Category: singer/songwriters

indie rock by William Ruben Helms

A Q&A with San Mei’s Emily Hamilton

I’ve spilled quite a bit of virtual covering the Gold Coast, Australia-based singer/songwriter, multi-instrumentalist, producer and JOVM mainstay Emily Hamilton, the creative mastermind behind the acclaimed and rising indie rock act San Mei over the years. Beginning as a synth pop-leaning bedroom recording project, Hamilton’s earliest material received attention from this site and major media outlets like NME, Indie Shuffle, NYLON and Triple J. Her debut EP Necessary found the Aussie singer/songwriter, multi-instrumentalist, producer and JOVM mainstay moving towards a much more organic, guitar-led sound inspired by Black Rebel Motorcycle Club, Cat Power, Feist and others.

A couple of years ago, Hamilton met acclaimed producer and musician Oscar Dawson at BIGSOUND, and the pair immediately hit it off.  According to Hamilton, taking Dawson on as a producer and collaborator found the duo refining ideas, exploring different soundscapes and laying down the foundation for her — and in turn, San Mei’s — sonic progression. As Hamilton explains in press notes “[Dawson and I] hit it off straight away and it seemed like he understood where I was coming from, even if I had trouble conveying certain ideas in the demos I made at home.” Hamilton’s Dawson-produced sophomore EP Heaven was a decidedly shoegazer-like affair, featuring arena rock friendly hooks, big power chords and shimmering synths that continued a run of critically applauded, blogosphere dominating material. Adding to a growing profile, last year Hamilton opened for the likes of G. Flip, K. Fly, Ali Barter and Jack River in her native Australia, went on an extensive national headlining tour and played nine shows across six days at SXSW.

Released a few weeks ago through Sydney-based etcetc Records, Hamilton’s third San Mei EP Cry continues her ongoing collaboration with Oscar Dawson – and interestingly, the four song EP finds the Aussie JOVM mainstay simultaneously drawing from the harder guitar-driven work of  The Kills, Metric, and Yeah Yeah Yeahs and the synth-driven pop like Grimes and Lykke Li. Now, as you may recall, I recently wrote about EP title track “Cry,” a track which establishes the EP’s overall tone and tone – a hook-driven, shimmering take on dream pop centered around atmospheric synths, reverb-drenched guitars and what may arguably be her most direct and personal songwriting to date. And perhaps unlike her previously released material, the EP reveals an incredibly self-assured songwriting, crafting earnest and ambitious songwriting – all while building a larger international profile.

Earlier this week, I exchanged emails with the Gold Coast-based JOVM mainstay for this Q&A. Of course, current events have a way of bleeding into every aspect of our professional and professional lives – and naturally, I had to ask Hamilton how COVID-19 was impacting her and her career. But we also talk about her hometown (which is considered one of the more beautiful locales in the entire world), and its growing music scene, the new EP and more in a revealing chat. Check it out below.

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Photo Credit: Morgan Hamilton

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WRH: Here in New York, we’ve been social distancing and in quarantine for the past three weeks or so. How are things in Australia? How are you holding up?

Emily Hamilton: Firstly, I’m really sorry to see what’s happening in New York right now – my heart really goes out to everyone effected. I was actually in the USA around 2 weeks ago when lockdowns starting happening there. I managed to get home earlier than planned (straight into 14 days mandatory quarantine!), and Australia started following suit with social distancing, travel bans, closing non-essential business etc. pretty much as soon as I got back. I’ve got 2 days left of quarantine which is exciting — to be able to be out in the open air is gonna feel good! We have pretty strict social distancing rules here though, so I’ll still be playing it safe and spending most of my time at home once my quarantine is over.

WRH: How has COVID-19 impacted the Australian music scene? Has the pandemic affected you and your career? And if so, how?

EH: It’s hard having shows cancel and seeing venues having to close their doors. I had some shows lined up over the next couple of months that had to be cancelled, and prospects of touring in the near future don’t seem likely. I had a massive year of touring last year, so coming to terms with the fact that this year is probably going to look different is kinda hard. I know everyone in the Australian music scene is feeling the same way – and that we’re feeling the same things in music scenes around the globe. But it’s been inspiring to see so many artists pick themselves up, be innovative and find creative ways to make the best of the situation.
 

WRH: Most of my readers are based in the United States. As you can imagine, most Americans know very little about Australia, let alone your hometown. I think if you ask most Americans, they’ll tell you that it’s far (which is very true), they’ll mention the Sydney Opera House, kangaroos, koala bears and Steve Irwin. So as an American, what is Gold Coast known for? Where would I go to get a taste of how the locals live?

EH: It’s true, we’re so far away! I think that’s why Australians travel so much, because otherwise we’re just so isolated. I love my hometown; to me, it’s the perfect mix of city and surf town vibes – for someone who travels a lot for music, it’s nice to be based somewhere with a more chilled pace and open spaces. The Gold Coast is known mostly for its beautiful beaches, but we also have amazing rainforests with swimming holes and a beautiful hinterland. There has also been huge growth in hospitality, and there are so many amazing bars/restaurants/cafes popping up all over the place. So for anyone visiting I’d recommend checking out all the best nature spots and the best places to get a drink/feed.

