Category: New Single

New Audio by William Ruben Helms

Sam Valdez is a Nevada-born, Los Angeles, CA-based singer/songwriter, guitarist, and classically trained violinist, who after spending time performing in a number of bands, discovered her own unique sound and decided that it was time to step out in front as a solo artist, writing her own original material influenced by the vastness of the desert and its sky, as well as Sufjan Stevens, The War on Drugs and the work of Sylvia Plath.  Interestingly, with the release of Hours, Valdez received attention from the likes of BlackBook.  Building upon a growing profile, Valdez’s latest single “It’s Alright” pairs incredibly forthright lyrics that thematically focus on coping with the disillusion that comes from relationships with a sound that manages to mesh anthemic shoegazer rock and twangy alt country/Americana in a way will remind some listeners of a brash and swaggering Mazzy Star, complete with rousing power chord-led hooks.

 

 

 

 

 

 

 

Single Review by William Ruben Helms
Comprised of Ben Nir Jacob (vocals, guitar), Yanniv Brenner (Guitar), Amit David (Bass) and Amir Reich (Drums), the up-and-coming Tel Aviv, Israel-based indie rock quartet Document can trace their origins back to 2008. As the story goes, once Jacob had finished college, he moved back to Tel Aviv and began hanging out with his cousin and couple of his friends, and as bored 20-somethings, who were the only ones in their age group listening to Wire, The Fall, Fugazi, Dinosaur, Jr. and others, they decided to start a band and to write and play music together. In their native Israel the indie rock quartet have developed a reputation for writing material that focuses on our obsessions with technology and our increasing disconnection with others, dealing with soulless bureaucracy and corruption, the seemingly endless banality of modern life, and the constant oscillating anxiety, outrage, hope and joy that many of us feel on a regular basis.
The Israeli band’s latest single “Hustle” off their forthcoming album The Void Repeats 
will further cement the band’s reputation for crafting material that focuses on modern, daily life — in this case, the sort of digital addiction that removes you from connecting with others or from being in the very moment; where a screen is an extension of one’s life. Interestingly enough, I couldn’t help but think of how I was sitting in a Center City, Philadelphia bar, chatting with two locals, who eventually stopped talking to me to Snapchat endlessly. As the band’s Nir Ben Jacob says of the song, “Phones are the roots that allow us to be connected to everything else. We‘ve rooted ourselves in our modernity. Our identities can change online. We project what we want others to see. The screen has become a mirror. The phone takes away the ability to be intimate, and you are left alone with a distortion of reality. There’s the addiction of immediate gratification, the online approvals are ‘pseudo-pleasure’. This has all led to pointless compulsive behaviour.”
Sonically speaking, the song is a scuzzy and angular post-punk single that’s clearly influenced by the likes of Wire and Gang of Four but it bristles with an ironic and incredibly post modern awareness while possessing incredibly tight, infectious hooks and a cool, self-assuredness beyond their relative youth.

 

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!

 

 

Single Review by William Ruben Helms

For the better part of a decade, Frankie Rose played a significant  and vital role in Brooklyn’s indie rock scene, as an original member of several critically applauded and commercially successful acts including Crystal Stilts, Dum Dum Girls, Vivian Girls and Beverly, as well as a solo artist. Now, if you’ve been frequenting this site for some time, you may recall that Rose had briefly relocated back to her hometown of Los Angeles with the intention of establishing a new, creative and professional moment in her career; however, the experience of being down and out, and not quite knowing what to do next wound up inspiring her fourth full-length album Cage Tropical, which was co-written with Jorge Elbrecht, known for his work with Tamaryn, Gang Gang Dance, No Joy and my own personal favorite Violens.

Adding to a run of New Wave-inspired material, Rose is set to release a full-length cover of The Cure‘s critically applauded sophomore effort Seventeen Seconds as part of Turntable Kitchen’s Sounds Delicious vinyl covers series. The first single off Rose’s Seventeen Seconds cover album is a fairly straightforward and moody rendition of one of my favorite Cure songs “A Forest,” but interestingly enough, the cover album’s latest single is a slightly sped up rendition of “At Night,” which retains the original’s moody and foreboding vibe — all while reminding contemporary listeners of how influential and timeless The Cure’s work has been; in fact, you can easily imagine a contemporary band recording something that would have sounded like the material off Seventeen Seconds right now.

