Category: Single Review

Julien Chang (pronounced Chong) is an up-and-coming Baltimore-born 19-year-old, multi-instrumentalist, singer/songwriter, producer and current university student, who surprised his peers when he began quietly releasing music during his senior year in high school. Interestingly, only thought of as a trombone player, Chang’s early material found him playing multiple instruments and meshing pop-leaning melodies, psych rock and jazz fusion experimentation and improvisation — with a sophistication that belies his relative youth.  Those early releases caught the attention of Transgressive Records, the label home of SOPHIE, Let’s Eat Grandma and JOVM mainstay Neon Indian, who will be releasing his forthcoming full-length debut.
Self-recorded and self-produced in his bedroom, “Of The Past,” Chang’s debut single is a sleek bit of early 80s-like synth-led funk that’s centered around carefully crafted pop melodicism, a sinuous bass line and plaintive vocals — but interestingly, the track reveals a dexterous songwriter and musician, who can effortlessly bounce and dart between funk, jazz and pop in a mesmerizing fashion.
Chang will be embarking on his first ever tour in October — and the tour begins with an October 15, 2019 stop at Baby’s All Right. Check out the rest of the tour dates below.
Tour Dates
10/15 – Brooklyn, NY @ Baby’s All Right
10/28 – London, UK @ Bermondsey Social Club
10/29 – London, UK @ Servant Jazz Quarters
10/31 – Brussels, BE @ Botanique Witloof Bar
11/01 – Berlin, DE @ Musik & Frieden
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Last year, I wrote quite a bit about the Brooklyn-based shoegaze duo Parrot Dream. And as you may recall, the act which is comprised of Santiago, Chile-born, Brooklyn-based Christina Hansen Appel (vocals, keys) and Gonzalo Guererro (guitar) was formed back in 2013 — and after relocating to Brooklyn, the duo developed a reputation for crafting sprawling and shimmering and hazy soundscapes that have amassed more than 500,000 Spotify streams. 

Good Eye Records released the Chilean-born, Brooklyn-based duo’s full-length debut, Light Goes last year. Written and recorded over a two year period, the material on the duo’s full-length debut touched upon themes of connection, love, memory and clarity.  “Woven,” the first bit of new material from the band since the release of their full-length debut was originally written and recorded during the Light Goes sessions but was cut from the album. However, it’ll be included on the album’s follow-up effort, Light Goes: B-Sides EP. Centered around shimmering synths, towering layers of reverb-drenched guitar, propulsive drumming, Hansen Appel’s plaintive and longing vocals and an enormous hook, the towering, classic shoegaze-inspired track finds the band writing some of their most ambitious material of their growing catalog. Thematically, the song is a love song full of aching longing that simultaneously finds the band asking some of life’s larger questions.

 

 

 

 

 

 

Born Damone Gervais Walker in Kingston, Jamaica and raised in Spanish Town, St. Catherine, Jamaica,the up-and-coming emcee, songwriter and dancehall artist, best known as DeeWunn can trace the origins of his music career to roughly 2006 when he had his first child while working as Medical Records Clerk at Kingston Public Hospital.  Never one to be satisfied with the mundanity of the 9-5 life, he found himself creatively bursting at the seams. Feeling as though he lacked the freedom he needed to truly required to attain his dreams, the up-and-coming Jamaican dance hall artist made a leap of faith by quitting his day job to start a music career. At one point, he was an in-house writer for GeeJam Studios, writing songs for Mystic Davis, Charly B., A-Game, Nailah Blackman, Nordia Baker, Lily Allen and others.

Dancehall act Ward 21 scooped up Walker as a songwriter and vocalist in 2010 — and while as a member of Ward 21, he spent time penning songs for labelmates like Timberlee, Natalie Storm and others. In 2013, Walker’s Kunley McCarthy-produced  “Mek It Bunx Up” featuring Marcy Chin became an unexpected smash-hit that received attention internationally from the likes of Diplo, BBC 1Xtra’s Seani B, ZJ Johnny Kool, Hot 97′s Massive B and others. Adding to a growing profile, “Mek It Bunx Up” received spins in some of the world’s hottest nightclubs.

Interestingly, in 2015 “Mek It Bunx Up” sparked a viral dance craze after Parris Goebel recorded an impromptu performance to the single alongside students from her Urban Dance Camp class, which she later uploaded to YouTube. Since Goebel’s upload, there have been a countless numbers of independently made videos from dancers all over the world — all of those videos have amassed several million views. Additionally, the track landed at #30 on the Bulgarian Top 40 Radio Charts and reached #95 on Shazam’s World Charts.

Since then, DeeWunn has released his full-length debut debut Bunx Up — The Official Street LP, toured across Europe twice and collaborated with Parris Goebel on “Dynamite,” which appeared on her full-length debut Vicious. He’s also collaborated with renowned producer TJ Records for “Tun Suh.” And earlier this year, his single Back It Up, Drop It” was featured in an ad campaign for the Samsung S10.