WRH: Are there any Gold Coast-based artists that should be getting attention from the larger world that aren’t – and should be?

EH: The music scene on the Gold Coast has definitely grown over the last few years and there are a lot of exciting bands coming up. Eliza & The Delusionals are an amazing emerging band – they’ve actually just finished up a US tour supporting Silversun Pickups. They’re definitely on the rise and I think they’ll soon be getting that attention! Lastlings, Peach Fur, Ivey, Hollow Coves are just a few that are kicking goals and I’d love to see continue to grow in and outside of Australia.

WRH: For a country of about 27 million or so, how is it possible that so many Aussie artists, who make it to the States and elsewhere so damn good?

EH: I think being so far away can actually work in our favour in some ways! We have to be really, really good if we want our music to get out there in the world and have the means or opportunities to tour outside of our own country. I reckon that has created the kind of drive and work ethic for a lot of Aussie artists to keeping pushing and being the best we can be at our craft, to be able to break through the noise.

WRH: How did you get into music?

EH: I learnt classical piano when I was little (much to my dismay at the time!), which I’m really grateful for now as it’s such a good foundation for music. But I didn’t really get into writing songs or pursuing music until after high school when I met a group of friends who were musicians, and I just found myself getting caught up in it. It turned out I had a bit of a knack for songwriting and I’ve been focusing on getting better and better at it since!

WRH: Who are your influences?

EH: So many – but a few who come to mind are My Bloody Valentine, The Kills, Yeah Yeah Yeahs, [The] Jesus and Mary Chain, Warpaint, The Cranberries, Grimes, Lykke Li. . .  They’re all pretty diverse but I think I’m influenced by lots of different aspects of other artists’ songwriting/sound.

WRH: Who are you listening to right now?

EH: I’m loving Cherry Glazerr, Best Coast, Connan Mockasin, Kacey Musgraves, Tame Impala, Moon Duo. . . so many more but these guys are on high rotation at the moment.

WRH: I’ve written about you quite a bit over the years. When you started out, San Mei was bedroom synth pop project. But after meeting songwriter, producer and musician Oscar Dawson at BIGSOUND, you – and in turn, San Mei – went through a decided change in sonic direction, which is reflected on both the Heaven EP and your recently released Cry EP. How has it been working with Dawson? How influential has he been on the project’s sonic development?

EH: I’ve always so appreciated your support! It means the world to an emerging artist like me to have that consistent engagement and encouragement from someone! Working with Oscar has been amazing, and I’ve learned a lot from him. I’ve always come to him with fully realised songs/demos. I usually write and track all the guide parts at home first. But Oscar has a way of bringing out the best in my songs and just making them sound better haha… so he has never really been pushy or opinionated in shaping my sound, but I’ve learned a lot from him in terms of refining things and making smart decisions in both the songwriting and production process.

WRH:  With San Mei leaning more towards a guitar-based sound, how has your songwriting process changed?

EH: Even as my sound became a little more guitar-driven, I continued to stick with my usual writing process – open up Logic, find a simple drum groove, play along ‘til I find a good riff or chord progression… but lately I’ve been trying to challenge myself in writing songs start to finish on just an acoustic guitar. I want my songs to be able to stack up when they’re played on just a guitar or piano without relying on any production. I’ve been finding that the production falls into place a lot more easily when I write this way, because the songwriting itself has to be strong, and helps lead the way in what should be built around it. I won’t be limiting myself to this process only, but finding new ways to create has been really cool.

WRH: While possessing the big and rousingly anthemic hooks that we heard on Heaven EP, your latest EP features the guitar-led, arena rock anthem “Hard to Face,” the shimmering, New Wavey-like “Cherry Days” “Cry” and “Love in the Dark.” As much as I hear Yeah Yeah Yeahs, The Kills, Grimes, Lykke Li and others, I also hear a bit of Prince in there, too. What inspired this new sonic direction? Was it intentional?

EH: That’s really interesting! Admittedly I haven’t listened to a lot of Prince (I probably just haven’t put in the time to become a fan!), but it’s cool to hear that reference. I couldn’t tell you a specific influence for where my sound has been heading, but I have been focusing on strengthening my identity as an artist, and recognising what my strengths are in my writing, and just making sure I write whatever comes out of me naturally and not try to sound like anything in particular. I’m still a work in progress with that, but I think that’s what has been shaping my sound.

WRH: “Hard to Find” is one of my favorite songs on the EP. Can you tell us a little bit about it?

EH: Cool! I really love this song. I called it my bratty moment. At the time of writing it, I was in a bit of a rut mentally with my music, career, future… I kept looking around at what everyone else was doing and thinking they were all kicking goals and I wasn’t. So, I just needed to let out my frustration and have a good whine in form of a song. It’s also a good reminder of me to not be that person, because we shouldn’t be comparing ourselves to others, and having gratitude for the present is so important in having a healthy mind.

