Category: singer/songwriters

New Audio by William Ruben Helms

Linnea Olsson is Swedish singer/songwriter and multi-instrumentalist, who quickly established herself as a go-to cellist, thanks in part to her having worked with Peter Gabriel, Sting, Ane Brun and Maia Hirasawa. Lately, Olsson has begun to receive international attention for her self-proclaimed cello-driven fantasy pop. Now, if you had been frequenting this site around the end of last year, you may recall that I wrote about “The Weekend,” a swooning and gorgeous track that reminded me quite a bit of Kishi Bashi as a classical string arrangement was paired with extremely modern and ironic lyrics describing a desperately neurotic and delusional narrator, who escapes into a world in which she’s an enormous star, who gets revenge on those who wronged her. Her latest single “Hall of Tragedy” thematically is much more serious; but it will further cement the Swedish singer/songwriter and multi-instrumentalist’s burgeoning reputation for crafting swooningly gorgeous cello-driven pop — and in the case of her latest single, the song also serves as the perfect showcase for an undeniably beautiful vocals in what may be arguably be the moodiest and most atmospheric song she has released to date.

 

 

 

 

 

Video by William Ruben Helms

New Video: Introducing the Classic Country and Early Rock-Inspired Sound of Laura Jean Anderson

Laura Jean Anderson is an Olympia, WA-born, Los Angeles, CA-based singer/songwriter and guitarist who has started to receive attention for a sound and aesthetic that draws from classic country, 40s-50s blues and garage rock but with a subtly modern take, serving as a gentle reminder that earnest and personal songwriting may be more necessary than ever in the dark days that seem to be ahead of us. Anderson’s latest single “Won’t Give Up” features the Los Angeles, CA-based singer/songwriter’s gorgeous and expressive Patsy Cline/June Carter Cash-like vocals paired in a relatively simple arrangement of Anderson’s gently strummed electric guitar, and the addition of a gently propulsive rhythm section, which enters for the song’s anthemic and soaring hook. And although the song sounds as though it could have been released in 1956 or so, the Olympia, WA-born, Los Angeles-based singer/songwriter explains in press notes, a “response to what’s going on in the political and social climate.” She goes on to say that she wanted to release the song “as fuel to the belief that you can’t give up on other people, just because they give up on you. It’s a deeply personal song, but I believe more than ever that the personal is political!”

Certainly, the song should remind the listener of the cliched adage that “no man is an island” and that most importantly, in these strange times, the universe can create some rather strange bedfellows. We’re going to have to rely on each other more than ever. So don’t give up; the fight is going to be long and tiring, but worthwhile in the end.

Single Review by William Ruben Helms

The past two years were incredibly productive and prolific years for the critically applauded and rewound bassist, vocalist and JOVM mainstay  Stephen “Thundercat” Bruner as he made guest appearances on two critically and commercially successful albums — Kendrick Lamar‘s Grammy Award-winning album, To Pimp A Butterfly and  Brainfeeder Records labelmate, Kamasi Washington’s The Epic, as well as one of 2015’s best albums, The Beyond/Where the Giants Roam, which further cemented his reputation as a dexterous and playful bassist and songwriter, with material that sonically channeled Stevie Wonder’s incredible 70s output, as it possessed a retro-futuristic sound as wobbling and propulsive bass lines were paired with arpeggio synths and Bruner’s sultry and plaintive falsetto.

Now, as you may remember last year, I wrote about “Bus In These Streets,” the first bit of music from the renowned bassist and vocalist in over a year, and the single was a comedic and playful ode to our reliance and dependence on technology in which Thundercat’s dexterous and sinuous bass lines with Louis Cole (keys, drums and programming) contributing shimmering and twinkling keys and propulsive drum programming and frequent collaborator Flying Lotus contributing more programming and editing in a song that evokes a dreamy, distracted  self-absorption as the song’s narrator spends their time staring at their smartphone, not noticing the world pass him by — or the inherent danger he might be walking into as he stupidly stares into his phone.

