey synths, a sinuous bass line, some grimy rhythm guitar and Wailers-inspired backing vocals. While sonically channeling the severely under-appreciated Mandrill, in particular songs like “I Refuse to Smile” “House of Wood” and others, the song speaks of the rocky and uncertain road of forgiveness and redemption with a seemingly Biblical air.

New Audio: LutchamaK Shares a Mellow, Tech House Banger

Throughout this site’s 13-plus year history, there have only been a handful of artists I’ve written about more than the wildly prolific French electronic music producer and JOVM mainstay LutchamaK. 2023 has seen the French JOVM mainstay continuing to be as prolific as ever:

  • Earlier this year, he released the five-track EP Zirconium, which featured material that oscillated between several different styles and genres, including tech house, breakbeats and more.
  • LutchamaK followed up with the seven-song EP Let The Drums Go, which featured material that frequently meshed elements of tech house, breakbeats and electro pop.

The other day, the prolific French electronic music producer released the seven-song mini album Cross My Heart, which features one tech house track and mostly downtempo material. The mini-album’s latest single “Pillow Talk,” its the mini-album’s only tech house track. At points, the song nods at Trans Europe Express-like minimalism before quickly morphing into a house music banger that pairs relentless tweeter and woofer rattling thump with glistening and bubbling synths, bursts of skittering hi-hat, chopped up vocal samples and the JOVM mainstay’s penchant for enormous hooks. It may arguably be one of the more mellow-leaning yet crowd pleasing tracks that LutchamaK has released to date.

New Audio: Paris’ Nico and The Red Shoes Shares Euphoric “Time Is Love”

Led by a global citizen, who has spent stints living in Douala, Cameroon, Rome and elsewhere, the Paris-based outfit Nico and The Red Shoes has firmly established a sound that draws from and meshes several different influences and styles, including New Wave, electro pop, cyber pop, house music and more, paired with catchy melodies. 

With the release of 2015’s self-titled debut EP, the Parisian outfit emerged into the electro pop scene with material that drew from and meshed elements of New Wave and pop.

Earlier this year, the French electro pop project shared “Mathilda,” the first bit of new material in eight years — and the first single of their long-awaited and highly-anticipated full-length debut, Time Is Love. “Mathilda” is a sleek, slickly produced, Afrobeats-inspired, club friendly bit of pop built around glistening synths, skittering beats, tweeter and woofer rattling low end and remarkably catchy hooks paired with a bursts of funk guitar, a deep house-like breakdown and Nico’s soulful delivery. The result is a song that should make you get up and move.

Time Is Love‘s second and latest single, album title track “Time Is Love” is a late 80s/early 90s-inspired bit of dance pop built around twinkling synth arpeggios, a thumping backbeat, Nico’s plaintive delivery paired with rousingly anthemic, euphoria-inducing hooks.

“The song encapsulates the idea that true and meaningful expressions of love require an investment in time that is limited and precious to us,” the band explains. They add that Nico wrote the song during a moment of helplessness, when she thought she was going to lose her mother. “‘Time is love’ thus takes the opposite view of the expression ‘Time is money.’ This phrase encourages a perspective of love that involves shared moments, experiences and efforts to understand and be present for someone,” the Parisian outfit continues.