WRH: How did the video treatment for “Cry” come about?

EH: The song theme itself is a little melancholy to me – it’s about longing for more in life or for a better day, of always wanting to get to that next stage in life or achieving that next goal. It’s good to have drive, but for me I often get caught up in the future and sometimes I worry that I’ll wish my youth and time away instead of enjoying the present. But I wanted the video to feel light, wistful and more like a daydream, and to focus on the freedom we can find by enjoying the present and finding joy in everyday moments. I think Dom the director did a great job of capturing that feeling.

WRH: What’s next for you?

EH: I’m definitely not going to be slowing down – I’ve got lots of more music to release, and as soon as we’re allowed to play shows again, I’ll be playing as many as physically possible. Stay tuned! 😀

Video by William Ruben Helms

New Video: Angela Muñoz Celebrates Young Love in Visuals for “In My Mind”

Over the past handful of months, I’ve written quite a bit about  The Midnight Hour, a 10 member ensemble founded and led by A Tribe Called Quest’s Ali Shaheed Muhammadand Adrian Younge, a Los Angeles-based composer, multi-instrumentalist, arranger, producer and Linear Labs founder. Now, as you may recall, the project prominently features singer/songwriter and guitarist Jack Waterson, singer/songwriter and multi-instrumentalist Loren Oden — and , singer/songwriter, multi-instrumentalist and 18 year old Los Angeles-born and-based phenom, Angela Muñoz.

The 10 member ensemble released their self-titled debut in 2018 — and the effort firmly established their sound: jazz and orchestral inspired soul and hip-hop heavily influenced by  David Axelrod, Quincy Jones, Curtis Mayfield, Barry White and Jazzmatazz-era Gang Starr. Since the release of their debut, Muhammad, Younge and the rest of the Linear Labs crew have been extremely busy: last year saw the release of Jack Waterson’s psych rock, solo debut Adrian Younge Presents Jack Waterson, and a lengthy tour that included a Brooklyn Bowl stop last September — and this year will see three releases from the collective and its members: the ensemble’s highly-anticipated sophomore album and solo efforts from Loren Oden and Angela Muñoz.

The young, Los Angeles-born and-based singer/songwriter, multi-instrumentalist and phenom has a beguiling voice and mature presence that belies her relative youth, who recalls that Guns ‘N’ Roses’ “Welcome to The Jungle” was the catalyst that sparked her desire to play music and become a star. As a girl, she learned to play guitar and piano — and with practice, she began to dominate singing competitions, leaving unexpected audiences in a trance.

Interestingly, a few years ago Muñoz’s brother Brandon introduced her to the Adrian Younge-produced Something About April. Muñoz was intrigued by the quality of the music, and as a result, she found herself thinking about how it would be interesting to create music that encompassed various perspectives — similar to how Younge does so with his analog recordings. Shortly after being introduced to Something About April, the Los Angeles-born and-based phenom serendipitously found herself working with The Midnight Hour, who recorded her song “Bitches Do Voodoo” on their full-length debut. They’ve since took Muñoz on tour, where she’s blown away audiences with her self-assured stage presence, her dexterous musicianship and her soulful vocals.

Earlier this month, I wrote about Muñoz’s neo-soul meets Quiet Storm-like debut single “I Don’t Care,” which featured her remarkably self-assured and effortlessly soulful vocals over an arrangement of twinkling keys and harp, soaring strings, a sinuous bass line, wah wah pedaled guitar and an enormous hook paired with an underlying youthful brashness. “In My Mind” the second single off full-length debut Introspection is a gorgeous and cinematic track centered around a pop standard-like arrangement featuring soaring and fluttering strings, a sinuous bass line, some expressive bursts of guitar, twinkling harp and Muñoz’s expressive vocal. Sonically, the song manages to recall George Gershwinand jazz ballads. From her first two singles, Muñoz is a certifiable star in the making.

“I wrote this song thinking about the journey of love,” Muñoz explains. “Despite my age, I have an awareness of what expressing love looks like. As I was writing this song, I wanted to challenge myself as a songwriter. This led me to imagine myself in the place of George Gershwin. If I could choose anyone to interpret this song it would be Sarah Vaughan. Ultimately, love can manifest itself in many ways.”

Directed by The Midnight Hour’s Adrian Younge and based on a story written by Angela Muñoz captures the swooning idealism and hope of young love in a way that proudly celebrates it. 

Muñoz’s full-length debut Introspection is slated for a May 19, 2020 release through Linear Labs.

Video by William Ruben Helms

New Video: French Emcee Flem Teams Up with Vieux Farka Touré on a Politically Charged Single — and Visual

Flem is a rising French emcee, who has developed a reputation for his fluid flow and conscious themes — and as a result, he has worked with an eclectic array of French artists includes Sages Poètes de la Rue’s DanyDan, Assassin’s DJ Duke, La MC Malcriado’s Izé Bosineau and Aethority’s Mattias Mimoun and a growing list of others. His forthcoming album Nomades, which is slated for an October 2020 release finds the rising French emcee collaborating with acclaimed Malian singer/songwriter Vieux Farka Touré — with the result meshing contemporary hip-hop and traditional African blues. 