Bruner’s third, full-length effort Drunk is slated for a February 24, 2017 release through Brainfeeder and the album will be an epic 23 track journey into the bizarre, hilarious and sometimes dark mind of the singer/songwriter and bassist — and the effort finds him collaborating with an All-Star list of collaborators including frequent collaborators and friends Kamasi Washington (a Brainfeeder labelmate), Kendrick Lamar, Wiz Khalifa and Pharrell Williams, along with Michael McDonald and Kenny Loggins. While the album will feature fan favorites “Bus In These Streets” and “Them Changes,” one of my favorite tracks off The Beyond/Where The Giants Roam, Drunk‘s first single “Show You The Way” is a sleek and soulful jazzy  track in which shimmering arpeggio cascades of synths, stuttering drums, Bruner’s imitable bass lines are paired in an incredible collaboration that features Bruner’s sultry falsetto with the imitable vocals of Kenny Loggins and Micheal McDonald. Sonically speaking the song is an uncanny synthesis of Michael McDonald’s “I Keep Forgettin’ (Every Time You’re Near)” and Bruner’s signature funky, retro-futuristic jazz fusion.

So how did such a high-powered collaboration come about? Thundercat has publicly mentioned his love of Loggins and his work during interviews to promote both The Beyond and the tour for the album — and it lead to his keyboardist Dennis Hamm introducing Bruner to Loggins. According to both Bruner and Hamm, Loggins then suggested bringing in Michael McDonald on the track. And as Bruner adds in press notes “I think one of the most beautiful moments of it was realizing how amazing Michael McDonald was. He would go through so many ideas and have so much to offer.” As for the song, Bruner says “That song to me is about going down the rabbit hole, taking you to another place . . . On the edge of dark, there’s the brightest light. It means a lot to me in the sense of . . .the experience that I’ve had growing up with friends and people that I’ve been around where it’s inventing them into where I come from emotionally. Sometimes it’s a pretty intense thing. The point is how weird things can get. ”

 

 

Video by William Ruben Helms

Live Footage: JOVM Mainstay Nick Murphy Performing “Fear Less” at Brixton Academy

Over the past couple of years, I’ve written quite a bit about the Melbourne, Australia-born, Brooklyn-based singer/songwriter and producer Nick Murphy, who for the first few years of his tremendous run of internationally acclaimed success went under the moniker Chet Faker. Last year, Murphy announced that after a lengthy run with Chet Faker, he felt it was time to retire it — and to record new material that reflected a change in sonic direction. Interestingly, with the atmospheric “Fear Less,” shimmering arpeggio synths, stuttering drumming, an insistent and throbbing bass line and an anthemic hook form a chilly and dramatic bed, with which Murphy’s plaintive and tender falsetto floats above. And whereas his previously released material drew heavily from soul and electro pop, “Fear Less” draws from the likes of Coldplay, U2 and others — while retaining the deeply personal and visceral songwriting that has won him international attention.

Video by William Ruben Helms

New Video: The Bright and Playful Visuals for Gabriel Garzón-Montano’s “Crawl”

Garzón-Montano’s long-awaited full-length effort Jardín comes on the heels of a three year period of intense touring, writing and recording. The 2014 release of his debut EP Bishouné: Alma del Hula caught the attention of Lenny Kravitz, who invited the Brooklyn-born-and-based multi-instrumentalist and singer/songwriter to open for him during that year’s European tour. After playing Wembley Arena, Garzón-Montano received a call notifying him that his song “6 8” would be sampled on Drake‘s If You’re Reading This, It’s Too Late — and as a result, Garzón-Montano quickly found himself with a rapidly growing international profile, which resulted in tours opening for Glass Animals and his renowned Stones Throw Records labelmate Mayer Hawthorne.

Jardín was recorded with his mentor, analog recording guru Henry Hirsch at Waterfront Studios in Hudson, NY last year and during the recording sessions Garzón-Montano tracked drums, bass, guitar, piano and synths directly to 2-inch tape, and then added percussion, digital programming and several layers of his own vocals to create the album’s overall lush sound — a sound that reportedly nods at Stevie Wonder‘s Journey Through the Secret Life of Plants. As Garzón-Montano explains in press notes “I wanted to make music that would remind people how beautiful life is – how delicate their hearts are. A garden is full of life, and growth, and beauty. I named the album Jardín hoping for it to create a space for healing when people put it on. I’ve always wanted to make music that is healing, comforting, and funky.” But just underneath the surface may arguably be some of the Brooklyn-born-and-based singer/songwriter and multi-instruemtalist’s most politically charged material he’s written to date, as the songs on the album reportedly focus on the struggles and uncertainties of living in America today, the complications and joys of love, and so on.

