JOVM celebrates Fela Kuti’s 82nd birthday.
Muca & La Marquise is a rapidly rising London-based duo featuring Brazilian-born, London-based songwriter and producer Muca and 22-year-old vocalist La Marquise. Their debut single “London.” grabbed the attention of Roberto Menescal and Will Gompertz. Building upon the growing buzz surrounding the London-based duo, their latest single “Blue Moon Bossa” finds Muca, the act’s primary songwriter crafting a João Gilberto and Tom Jobim-inspired bossa nova — for modern times.
Featuring an armament of looping and shimmering acoustic guitar, a sinuous double bass line from Yaron Stavi, stuttering percussion and a breezy melody the track is centered around La Marquise’s achingly melancholic vocals. And at its core, is a longing for home — and a longing for a simpler time, of moonlit nights with the one you let get away . . .
As Muca explains, the track came from a desire to visit his homeland to musically reconnect with his roots. “I have a rock and blues background, but really, I’ve always had the Brazilian music hidden somewhere in me,” Muca says in press notes. “I thought it was time to bring it back to my composition. Having La Marquise singing the song is fantastic, she really grooves, and she added such a magical touch to it.
The songwriting process for “Blue Moon Bossa” was rather straight forward. “Myself and La Marquise have an excellent music connection,” Muca says. “Most of the songs we wrote were quite fast, time flew by, it was so easy. It all starts with guitars and vocals. I bring the first ideas with chord progressions on the guitar and some melodies. She then adds her notebook and begins to add lyrics and add more melodies to it. I was amazed how the track naturally developed into the Bossa Nova/Jazz style, and I’m delighted with the song and album result.”
In terms of production, Muca wanted a much more modern approach. He enlisted the assistance of São Paulo-produced drummer, percussionist and producer Bruno Buarque. “I told him and wanted a different approach for this song, using more electronic elements to this track,” Muca says. “He added some exciting Brazilian style elements, using his MPC to reproduce instruments such as cuica, bumbo, tamborin, ganza, and shakers. He recorded them in Brazil and sent me the files, I worked with the arrangements here in London.”
Animated by Ed Murray, the recently released video for “Blue Moon Bossa” is gorgeous and dream-like visual that features La Marquise as a singing moon before eventually seeing animated version of the duo playing and singing. The result is an old-fashioned view of the cosmos, complete with astrological charts. “The minute I wrote it, I knew it needed an animated music video to follow it,” Muca says of the song and its video treatment. “I had some ideas in mind and decided to contact the incredible illustrator, Ed Murray, who I am a fan of, to develop the concept. I couldn’t be happier with what he created.”
The duo are planning to release their self-titled, full-length debut in early 2021.
Beginning her musical career as the frontperson and primary songwriter of acclaimed Melbourne, Australia-based pop act Totally Mild, an act that recorded two critically applauded album before splitting up, Elizabeth Mitchell has stepped out into the limelight as rising solo artist, writing and performing under the mononym Elizabeth.
By going solo, the rising Aussie pop singer/songwriter has been able to reimagine and reinvent herself — and with the release of her full-length debut, last year’s the wonderful world of nature, Elizabeth transformed herself into a sort of patron saint of anguish, heartbreak and woe, all of which have allowed her to develop a completely unique sound apart from her previously known work. imbued with desire, lust, shame, guilt, uncertainty and a glamorous debauchery.
The Melbourne-based pop artist will be releasing a deluxe edition of the wonderful world of nature on October 23, 2020 through AntiFragile Records — and the deluxe edition will feature a handful of new material, including her latest single, a slow-burning and atmospheric cover of Fleetwood Mac’s “Go Your Own Way.” Centered around twinkling piano and the rising Aussie pop artist’s tender vocals, Elizabeth’s version strips everything away to the bone, revealing the bitter heartache at the core of the song.
Directed by Elizabeth and Xanthe Dobbie, the recently released video is a hazy and intimate visual that follows a brooding Elizabeth, on the verge of tears.
Throughout the past few years, I’ve spilled quite a bit of virtual link covering Los Angeles-based hip-hop trio and JOVM mainstay act Clipping.– production duo Jonathan Snipes and William Hutson and frontperson Daveed Diggs. Now, as you may recall, last year’s There Existed and Addiction to Blood found the acclaimed hip-hop trio interpreting a rap spinner sect through their own singular lens — in this case, horrorcore, a purposefully absurdist and significant sub-genre that flourished for a handful of years around the mid 1990s. That album’s material is also partially inspired by Ganja & Hess, the 1973 vampire cult classic, regarded as one of the highlights of the Blaxploitation era — with the title derived from the film.