Interestingly, the duo’s collaboration and friendship can be traced back over a decade — with Flem and Touré sharing stages at festivals at shows from Paris to Timbuktu. Some time ago, the pair were performing in Niafunké, Mali, a stronghold of the Touré family,. when Flem along with a small group of Westerners were quickly evacuated to Bamako, Mail, narrowly escaping an attack. This particular event managed to strengthen the pair’s friendship and reinforced the need for them to create a new project that was much more urgent, conscious and militant than they had done individually. 

Over the better part of the past decade, Mali has been split apart by a bloody civil war between different warring religious and ethnic factions, undermined by unbalanced international relationships, rampant corruption and terrorism. Nomades touches upon the historical and cultural link between Europe and Africa, the ethnic conflicts that have been used by foreign countries, who have economic interests across the continent, the emigration of African youth for a better way of life anywhere they can, monetary independence, freedom, love and hope and so on. 

Nomades’ first single is a perfect example of the album’s overall sound: Touré’s looping, shimmering and expressive guitar, gently padded percussion and Touré’s lilting voice are paired with an infectious hook and Flem’s fiery lyrics, which touch upon his love of Mali, its food and its people, while praying for an end to war, racism, colonial oppression and more. The song manages to bring the African blues sound to the modern day — while also reminding the listener that hip hop has become the sound and voice of resistance everywhere.

“I went to Mali for the first time in 2003 with my friend Moctar, at his family home. We stayed for a month and a half and travelled from Bamako to Timbuktu,” the rising French emcee writes in a lengthy statement. “This trip inland, which is no longer possible today, changed my life. Abdulaye, Moctar’s cousin, introduced me to Vieux Farka Touré in 2009. The artistic connection was instantaneous and after a jam at his house, Vieux invited me to the prestigious Festival au Desert stage in Essakane, in the north of Mali.

Three years later, while I was recording the arrangements for my debut album Passeport, war in the Sahel broke out at the end of my stay, in January 2012. I was staying at Vieux Farka’s, in the family home in Bamako. It was important for Vieux Farka to show me his village and invite me on stage, this time for a festival in honour of his father. It should be remembered here that the late Ali Farka Touré was first a truck driver, then an internationally renowned artist and Grammy Award winner, but also the mayor of his village: Niafunké. The day after the concert, the intelligence and security services in Mali, who were protecting the area at the time, warned us of an imminent attack on the village. The terrorists had seen on television that a few Westerners were there. They interpreted this presence as a provocation to Sharia law, which was beginning to be imposed in the north of the country. Vieux Farka woke me up in my room and said: ‘You’re leaving right now!; I wanted to go back with him, but it was too dangerous. I was evacuated by the Malian army via the river. He came back as we had come, in a 4×4. The boat trip was magnificent, I had always dreamed of doing it, but the conditions were particular. Later, the rest of the Touré family also left the village to take refuge at Vieux’s house in Bamako.

In October 2015, my first album was released. There was no tour in France, but there was a one-off concert with Vieux Farka Touré at La Boule Noire in Paris. February 2017: the Institut Français (French Institute) and the CCF (French Cultural Center) in Bamako invited me for the start of the literary season, which ended with a concert by Vieux Farka Touré and myself. I went there with the pianist Mattias Mimoun and the harpist Katell Boisneau. We had a lot of fun playing again all together.  I felt more than ready to prepare my second album.

In 2018, after the first night of recording with Ilan Sberro at the St-Ouen Auditorium, Vieux started listening to my lyrics and asked me: “Did you write a song for Mali?” I hadn’t, not intimately, not totally.  Maybe I didn’t feel legitimate to do it. I love this country; I’ve got friends there who I consider to be members of my family. And I’m welcomed there as family. This country has given me a lot of love and has taught me things that can’t be explained. I was born, I grew up and I live in France, but I’ve been going to Mali regularly for 17 years now. Here’s my song Mali on a music by Vieux Farka Touré, accompanied by the superb voice of singer Amy D.

Mali Nébifé, Mali I love you. Flem.”

Directed by Dominique Milherou, the recently released video is split between footage of daily life in Mail from kids riding bikes and kicking around a soccer ball, to women dancing in the streets — to intimately shot footage of Flem, Amy D and Touré in the studio  recording the song and performing the song. When the song hits sociopolitical commentary, we see footage of some of the Western leaders, who have helped to exploit and profit off the region’s people, resources and conflicts. 

Video by William Ruben Helms

New Video: Beauty Queen Releases a Playfully Absurd Visual for Shimmering and Nostalgic “Two Of Us”

Katie Iannitello is a Maui, HI-born, Los Angeles-based singer/songwriter and the creative mastermind behind the rising indie pop act Beauty Queen. Growing up Iannitello had a distant apathy towards pop music that marked most of her teen years; however, she had instilled, an appreciation for 50s pop and doo-wop. The Maui-born, Los Angeles-based artist learned to play piano and sing as a teen — but it wasn’t until she was in her early 20s that she started writing her own songs. 