Jardín’s first single “Crawl” reveals a sound that effortlessly meshes hip-hop, 90s neo-soul and contemporary pop as ambient synths, tweeter and woofer rattling beats, twinkling keys, a wobbling bass line and Garzón-Montano’s sultry vocals are wrapped around an infectious, swaggering and carefully crafted hook and slick production.

Directed by Santiago Carrasquilla and Pablo Delcan employs a relatively simple concept — the first half features Garzón-Montano singing and dancing about as neon bright geometric shapes dance and dart about him in a psychedelic fashion and the second half features the Brooklyn-based singer/songwriter and a drummer performing the last section of the song.

Single Review by William Ruben Helms

With the release of her first two, critically applauded full-length efforts, her 2011 full-length debut and its highly anticipated follow-up Perfect Storm, which was produced by Johannes Berglund, who has worked with internationally acclaimed acts The Knife and I Break Horses, the Stockholm, Sweden-based singer/songwriter and electronic pop artist Ester Ideskog, best known as Vanbot quickly established a reputation for crafting ethereal, hook-driven and deeply thoughtful pop.

“Collide (Krasnoyarsk), ” the first single off her third full-length effort Siberia, which is slated for an April release through Sony Music Sweden and the single while continuing her ongoing collaboration with Johannes Berglund also manages to be a subtle change in in sonic direction as the track possesses a brooding and atmospheric air paired with thumping beats, shimmering synths that twist themselves around Ideskog’s ethereal vocals, and some industrial clang and clatter — and in some way, the song sonically reminds me quite a bit of Niki and the Dove, Moonbabies and others, thanks in part to its hook-driven nature and moody feel. But it’s core is a raw heartache that’s deeply visceral.

As Ideskog explains in press notes, “‘Collide (Krasnoyarsk)’ was written after four days on the Trans-Siberian Railway, traveling through the deepest parts of Siberia. The temperature was just above zero, it was raining and we were passing through small villages and old industrial communities. It describes the collisions and the attractions in relationships, and having no choice but to accept the raw and un-retouched feelings. You know, it’s like the poem of David Jones: ‘It’s both a blessing and a curse to feel everything so very deeply.’”

 

 

 

 

 

 

 

 

 

Single Review by William Ruben Helms

Led by mysterious singer/songwriter and multi-instrumentalist Constantine Anastasakis, Blonder is a New York-based act, that has received praise from the likes of Clash Magazine, Pigeons and Planes and Nylon, and has songs placed on several Spotify Playlists, including Indie Mix for a synth-heavy sound that nods at Cut Copy, Bear in Heaven, St. Lucia and others. And the act’s latest single “Talk To Me” will cement their reputation for slickly produced synth pop-leaning rock as a sinuous bass line is paired with atmospheric and shimmering synths, a soaring and anthemic hook and Anastasakis’ plaintive vocals. in what may arguably be the act’s most dance floor-friendly yet wistful song they’ve released to date.

Single Review by William Ruben Helms

Gabriela Jimeno is a Bogota, Colombia-born, New York-based drummer, electronic music artist and producer, who musically grew up in two parallel, underground musical worlds — hardcore and electronic music. And after years of playing in a variety of bands in Columbia and the US, Jimeno relocated to Boston to attend Berklee College of Music, where she graduated with a dual major in drum set performance and music synthesis. Soon after graduation, Jimeno relocated to New York, where she played drums in several rather ambitious bands while working on her own solo recording work, which also included Jimeno spending time building her own synths.  After growing bored with the band life, the Bogota-born, New York-based drummer and electronic music artist decided to go completely solo — and under the moniker ela minus, released her debut effort First Words EP.