Building upon the momentum of “Back It Up, Drop It,” DeeWunn’s latest single is the dance floor bop “Jaw Jump,” a track centered around Walker’s rapid-fire hip-hop influenced flow, tweeter and woofer rocking beats, wobbling synths and an infectious hook. Simply put, it’s an irresistible track that will set dance floors around the world on fire.

 

 

 

 

Throughout this site’s nine year history, I’ve spilled quite a bit of virtual ink covering the ridiculously prolific, New York-based producer, DJ, remixer and JOVM mainstay Rhythm Scholar. And as you may recall, the New York-based JOVM mainstay has received attention from this site and elsewhere for funky, slinky produced and crowd-pleasing remixes and mashups of classic soul, funk. hip-hop and New Wave.

Over the past few months, Rhythm Scholar has released a kaleidoscopic remix of Snoop Dogg and Pharrell Williams‘ smash hit collaboration “Drop It Like It’s Hot” and a propulsive, house music-leaning remix of one of my favorite Tears for Fears tracks “Head Over Heels.” Interestingly, the New York-based mainstay’s latest remix finds him creating a swaggering and strutting 70s soul and funk-inspired mashup of Warren G.’s and Nate Dogg’s “Regulate” that features loving homages to Edwin Starr, The Blackbyrds, Kurtis Blow, Michael Jackson, Billy Joel, some explosive scratching and an extensive nod at Stevie Wonder‘s “Superstition” — all while retaining the noir-ish feel of the original.

 

New Audio: Up-and-Coming British Post-Punk Act Squid Releases an Explosive and Expansive New Single

With the release of a series of critically applauded singles, an incendiary live show, and three packed Glastonbury Festival sets, the up-and-coming disco post-punk, disco funk act Squid — Ollie Judge (vocals, drums), Lous Borlase (guitar, vocals), Arthur Leadbetter (keys, strings), Laurie Nankivell (bass, drums) and Anton Pearson (guitar, vocals) — have quickly developed a growing national profile. 

Building upon that momentum, the act which splits its time between Brighton, where it initially formed and London will be releasing the Dan Carey-produced EP Town Centre through Carey’s Speedy Wunderground Records digitally on September 6, 2019 — with a physical release on November 15, 2019. Clocking in at seven and a half minutes, the EP’s  new single “The Cleaner” will likely remind listeners of Q: Are We Not Men? A: We Are Devo-era Devo, Talking Heads, Entertainment!-era Gang of Four and LCD Soundystem  as the track is centered around a slinky, disco funk bass line, explosive blasts of squiggly synths, cowbell led drumming, angular guitar lines, explosive feedback and shouted lyrics within an expansive song structure that’s one part post-punk, one part art punk, one part No Wave freak out. And as a result, the song manages to evoke the uncontrolled, neurotic frustration of someone who’s at the end of their rope. 

“‘The Cleaner’ is a lost acquaintance, one that we’ve spent the past year trying to get to know . . . tirelessly working and turning up whenever needed,” the band says about their latest single. “We work for the money to spend out time doing other things. ‘The Cleaner’ imagines the divided work and play structure and thinks about breaking from it.” 

Over the past 12-15 months or so, I’ve managed to write quite a bit about the Los Angeles, CA-based singer/songwriter, multi-instrumentalist and producer Justin Phillips, best known for his solo recording project Crywolf. When Phillips started writing and releasing his own music. he was practically homeless, living in a room roughly the size of a closet and subsiding on food stamps. Since then, Philips has developed a growing profile that has included amassing several million streams across all of the various streaming platforms, a headlining slot on the second largest stage at Electric Forest and praise across both the blogosphere and the major media outlets, including Consequence of Sound, Alternative PressBillboardNylon, Complexas well as this site.

Now, if you’ve been following this site over that same 12-14 month period, you’d recall that Phillips sophomore album widow [OBLIVIØN Pt. 1]. Interestingly, Phillips recently started a new series, THE OBLIVION [Reimagined], which will feature reworked versions of tracks off widow [OBLIVIØN Pt. 1]. The first single in the series found the Chicago-based producer Mielo tackling “DRIP” — and Mielo’s take is a arpeggiated synth-driven, New Wave-inspired remix that’s cinematic and buoyant, recalling A-Ha’s “Take on Me” and Depeche Mode while retaining the urgency and frenetic feel of the original. The series’ latest single finds Seattle-based producer Levit∆te, known for a sound that meshes dubstep, left-field bass and hip-hop taking on Crywolf’s “ULTRAVIOLENT Pt. II [she sang to me in a language strange].” The original is a slow-burning and atmospheric take on industrial electronica centered around stuttering beats, industrial clang and clatter and Phillips’ plaintive vocals. Levit∆te’s reworking features a glitchy production that features harder hitting beats that gives the song a murky futuristic air — while retaining Philips plaintive vocals. “When I heard ‘ULTRAVIOLENT Pt. II’ it immediately resonated with me,: Levit∆te says in press notes. “Carrying notes of wave music, slight witch house influences and intimate vocals, teh song really resembled a lot of my own music. I really did my best to retain the original message and feeling the song gave me, but refine it through my own filter.”