Interestingly, the material that Iannitello has written with Beauty Queen is on the sonic edges of dream lo-fi, hazy alt-pop and dream pop with the material centered around coming-of-age stories where bewilderment can turn into clarity and with narrators lost in the reveries and aches of loneliness and unrequited love. 

Last year, Iannitello’s Beauty Queen debut EP, the Henry Nowhere-produced Out of Touch was released through pronoun’s Sleep Well Records. Iannitello has started off 2020 with new material written and produced over the course of three days at Tennis’ Alaina Moore’s and Patrick Riley’s Denver-based home studio — and those sessions ended with “Sweet Memory” and her latest single ‘Two Of Us.” Centered around shimmering, analog synths, a galloping 70s AM rock drum pattern, an infectious and soaring hook, a chugging motorik-like groove and Iannitello’s expressive vocals, the song manages to sound like a slick synthesis of The Carpenters and JOVM mainstays Pavo Pavo — but while capturing a romantic couple that’s so much in love that they just escape the world. 

Directed by Budd Diaz, the recently released video for “Two Of Us” depicts the songs lyrics through the prism of the absurd: we follow two Sasquatches, who are so much in love that they’re oblivious to the Sasquatch hunter, who’s relentlessly stalking them as they go about their annual day out in the world, which includes a much-needed shave, a stop at the movies and a Beauty Queen show. Thankfully, for their sake the Sasquatch hunter is as inept and incompetent as Elmer Fudd! “This music video was an absolute blast to make. If all my future videos could be Sasquatch based, I would be pleased,” Iannitello shares. “It’s two Sasquatches on their ‘day out’ where they shave and go out in the world. Huge thank you to Budd Diaz and his team and the actors involved for making this happen!”

Video by William Ruben Helms

New Video: JOVM Mainstay Nick Hakim Releases a Lyrical Visual for Atmospheric and Slow-Burning Single “QADIR”

Over the past couple of years, I’ve written quite a bit about the Washington, DC-born, Brooklyn-based singer/songwriter, guitarist Nick Hakim. And as you may recall, Hakim’s critically applauded full-length debut 2017’s Green Twins can trace its origins back to when he finished his two critically applauded EPs Where Will We Go Part 1 and Where We Will Go Part 2: armed with the masters for those efforts, Hakim relocated from Boston, where he was then based to Brooklyn. As soon as he got himself settled, he quickly went to work, spending his spare time writing and recording sketches using his phone’s voice memo app and a four-track cassette recorder, fleshing the material out whenever possible. He then took his new demo’d material to various studios in NYC, Philadelphia and London, where he built up the material with a number of engineers, including frequent collaborator Andrew Sarlo (bass, engineering and production), who were tasked with keeping the original spirit and essence of the material intact as much as humanly possible.

Thematically, the album’s material focused on specific experiences, feeling and thoughts he had during the time he was writing and composing it. As a result, the album consists of a series of different self-portraits. And in a similar fashion to Vincent Van Gogh’s famed self-portraits, the material sometimes captures its creator in broad stokes — with subtle gradations of mood, tone and feeling. The overall aesthetic drew from a broad array of influences including Robert Wyatt, Marvin Gaye, Shuggie Otis and My Bloody Valentine and others. “We wanted to imagine what it would have sounded like if RZA had produced a Portishead album. We experimented with engineering techniques from Phil Spector and Al Green’s Back Up Train, drum programming from RZA and Outkast, and we were listening to a lot of The Impressions, John Lennon, Wu-Tang, Madlib and Screamin’ Jay Hawkins,” Hakim said in press at the time. 

Since the release of Green Twins, Hakim developed a reputation as a highly sought-after, go-to collaborator working with Lianna La Havas, Anderson .Paak, Onyx Collective, Sporting Life, IGBO, Nappy Nina, Ambrose Akinmusire, Slingbaum, FKA Twins and Oumou Sangare. Building upon a growing profile, Hakim will be releasing his highly-anticipated sophomore album WILL THIS MAKE ME SOUND GOOD. Slated for a May 15, 2020 release through ATO Records, the album while being distinctly Nick Hakim, reportedly represents a tonal shift from Green Twins, with the material reflecting the ideas with which he grappled while writing and recording the album. To prepare listeners for the experience, Hakim shares the following statement about the record:

“I feel the people simmering, on our way to the boiling point. There’s a lot of madness going on around us and this world can feel so cold. It can get hard to remember what makes it worth it. The people around me and the music I love helps.

For a while, I couldn’t write. I worked on new music but couldn’t find the right words. But that time was just a build-up to the three months of expression that led to this album. I hope this music will raise awareness about where we are right now. About how we are living on this planet. About how we treat our neighbors. About community. About depression. About what can heal us and what can’t. About overmedication, overstimulation and manipulation. About respecting and loving the people around us, because one day they won’t be here-or you won’t.