Interestingly, instead of working on just one particular album, the Bogota, Columbia-born, New York-based decided to release a trilogy of EPs, which would allow listeners to follow her and her project as her songwriting, musicianship and artistry evolved during the trilogy’s completion. Grow, the 2nd EP of the trilogy was released to critical acclaim from The Fader, Vice and Remezcla, and as a result, Jimeno wound up playing at a number of major festivals across North America, including Estéreo Picnic, NRMAL, SXSW, Viva Pomona and others. Adding to a growing profile, Jimeno has opened for the likes of Chairlift and Chrome Sparks.

The third and final part of the trilogy Adapt is slated for a February 17, 2017 release through YEBO Music — and as Jimeno has explained in press notes: “This has been like a re-birth for me as an artist: so, like a new baby, first words – grow – adapt. It made sense with the time I was living in too, on first EP everything was changing I didn’t really know what or why I was doing it, in the experience of making the second EP I grew as an artist a lot, and now I am adapting. I learned to learn.” The third EP’s latest single “Juan Sant” is a moody yet shimmering bit of electro pop in which twinkling synths, propulsive drum programming are paired with Jimeno’s ethereal cooing in a song that sonically is reminiscent of Empress Of, Yumi Zouma,  the Cascine Records roster and Kate Bush — but with a subtly bracing iciness at its core.

Single Review by William Ruben Helms

As you may know, I was in Dordrecht, The Netherlands for business related to my day job and am currently in Amsterdam, The Netherlands for a couple of days to just check things out, maybe catch some live music, and whatever else comes to mind. And from being here a few hours last Sunday morning and returning this afternoon, I can see how easy it could be to fall deeply in love with Amsterdam and this entire country.  So far, the Dutch have proven to be a kind and friendly people. But there’s work to be done so let’s get to it right?

Now, if you’ve been frequenting this site for a while, you may recall that I wrote about the  Toronto, ON-based DJ, violinist and singer/songwriter Maya Killtron. Killtron first came to attention across both her native Canada and across the States with the release of her 2012 debut EP Hipster/Gangsta — and as a result, Killtron wound up touring the festival circuit across North America with stops at Miami’s Winter Music Conference, Pride Toronto, The Halifax Jazz Festival and CMJ. Adding to a growing profile, Killtron’s collaboration with NYC-based production duo Love Taps “Back For More” received attention from the likes of Stereogum and Huffington Post for a sound that meshed moomba and R&B – and for a video that showcased a sadly bygone NYC. Additionally, Smalltown DJs, The Slow Waves, Eyes Everywhere, Brothers In Arms and City Kid Soul have all have remixed the song — with the City Kid Soul remix being named in the Top 5 at Toronto’s Bestival.

Killtron’s latest single “Bad Decisions” as she explained to me via email “is a review of some of my best romances and worst choices in the field of love. It’s honest but light, real but unapologetic, and always dancy.” But interestingly enough, the single is an expansion of the sound that first caught her attention — you’ll hear a sinuous bass line, Nile Rodgers-like funk guitar, squiggling synths and soaring strings paired with Killtron’s sultry vocals in a song that nods both at 80s synth funk, early 80s disco and EDM and the sound of blogosphere darlings Escort.  And that shouldn’t be terribly surprising as Killtron explains in an email “With ‘Bad Decisions,’ as well as my first single ‘Never Dance Alone,’ I wanted to pay tribute to; but not copy my heroes — Teena Marie, Prince, and The Gap Band.”

 

 

 

 

Video by William Ruben Helms

New Video: The Trippy Visuals for Up-and-Coming Australian Pop Act Darling James’ Latest Single “God’s Graffiti”

Arguably best known as the frontman of renowned Melbourne, Australia-based act Boat People, multi-instrumentalist and singer/songwriter James O’Brien’s solo recording project Darling James has developed a reputation for locally and nationally for crafting thoughtful and sophisticated pop — with the first three singles off his recently released Theory of Mind EP receiving airplay from Triple J and Double J. And as you’ll hear on the EP’s latest single “God’s Graffiti,” O’Brien pairs tight and infectious pop hooks with thoughtful, metaphysical-leaning lyrics and a slick and atmospheric production that features cascades of twinkling synths and propulsive drum programming — and while sonically being reminiscent of Reptile Youth’s Away EP, the song manages to possess an earnest yearning for meaning, for more.