 

Single Review by William Ruben Helms

Initially formed in Kingston, Ontario and featuring Colleen Brown, Elijah Abrams, Shea Connor, Trevor Mann and and Murray Wood, the Edmonton, Alberta-based indie rock, All-Star band Major Love is comprised of members of several locally and regionally renowned bands including Scenic Route To Alaska, Jesse and the Dandelions and singer/songwriters Colleen Brown and Elijah Abrams. And since their formation, the band has specialized in what they describe in press notes as “soulful pop-rock music for their hoser friends.” The band’s latest single “Tear It Down” has started to receive some attention across the blogosphere, and as the members of the band explain in press notes, the song was inspired in the aftermath of two explosions at an Edmonton area senior residence, which as it turned out was across the street from where the band’s vocalist Colleen Brown lived. Two people died — as a the result of a bizarre murder/suicide. Over the course of the next three years, Brown saw the building gutted, rebuilt and furnished. And while contemplating the disparity between the tradesmen who were responsible for rebuilding the senior home and her life as a musician, she began writing a song, which thematically asks one of the biggest questions in our lives: is there beauty in destruction?  But along with that the song subtly focuses on the passage and brings up leitmotifs about life and death.

In some way, the song suggests that there are certain unassailable facts of life: that despite the tumults and joys of our lives, time keeps moving forward and that all things will inevitably die, but from that there’s something truly profound — an awareness of everything’s mutability, of everything being finite, and life’s constant renewal. Interestingly, the band manages to pair Brown’s gorgeous, pop belter-like vocals with twangy and jangling power chords, a propulsive yet old-timey backbeat and a rousingly anthemic hook that features Brown joyously singing ” Tear it down/down/down/Let’s start over,” and sonically speaking the song reminds me of Northern Aggression-era Steve Wynn and the Miracle Three,  Fleetwood Mac and others, as the Canadian act reveals some effortless yet incredibly crafted songwriting with a pop leaning.

Look for Major Love’s self-titled full-length debut early next year.

 

Single Review by William Ruben Helms

Although, it’s been some time since I’ve personally written about them, if you had been frequenting this site throughout the course of 2014-2015, you would’ve likely come across a handful of posts featuring the JOVM mainstays and electro pop duo  Du Tonc. And as you may recall, the duo comprised of for his work as the bassist, guitarist and founding member of the Sydney, Australia-based band Van She, and renowned, London UK-based producer, remixer, DJ and electronic music artist Mighty Mouse have released a number of attention grabbing singles since the release of their debut single “Darkness” back in 2013.

The duo recently announced that they recently finished writing their long-awaited and highly-anticipated full-length debut, and on the heels of that announcement, the duo released their latest single “High,” a single which features Van Schie’s ethereal vocals floating over a icy yet cosmic production featuring shimmering and arpeggiated synths and a soaring hook — but additionally, the song features some additional vocals from I Know Leopard‘s Jenny McCullagh. And while nodding at psych pop and dream pop, the single retains the dance floor friendly vibe of their previously released work, complete with an effortless yet hyper modern production sheen.

 

New Audio by William Ruben Helms

New York-based singer/songwriter and guitarist Maura Lynch was a founding member of locally renowned indie rock act Darlings, an act that released three albums and played at the Whitney Museum, Music Hall of Williamsburg, Death by Audio and Shea Stadium; and had a short stint in blogosphere attention-grabbing act Beverly; however, her latest project Blush can trace its origin to Lynch missing the simple act of making and sharing music with friends with a sporadic series of bedroom recorded demos she had filed as Blush on her computer. And as Lynch explains in press notes, the material she began writing was inspired by a love of straightforward and simple guitar pop with layered vocals — while lyrically, the material was a sort of diary of her late 20s, with songs that focuses on loving people, who didn’t deserve it, loving people who did deserve it, of making sense of the monotony of the workday world and perhaps much more important, finding her own unique place in the world.

Last year, Lynch felt ready to finally make those demos into real songs  and she got together with her friends — Pop. 1280‘s Andy Chugg and Pill‘s Nick and Jon Campelo to flesh out the material, which was recorded over a series of nights and weekends at Chugg’s Gilded Audio Studio. And from the forthcoming album’s first single “Daisy Chain,” Lynch and Blush specialize in a shimmering guitar pop that sounds as though it were influenced by Phil Spector‘s Wall of Sound and Too True-era Dum Dum Girls — but with an incredible conciseness as the song clocks in at exactly 2 minutes.