But it’s also true that I’m still trying to figure this record out. People have told me that it’s confusing or that it’s messy-that’s fine. There’s so much pressure on artists to commit to being one thing, or to restrict an album to exploring just one subject or sound. But my life isn’t like that, and so my music can’t be like that either. I’m not thinking about this music as a product to be bought and sold, or how I’ll buy your interest. This is my world; a lot of friends touched this record, and that makes me feel lucky and proud. These songs are glimpses into my community. I’m exploring, but I’m not alone. It’s a journey in progress; it’s an experiment, every day.”

WILL THIS MAKE ME GOOD’s latest single is the slow-burning and atmospheric “QADIR.”  Centered around a repetitive and hypnotic arrangement featuring shimmering and reverb-drenched guitar, a sinuous baseline fluttering flute, stuttering beats and Hakim’s expressive and  plaintive vocals, “QADIR” is a fever dream full of ache and longing that recalls both 70s soul and neo-soul simultaneously. Interestingly, “QADIR” was the first song the JOVM mainstay wrote for the album — and the track was written as ode to a late friend and a reminder to check in on your loved ones before it’s too late.”If I really sink into a recording, I don’t want it to end,” Hakim says. “[‘QADIR’] is repetitive and hypnotizing, like a trance — that’s intentional. The song is my ode to him. It’s my attempt to relate to how he must have been feeling.”

Directed by Nelson Nance, the cinematic and lyrical visual for “QADIR” finds Hakim in moments of solitude in forest and in solidarity with his community of friends and associates. The Nance-directed visual suggests that it’s the people who love and support us, who give us strength and sustenance during our most difficult times. 

Single Review by William Ruben Helms

I’ve written a bit about the Ipswich, UK-born, London-based singer/songwriter and guitarist Hannah Scott over the past couple of years. And as you may recall much of her work is influenced by her own personal experiences, including  a year she spent working on an olive press in rural Tuscany, Italy in her late teens, her diagnosis with a form of arthritis, which causes severe joint pain and fatigue, as well as the experiences of the people in her life.

Several years later, Scott met her collaborator, Italian-born multi-instrumentalist, composer and producer Stefano Della Casa when they were both in London. But as the story goes, they both recognized that they may have encountered each other years earlier, when Scott used to pass through the train station that Della Casa worked in at the time. Interestingly, when Scott and Della Casa began working together, they also quickly recognized that they had a deep and abiding creative connection despite coming from vastly different backgrounds: Della Casa had a difficult upbringing and troubled early adulthood while Scott had been lucky to have a supportive family and relatively happy childhood.

Both artists firmly believe that their musical collaboration has provided an outlet to support each other through difficult times and in a relatively short time, they’ve built up a profile both nationally and internationally with write-ups in MOJO, Songwriting Magazine , Clash Magazine and in The Guardian as a “New Band of The Day.” They’ve also received airplay on  Bob Harris’ and Dermot O’Leary’s BBC Radio 2 shows and have been on  BBC Introducing’s “Track of the Week” three times. They’ve opened for  Seth Lakeman and 10cc , and played at Mondo.NYC Festival a couple of years ago.

Since I caught her at Mondo.NYC, Scott has been pretty busy releasing new material including 2018’s full-length Pieces of the Night which firmly established Scott’s sound and approach: emotive and heartfelt songwriting paired with a cinematic production featuring organic instrumentation — acoustic guitar, cello and vocals — with atmospheric electronics. Last year, she released the gorgeous Parachutes and A Rush of Blood to the Head-era Coldplay-like “Walk a Wire,” which managed to be one of the Ipswich-born, London-based singer/songwriter’s most urgent songs, as it’s a plea to the listener to take a chance to open up to life and possibility before it’s too late.

The Della Casa co-written and produced “Shape” is the latest single from the JOVM mainstay and it’s also the latest single off her forthcoming full-length album. Centered around a cinematic production featuring twinkling keys, atmospheric synths, Scott’s emotive vocals and an enormous hook the song further cements the sound and approach that has won Scott attention across the blogosphere. Much like “Walk a Wire,” the song showcases her narrative-based songwriting, with the song recounting the story of how her maternal grandmother refused to accept her mother’s engagement to her father, threatening to never speak to her mother again if they got married. Her grandmother kept her word for over 20 years. As a result, the song expresses an overwhelming sense of regret and loss, as well as the sense of time rushing by and missing the small yet very important things — the birth of one’s grandchild, Christmases and the like.

 

 

Video by William Ruben Helms

New Video: Francesca Blanchard Releases a Haunting Visual for “Did It To Myself”

Francesca Blanchard is an acclaimed French-born, Burlington, VT-based singer/songwriter. Since the release of her bilingual folk debut album, 2015’s Deux Visions, Blanchard has developed a reputation for relentlessly redefining her wheelhouse, her aoudad and approach. Following a year of extensive touring throughout the States and the European Union, Blanchard took time to rediscover what she wanted to say — and how exactly she wanted to say it: she started to experiment with a growing interest in production, which is a decided departure from the acoustic and folksy sound of her earliest material. 