Directed by Luke Constable, the recently released music video initially had a completely different concept — but ended with Constable placing a camera atop an unnamed car rolling down a slight incline. And as they were shooting, the pair spent a great deal of time leaping into the moving car to prevent it from rolling onto bike paths and train tracks.

Single Review by William Ruben Helms

New Audio: Tsutro’s Latest Dream Pop-Inspired Single “Say Something”

Now, if you had been frequenting this site towards the end of last year, you may recall that I wrote about San Francisco, CA-based electronic music artist and producer, Jacob Monague and his latest solo recording project Tsutro. Tsutro is a bit of a sonic departure from Montague’s work as a member of BRANCHES and his previous solo work, which had placements on a number of popular TV shows including — America’s Got Talent, The X Factor, One Tree Hill and others, as well as the film trailers for The Secret Life of Walter Mitty, Afternoon Delight, and Love Is Strange as Montague’s latest project draws from a diverse array of influences such as pop, worldbeat, future garage and downtempo. And with a batch of his latest singles, the San Francisco-based producer and artist collaborates with a different vocalist, which gives each song a completely different feel and tone.

The third single of his initial batch of singles “Say Something” is a breezy and coquettish track featuring both Roxi Pianko and Montague’s vocals over a slick and dreamy production featuring twinkling keys and synths, strummed guitar and stuttering drum programming. Now while, the previous single I wrote about “Back to You” feat. Sunday Lane was reminiscent of the sensual yet bracingly chilly house of Octo Octa’s Between Two Selves, “Say Something” sounds inspired by Swedish dream pop — but with a swooning Romanticism.

Single Review by William Ruben Helms

Sarah Beatty is a Hamilton, ON-based singer/songwriter, who cites a rather diverse array of influences including Hank WIlliams III, Billie Holiday, Janis Joplin, Johnny Cash, Sarah Harmer, Sue Foley, The Beastie Boys, G. Love and Special Sauce, Chopin, Led Zeppelin, Sinead O’Connor, Ani DiFranco, Loudon Wainwright III, The Grateful Dead, The Flaming Lips, Handel, Tony Rice and Doc Watson, among a lengthy list. Her forthcoming sophomore full-length effort Bandit Queen is slated for release on February 3, and the album is a connect album based around the life of a renowned 19th century bank robber and horse thief Belle Starr. As Beatty explains in press notes: ” “When I read about Belle Starr, the fabled bank heist mastermind turned horse thief, she grabbed my attention immediately. And from that original inspiration, I began imagining and contemplating all kinds of stories that rarely get told about women, even in the 21st century. Each of the songs on this record tells a different story, and as a collection they become the spine of a whole other adventure.”

While Beatty’s vocals remind me a bit of a more soulful Joni Mitchell, the song possesses a quiet, self-assured swagger, while portraying its subject with a profound understanding and empathy; in some way, the Bandit Queen at the core of the song is seen as a post-modern hero. As Beatty explained about the song  “There are all kinds of mythologies telling people who they are and who they aren’t. With this song, I wanted to invite the dark parts into the storyline and inspire listeners to be their whole, real, bodacious, outlawed selves” — or perhaps to be embrace their inner “Nasty Woman.” And in many ways, it’s a subtly punk leaning version of contemporary folk. In this incredibly fraught and uncertain political environment such a message seems particular fitting. 

 

 

 

 

 

Single Review by William Ruben Helms

Dougie Poole is a Providence, RI-born, New York-based singer/songwriter, who began his musical career writing loud, heavy and dissonant music before eventually turning his focus on country music. And with his forthcoming full-length effort Wideass Highway, the Providence-based, New York-based singer/songwriter writes about his own, real-life experiences — heartbreak and loss and how we deal with it in the digital age, skittish use of psychedelics, his relationships with people and computers, and life in and in-between cities while expanding upon familiar country sounds and structures, essentially exploring country as an experimental and forward-thinking genre.  And as you’ll hear on his latest single “Less Young but as Dumb” Poole pairs the aching and wistful sentiment of country — in this case,  the song’s narrator speaks of his regret over a relationship that’s ended and his difficulties moving on — with a shimmering, cosmic Wall of Sound-like sound familiar to shoegazers, all while nodding at the lonely heartache of Roy Orbison.