With horror films, sequels are perfunctory. As the insufferable film bro Randy explains in Scream 2, “There are certain rules that one must abide by in order to create a successful sequel. Number one: the body count is always bigger. Number two: the death scenes are always much more elaborate—more blood, more gore. Carnage candy. And number three: never, ever, under any circumstances, assume the killer is dead.” Clipping.’s highly-anticipated follow-up to There Existed an Addition to Blood, Visions of Bodies Getting Burned is slated for an October 23, 2020 release through their longtime label home, Sub Pop Records. Much like any sequel, VoBGB finds the JOVM mainstays returning with an even higher body count, bloodier, more elaborate, gorier kills, and as always, unrelenting monsters that just won’t stay dead. And although the album will most lily be seen and received as a sequel, in reality it’s the second half a planned diptych.
As it turned out, in the years following Splendor & Misery, the trio wound up being incredibly prolific, writing and recording too may songs for just one album. Before the release of There Existed an Addition to Blood, Clipping. and Sub Pop divided the material into two albums, specifically designed to be released only months apart. Unfortunately, the COVID-19 pandemic managed to forced the cancellation of multiple tours and the delayed release of Visions of Bodies Being Burned until next week. Interestingly, the 16 song album draws from Ernest Dickerson, Clive Barker and Shirley Jackson as much as it does from Three 6 Mafia, Bone Thugs-N-Harmony and Brotha Lynch Hung. And while they’ve developed a uniquely abrasive, angular and messy interpretation of horrorcore, they fully intend to lovingly twist beloved and familiar tropes to fit their own politics and thematic concerns — fear, the absurd, the uncanny and the struggle for an antiracist, anti-patriarchal, anti-colonialist world.
Óregla is a rising, Reykjavik, Iceland-based jazz/progressive funk octet led by composer and trumpeter Daníel Sigurðsson that derives its name from the Icelandic word for chaos or irregularity. Featuring some of the country’s rising jazz musicians, the act is inspired by a diverse and eclectic array of influences including Igor Stravinsky, Miles Davis and Frank Zappa.
While Sigurðsson crafts compositions featuring arrangements centered around a brass section consisting of two tenor saxophones and a trumpet, guitar, bass, keys, drums and some bursts of orchestral percussion, the members of the act aim to push the boundaries of their music and sound with a funky and lively atmospheric and a sense of humor.
The act released their latest album Þröskuldur Góðra Vona (The Threshold of Good Hopes) earlier this year, and the album’s latest single “Don’t Quit Your Day Job” is a expansive track, centered around rapidly changing and very odd time signature changes as the song progresses — and some deft playing, that alternates between mischievous playfulness, contemplation and a breakneck swing.
The live footage features the band performing “Don’t Quit Your Day Job” at Tónkvísl for Reykjavik Sessions back in 2014.
Brittany Campbell is a Los Angeles-based R&B artist, animator and actor and activist. Joining the Metropolitan Opera at an early age, Campbell went on to act in and star in a number of Broadway productions including a little one by the name of Hamilton, where she met her girlfriend Candace Quarrels — and formed the R&B and folk duo Mermaid, whose forthcoming full-length album features production by Matt Otto and Sam Hoffman.
Campbell has also released material as a solo artist, releasing her full-length debut, 2018’s Stay Gold, which revealed a songwriter, who could craft earnest, lived-in songs paired with a self-assured vocal range. The Los Angeles-based artist, animator, actor and activist’s creative passion and curiosity led her to become a self-taught animator, who has created videos for supermodel/vocalist Shaun Ross, as well as for her work.
Born Philip Johnson-Richardson, Phil. is a Charlotte-born, New York-based singer, emcee, dancer and actor, who immediately upon finishing his degree in musical theater at the University of Cincinnati’s College-Conservatory of Music joined the cast of the Chicago production of Hamilton, where he eventually starred in the titular role. Since starring in Hamilton, the rapidly rising talent has managed to land a number of prominent acting gigs, appearing in TV shows like Chicago P.D., Proven Innocent, The Other Two and the the horror film Haunt. He was also cast as a series regular in the Sara Bareilles and JJ Abrams created Apple TV+ series Little Voice. And adding to a incredibly busy period, the Charlotte-born, Chicago-based singer, emcee, dancer and actor will be releasing his debut EP Different Cities, an effort that will help to further showcase his talents.
Recently Campbell and Phil. teamed up on the slickly produced and empowering pop anthem “Champion.” Centered around stuttering trap beats, shimmering and layered synth arpeggios, Campbell’s sultry vocals, an inspired guest spot from Phil., who quickly alternates between staccato spitting fire and achingly tender soul crooning and an infectious hook, “Champion” is a sensual and joyous ode to queer love, desire and devotion that was specifically released for National Coming Out Day. “I’ve written a few songs about making love but none that were inspired by making love to a woman,'” Campbell explains. “The song and video is my attempt at capturing some of the feelings it inspires in me. . . the euphoria and joy in making love.”