The end result is melodic, indie pop that may arguably be the most vulnerable, cathartic and self-aware that the acclaimed French-born, Vermont-based singer/songwriter has written and released in her growing catalog — while revealing a songwriter, who has an unerring ability to write an infectious hook.  Blanchard’s latest single is the slow-burning and brooding “Did It To Myself.” Centered around atmospheric electronics, shimmering strummed guitars and Blanchard’s achingly plaintive vocals, “Did It To Myself” sounds as though it were indebted to Kate Bush and Dido — and it may be the most heartbreakingly honest song she has written to date. 

As Blanchard explains in press notes, “‘Did It To Myself’ is about admitting my part in my own pain. It is masochism veiled in heartbreak. Sometimes were ask to be hurt without realizing, and we eventually (hopefully) catch ourselves. I wrote it in between saying goodbye to someone I thought I needed and opening a door to something that would change me for the better.”

The recently released video features Blanchard dressed in an old-fashioned blue gown wandering the streets and subways of my beloved New York — in particular, Times Square, a G train passing past Bergen Street, Central Park, the 34th Street and 11th Avenue 7 train station, 9th Street and 4th Avenue G, F and R station and several other locations. And with most of the known world in quarantine as a result of the COVID-19 pandemic, the video is an eerie reminder of the world we’ve (hopefully) temporarily lost. 

Single Review by William Ruben Helms

Over the past few months, I’ve written a bit about the emerging Brooklyn-based singer/songwriter, keyboardist and indie pop artist Sophie Colette. Colette initially relocated to New York to pursue fashion design, but she pivoted her ambitions to music after being scouted at a high school reunion by The Party Faithful‘s bassist. About a month after that, the Brooklyn-based pop artist found herself contributing vocals, keys and synths for the band and playing with the band at venues across the New York Metropolitan area. During that same period, she met Degraw Sound producer Ben Rice, who she later presented with a stack of sketchbooks filled with lyrics and visual palettes, which became the genesis of her solo work.

Now, as you may recall “Tonite,” off Colette’s debut EP Strangers and Lovers was featured at Jasmine Chong’s runway presentations to the editors of Vogue, WWD, Elle and others during New York Fashion Week 2017. Selected footage from her Stephen Dirkes-directed music video for “Get Close” was nominated for Best Creative Concept, Art Direction and Visual Effects at the La Jolla International Fashion Film Festival. And building upon a growing profile, Colette supported Strangers and Lovers with a European tour with Berlin-based indie-folk project The Crystal Elephant.

Since then, Colette has released a handful of shimmering pop singles that have caught the attention of the blogosphere, including my dear friends and colleagues at Glamglare, Adam’s World Blog,  as well as receiving airplay on French radio station Déclic Radio 101.1FM. Last year, I wrote about one of those singles ““Would You Like It?,” a dreamy pop confection centered round shimmering synths and Colette’s achingly vulnerable vocals.  The Brooklyn-based singer/songwriter and keyboardist began this year with a live set at Rockwood Music Hall that featured her gorgeous chamber pop rendition of Cheap Trick’s smash hit “I Want You To Want Me.”

Interestingly, the Brooklyn-based singer/songwriter’s first bit of original music of this year finds her collaborating with highly-regarded New York-based singer/songwriter, electro pop artist and producer Julie Kathryn, best known for her solo recording project I Am Snow Angel. The end result is the minimalist and ethereal “In Love a Little.”  Centered around atmospheric synths and electronics, twinkling synths and Colette’s vulnerable vocals, the song manages to sound otherworldly while evoking the swooning pangs of a new crush that has begun to turn into love. 

“I met Julie at her Mothership album release show at National Sawdust in January 2019. I didn’t know anything about her prior to the show, and was pretty floored by her exploration of sound, the choreography of her set and accompanying visuals, and her overall vibe,” Colette recalls in a lengthy statement. “I resonated with her spirit and felt a bit of a kinship even as I was watching from the audience. After her set I felt compelled to say ‘hi’ and introduce myself, even though I was intimidated as she was swarmed with other guests and press. She was so warm, gave me a big hug, and suggested I reach out to her to chat soon. It was that simple.

“A few days later I already had ‘In Love a Little’ in mind that I wanted to send to her, hoping she would want to produce it. It had been sitting in my collection of demos for a while and I hadn’t landed on a producer for it. My vision of the song was to have a supernatural slant, ethereal and romantic and weird, which would require a different sonic approach than what I’d done before with other producers. Luckily she loved the demo and we started collaborating.

Working with Julie was an amazing experience – it was very hands on and communicative. We sat side by side and made decisions together, from the tracking to the comping to the mixing. I learned so much about Ableton and the possibility of different soundscapes that could be created outside of traditional instrumentation.