 

was·sail

/ˈwäsəl,ˈwäˌsāl/

ARCHAIC
verb
gerund or present participle: wassailing
  1. 1.
    drink plentiful amounts of alcohol and enjoy oneself with others in a noisy, lively way.
  2. 2.
    go from house to house at Christmas singing carols.
    “here we go a-wassailing”

 

  1. drink plentiful amounts of alcohol and enjoy oneself with others in a noisy, lively way.
  2. to go from house to house at Christmas singing carols.

 

Featuring a former member We Were Evergreen, an act that toured across the UK and opened for the likes of Michael Kiwanuka, Slow Club, Metronomy, Nick Mulvey, Villagers and others, the up-and-coming London-based indie electro pop project Wassailer derives its name from the word “wassailing” — and was discovered by the artist while looking for an anagram on a Scrabble website. With the help of a Tyneside-born girlfriend, Wassailer’s mastermind fell in love with a variety of different things that wound up influencing him — including Irish folk songs, grime, Auden’s poetry, Indian cuisine, UK garage and the peacefulness of the lake district.

Wassailer’s somewhat mysterious mastermind has since relocated to Lewisham, where he’s joined a contemporary crop of singer/songwriters, who are influenced by folk, jazz and soul as much as they are by electronic and urban productions. His latest single, “Ghosts” is a soulful trip hop production featuring looping, twinkling piano, brooding and mournful flugelhorn and trumpet from Johnny Woodham, thumping beats, soulful vocals from Wassailer and Demi Ma and a sinuous hook. And while seemingly drawing from Portishead and The Brand New Heavies, the track as Wassailer said via email was written while reading an article about the British Royals, who were refurbished their private properties with taxpayers’ funds — ” . . .and humbly aims at blending folk with modern urban beats and neo jazz in a pop song.”

 

 

Sis is a Berkeley, CA-based indie pop project that features singer/songwriter, multi-instrumentalist and Native Cat Recordings founder Jenny Gillespie Mason and Meernaa‘s husband and wife duo Carly Bond and Rob Shelton. The trio’s sophomore album Gas Station Roses will be officially dropping and its latest single “Night From Scratch” is an atmospheric and dreamy track centered around shimmering synths, thumping kick drum, a fluttering flute melody and ethereal vocals. And while evoking rippling and bubbling waters, the track — to my ears, at least —  manages to be deceptively anachronistic: the song manages to nod at breezy 70s AM rock and Sade.

 

 

 

Initially began as the solo recording project of Seattle-based singer/songwriter and multi-instrumentalist Natasha El-Sergany that focused on spectral balladry and late-night exploration, the Seattle-based shoegazer project Somesurprises has gradually expanded into a full-fledged band featuring Josh Medina (guitar, synth), Laura Seniow (bass) and Nico Sophiea (drums) since the release of the project’s 2016 debut effort Voice Memos

2017 found El-Sergany collaborating with Josh Medina for the ambient album Serious Dreams, an effort that was released to critical applause from the likes of The Quietus, Bandcamp, The StrangerSeattle Weekly and Tiny Mixtapes. The following year, the project expanded to a full band with the addition of MX-80 Sound’s Nico Sophiea aend Red Ribbon‘s Emma Danner (bass) for that year’s Alt, an effort that Aquarium Drunkard compared to “an imaginary collaboration between Grouper and Spiritualized.” Interestingly, the band started off this year with a collaborative split tape with fellow Seattle-based act Supercandy, some candy that featured contributions from Brenan Chambers, Lori Goldston, Monika Khott and Ambrosia Bardos, who added layers of guitar effects, cello, vocals and trumpet.

The band has built up a strong profile in their hometown, opening for the likes of Circuit Des Yeux, Carla dal Forno, A Place to Bury Strangers and The Cave Singers — and they’ve toured the West Coast. Building upon a growing profile, the band will be releasing their self-titled full-length debut through Drawing Room Records. Slated for a September 20, 2019 release, the Seattle-based sheogazers self-title full-length finds the band exploring a wide range of styles from intensifying meditative drones to songs, where the same moment never quite happens twice. And unlike their previously released material, the vocals and lyrics are much more focused — with the material thematically longing for and seeking knowledge of the self, to guide the way out of one’s own mind.
Clocking in a little over five minutes, “High Rise,” the latest single off the Seattle-based shoegazers forthcoming full-length, self-titled  album is an expansive and shapeshifting song that begins with a pensive and slow-burning, shimmering intro that slowly builds up into an explosive power chord and motorik groove driven middle section. The song then closes out with a pensive and slow-burning, shimmering coda to close off a mind-bending and expansive song that sounds like the perfect accompaniment to experimenting with hallucinogens.