 

Single Review by William Ruben Helms

Comprised of founding members and primary songwriters Debbie Andrews and Mike Blaxill, the New York-based indie rock act Gladshot can trace their origins to when the duo met at a songwriter collective in which individual members performed and critiqued each other’s material. And at the time, Blaxill was writing roots rock-leaning material while Andrews work drew from pop and jazz; in fact, Andrews received a National Endowment of the Arts nod and had lessons with Joanne Brackeen, a session and touring pianist, who backed the likes of Ornette Coleman, Art Blakey and Stan Getz. Since their formation, the duo have developed a reputation for being uncompromising and restlessly creative as they’ve worked on a dystopian rock musical and writing songs that have appeared on TV shows on TNT, ABC and MTV.

Interestingly, the duo’s soon-to-be released, John Agnello-produced album These Are Vitamins find the band collaborating with a backing band — Jesse Murphy (bass), who’s best known as a member of Brazilian Girls; Tony Mason (drums), who’s played with Norah Jones and The Meters‘ Leo Nocentelli; and Tim Bright (guitar).  And the three new collaborators reportedly add to the push-and-pull dynamics that Blaxill and Andrews developed and perfected on the Maxwell’s Cool Demon EP — all while finding the band’s sound moving towards 90s alt rock-inspired garage rock, complete with buzzing power chords as you’ll hear on “Simulation” the latest single off the duo’s soon-to-be released album; in fact, the new single manages to remind me of 90s era Sonic Youth and 120 Minutes–era MTV.

You can catch Gladshot playing their album release show at Trans-Pecos on October 28, 2017.

 

 

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Single Review by William Ruben Helms

Comprised of founding member singer/songwriter Jack Cherry, Jack Webster (bass), Howard Stewart (drums), Clark Brown (guitar) and Declan Farisse (guitar), the Athens, GA-based indie rock quintet Juan de Fuca can trace their origins back to when Cherry started the band as a solo recording project. And with the release of 2015’s cavern of EP, some of Cherry’s Athens area music friends encouraged Cherry to make something bigger happen with his material. As the story goes, Webster and Stewart opened pushed for Cherry to expand the project into a full-fledged band — and when Brown and Farisee joined the band, the newly constituted quintet because working on developing a sound that drew from shoegaze and early 00s post-punk.

With the January 12, 2018 release of their Drew Vandenberg-produced, full-length debut Solve/Resolve through Arrowhawk Records, the band reportedly attempts to channel the intimacy of early demos with a wide spectrum, layered sound and through the album’s ten tracks, the band’s material focuses on themes of struggle, nihilism, loss and redemption, like a turbulent undertow rumbling across a briefly placid surface; in fact, at the album’s first dates single “All The Time” finds the band pairing layers of jangling and shimmering guitar chords, soaring hooks and a propulsive rhythm section with Cherry’s vocals floating ethereally above the fray. And as you hear the song, it shouldn’t be surprising to see an uncanny resemblance to The Walkmen and others but with a blistering insistence.

 

 

 

Single Review by William Ruben Helms

With last year’s release of their debut single “TrafficLightCyclopsDisco” and their self-titled debut EP, the Manchester, UK-based indie rock trio New Luna, comprised of Tommy Deedigan, Zack Bamber and Toby Duncan, have quickly developed a reputation as being a staple of their hometown’s indie rock/alternative scene while drawing comparisons to Radiohead, Bombay Bicycle Club and The Twilight Sad. Adding to a growing profile,  the Manchester-based trio have opened for the likes of Happiness, Bruising, PLAZA, Trudy and the Romance, as well as played sets at a DIY Magazine showcase, YNOT?, ArcTanGent, Truck and Great Escape Festivals. However, with their latest single, “Opinionated,” the British trio’s sound reminds me a bit of My Vitriol and Blur, thanks to layers of distortion-filled, buzzing power chords, thundering drumming and a rousingly anthemic, mosh-pit friendly hook within a quiet, loud, quiet song structure. And while clearly being inspired by 90s alt rock, the song possesses what may be the most direct social statement they’ve released to date — openly suggesting as the old adage says that opinions are like assholes, everyone’s got one, and they’re usually shitty.