“It became apparent to me that working with a female producer, who inherently applied these types of sounds to her own work, came with the advantage of being able to feel the same nuances of emotion without having to explain them to each other. Each session was an open-ended conversation, and quite nurturing to be honest. Something about that female-to-female energy in a room is really powerful when the ego isn’t there. Not to throw shade at any of the amazing male producers and engineers I’ve worked with, but there’s almost a different quality of ‘safe space’ and freedom when working with a female producer. I felt comfortable to be totally vulnerable and emotional all around, without feeling self-conscious of my sensitivities.

I find it hard to explain in words beyond that…perhaps the best way is to say, ‘girl power’ ? :)”

Video by William Ruben Helms

Live Footage: JOVM Mainstay Sam Fender Covers Amy Winehouse’s “Back To Black” on BBC Radio 1’s “Live Lounge”

Over the past two years or so, I’ve managed to spill quite a bit of virtual ink covering the 
Newcastle, UK-born and-based singer/songwriter, guitarist and JOVM mainstay Sam Fender. Last year, was a breakthrough year for the Newcastle-born and-based artist: 
his Bramwell Bronte-produced full-length debut Hypersonic Missiles was a critically applauded, commercial success. Fender also made several nationally televised late night appearances — and went on a successful international tour that saw him play across North America twice. He then closed out the year with the release of “All Is On My Side,” a propulsive track that was sort of synthesis of Gerry Rafferty and Billy Idol, complete with a Eric Clapton Slowhand-era like guitar solo.

Although the year was full of momentous, life-changing achievements for the young singer/songwriter the year ended on a frustrating note with Fender having to postpone a handful of sold-out UK live dates with Fender having to reschedule them. Before the COVID-19 pandemic, 2020 was looking bright for the JOVM mainstay: he was hand-picked by the legendary  Elton John to play at his annual Elton John AIDS Foundation Academy Awards Party — and much like last year, was gearing up for this year’s BRIT Awards, in which he received a nomination for Best New Artist. 

Desperate to prove that he’s not a one-hit wonder, Fender has an urgent desire to improve upon his critically applauded debut. Musically, he started the year with “Hold Out,” a slow-burning 80s inspired anthem with an enormous, arena friend hook and shimmering, reverb-drenched guitars that further established his reputation for crafting earnest yet ambitious material with a novelistic attention to detail. Earlier this year, Fender made an appearance on BBC Radio 1’s Live Lounge series, and the appearance including a a haunting and achingly bluesy cover of Amy Winehouse’s “Back To Black.” After a persistent fan campaign online, Fender officially released the cover — and the footage from the live session. 

“‘Back To Black’ is such a long-standing favourite of mine, and Amy remains a national treasure,” Fender says in press notes. ” I love that album too. I hopefully did the track some justice. You’ll all be the judge of that…”

Video by William Ruben Helms

New Video: Israeli-French Psych Rocker MAGON Releases an Animated Visual for Anthemic “Same House”

Earlier this year, I wrote about the Israeli-born, Paris-based psych rock singer/songwriter and producer MAGON. The release of “The Streets,” off his latest album Out in the Dark quickly established his unique sound, which he has described as urban rock on psychedelics. 

Album single “My Reflection” was a cocaine-fueled, glam rock-like track centered around a chugging motorik groove, angular and slashing guitars and MAGON’s ironically detached vocals. And although the track may bring The Strokes to mind, it possesses an unvarnished, post-modern self-awareness.  “‘My Reflection’ is one of the most introspective songs on the album,” MAGON wrote to me in an email. “It resumes my life up and evokes my life philosophy. it’s also one of the rare songs for which I wrote the lyrics fully before composing it.”

“Same House” continues in a similar vein as its immediate predecessor: chugging motorik grooves, buzzing and slashing guitars, and an arena rock friendly hook paired with MAGON’s ironically detached vocals — but unlike it’s predecessor, it builds up into a frenzy before closing out with a gentle fade out. And while it may be the most David Bowie and T. Rex-like singles of the albums tracks I’ve heard, the song is written about bitter and achingly personal experience.

“I wrote ‘Same House’ after breaking up with my ex. We’ve been together for 10 years and still lived in the same house after the breakup for about 6 months until I was able to move out,” the Israeli-born, French psych rock singer/songwriter, guitarist and producer says in press notes. “It was a very complicated and crucial time in my life and my music was my best friend more than ever. It was at the time that I began my solo project as Magon, and in a sense it was perfect timing because I had so much to say and needed to create a new life for myself. It’s one of my favorite songs on the album Out in the Dark because it succeeds, in my opinion, to transcend a very deep and personal story in a very light and entertaining way. It’s also pretty much sophisticated musically but feels quite smooth and easy, which is the way I like things to be.”

Directed by Amit Jakie David, the recently released video for “Same House” plays out the central story of the song: a  couple, portrayed by puppets, living together and throughout you can sense the bitterness and resentment between each other. Eventually, it explodes in a fiery conflagration — almost as expected. Certainly, if you’ve ever experienced a bitter end to a longtime relationship, the video and the song will feel familiar.