 

 

New Audio by William Ruben Helms

Comprised of Emily Robb (guitar, vocals), arguably best known for her stint in Lantern; Leslie Burnette (organ, vocals); Emily K. Eichelberger (bass, vocals); and Emily’s sister Jenna Robb (drums, vocals), the Philadelphia, PA-based quartet Louie Louie specializes in a sound that meshes 60s rock, 60s Motown-era soul, pop and R&B with post-punk — while clearly nodding at Phil Spector‘s Wall of Sound-like production. And while being a decided change in sonic departure from her work with Lantern, the project is also Emily Robb’s first in which she has full artistic and creative control.

At the end of last year, I wrote about “After Me,” a song that possessed a lovelorn vulnerability and ache while nodding heavily towards the sounds of The Ronnettes, Roy Orbison, Patsy Cline and others, complete with a swooning sincerity — but with a subtle modern touch. The Philadelphia-based quartet’s latest single “Do It (In Your Mind)” is a jangling guitar pop track that nods at surfer rock, psych rock and The B52s while possessing a subtle punk rock sensibility, thanks to punchily delivered lyrics paired with jangling guitar chords, ethereal organ chords, a propulsive backbeat and a bratty hook — and to my ears, the song reminds me a bit of Memphis‘ renowned punk act Nots but with a more playful, almost coquettish air.

 

Single Review by William Ruben Helms

Gabriel Garzón-Montano is a Brooklyn-born-and-based singer/songwriter and multi-instrumentalist, whose aesthetic and influence reflect not just his French-Colombian heritage and the wild, multiculturalism that’s familiar to a native New Yorker, as his own music draws from Bach sonatas, cumbia, funk, soul, but also the influence of his mother, who was a member of the Philip Glass Ensemble in the 1990s. As Garzón-Montano explains in press notes his mother is the reason he loves music, and her rigorous classical instruction along with her painstaking attention to detail, which influenced his creative process.

Garzón-Montano’s long-awaited full-length effort Jardín comes on the heels of a three year period of intense touring, writing and recording. The 2014 release of his debut EP Bishouné: Alma del Hula caught the attention of Lenny Kravitz, who invited the Brooklyn-born-and-based multi-instrumentalist and singer/songwriter to open for him during that year’s European tour. After playing Wembley Arena, Garzón-Montano received a call notifying him that his song “6 8” would be sampled on Drake‘s If You’re Reading This, It’s Too Late — and as a result, Garzón-Montano quickly found himself with a rapidly growing international profile, which resulted in tours opening for Glass Animals and his renowned Stones Throw Records labelmate Mayer Hawthorne.

Jardín was recorded with his mentor, analog recording guru Henry Hirsch at Waterfront Studios in Hudson, NY last year and during the recording sessions Garzón-Montano tracked drums, bass, guitar, piano and synths directly to 2-inch tape, and then added percussion, digital programming and several layers of his own vocals to create the album’s overall lush sound — a sound that reportedly nods at Stevie Wonder‘s Journey Through the Secret Life of Plants. As Garzón-Montano explains in press notes “I wanted to make music that would remind people how beautiful life is – how delicate their hearts are. A garden is full of life, and growth, and beauty. I named the album Jardín hoping for it to create a space for healing when people put it on. I’ve always wanted to make music that is healing, comforting, and funky.” But just underneath the surface may arguably be some of the Brooklyn-born-and-based singer/songwriter and multi-instruemtalist’s most politically charged material he’s written to date, as the songs on the album reportedly focus on the struggles and uncertainties of living in America today, the complications and joys of love, and so on.

Jardín’s first single “Crawl” reveals a sound that effortlessly meshes hip-hop, 90s neo-soul and contemporary pop as ambient synths, tweeter and woofer rattling beats, twinkling keys, a wobbling bass line and Garzón-Montano’s sultry vocals are wrapped around an infectious, swaggering and carefully crafted hook and slick production.