The brightly colored, intergalactic — and downright trippy — visual for “Champion” captures Black, queer love with a boldness that’s defiant yet tender, as it suggests that for the song’s narrator making love to her girl is a transcendent and otherworldly experience.
Twin Flames is a highly celebrated Ottawa-based husband and wife duo featuring:
Chelsey June, an Ottawa-born singer/songwriter, who is a part of the Mètis, a multi-ancestral indigenous group who can trace their descent from both indigenous North Americans and European settlers and can claim Algonquin Cree ancestors.
Jaaji, a Nunavik-born singer/songwriter who’s part Inuk and Mohawk.
The individual members of Twin Flames have had their own respective critically applauded, multi-award winning and nominated careers when they met, decided to work together, and fell in love during the filming of APTN’s Talent Autochrones Musical (TAM). Since the pair joined together personally and professionally, they’ve had an enviable run of success as a result of work l that meshes the contemporary and traditional with lyrics sung in Inuttitut, English and French:
They’ve been nominated for 25 awards, including two Canadian Folk Music Awards wins and three Native Music Award wins.
They’ve had two #1 hits on the Indigenous Music Countdown’s Top 40.
They’ve played 1000+ shows across Canada, the States, Australia and France
They were selected as artist-in-residence for last year’s Folk Alliance International conference.
The Canadian duo partnered with UNESCO to write the official song celebrating the International Year of Indigenous Languages.
“Human” was chosen as part of last year’s CBC’s Music Class Challenge.
The music video for “Broke Down’Ski’Tuuq was the first Inuttitut language video to be featured on Canadian music channel MuchMusic.
The indigenous duo’s third album OMEN is reportedly a sonic departure from their previously released material — with the album finding the duo’s sound incorporating edgier elements of alt pop, and indie rock as the duo explain in press notes is “concept-based around a dystopian reality, global warming, and humankind free of social classes, mental health, and addictions.”
OMEN’s first single, “Battlefields” is a perfect example of what listeners should expect from the album: shimmering and glistening synth arpeggios, big thumping beats, a rousingly anthemic hook, some indie rock-styled guitar lines and the duo’s plaintive boy-girl harmonies singing lyrics in English and Inuttitut. The end result is a slick, radio friendly and accessible pop anthem. But underneath the slick polish, the song possesses a gentle yet urgent plea to the listener — especially those within the Indigenous community — to seek help if they’re struggling. True strength is when you acknowledge you need help, that you can’t face it all alone. Along with that, there’s the tacit understanding that everyone struggles with their mental health at some point; being a caring, kind and thought personal in a morally bankrupt and nonsensical world is difficult as it is.
“Mental health is a battle that many people face in silence,” Twin Flames’ Chelsey June says. ““This song speaks to the stigma associated with it.” Jaaji adds, “In the Arctic of Canada, Inuit People face the highest amount of suicides in the world. ‘Battlefields’ is a song to remind our people we have to fight our own minds to survive, we are fighters, and together, we can feel less alone and win this battle.”
Beginning his career in the 1990s as the drummer and frontman of French alt rock act STICKBUZZ multi-instrumentalist, singer/songwriter and composer Christophe Menassier over the past two decades has crafted scores for movies, TV, online features […]
Last year was a breakthrough year for the rising, Melbourne, Australia-based indie rock act Telescreen — Nic Schwarz, Dan Carolan, Ali Ward, Matt Martin and Ollie McIntyre — with EP title track “Growing Pains” getting regular rotation on Triple J Unearthed and community radio across the country. “Growing Pains” was featured on British blog Scientists of Sound before landing at #1 on the global Hype Machine charts. And as a result, the track garnered 15,000 SoundCloud streams within a few days. The rising Aussie act also released their first music video for EP track “In Mind,” which received airplay on rage, a national music video show — and was featured on popular music site ClippedTV.
Adding to a growing profile, the band opened for for the likes of Mosquito Coast, STUMPS, DIET., Francesca Gonzales, Creature Fear and The Attics, before eventually selling out their biggest headlining shows. And they played some of their first festival sets in the history. Interestingly, with the band’s rapidly growing profile, the band’s frontman Nic Schwarz left his full-time job to pursue music full-time. Schwarz has spent most of this past year cowriting with producers and artists across Australia through video conferencing during pandemic-related shutdowns and in-person when he could.
Of course, much like countless other bands across the globe, the members of Telescreen had hopes of making big moves this year, but they all managed to buckle down to write new material, including their latest single “Moving On.” Officially, serving as the follow-up to their attention grabbing debut EP, “Moving On” is centered around a rousingly anthemic, shout-along worthy hook, angular guitar blasts, staccato hi-hat and a slick, radio friendly production. However, under the studio polish, the song expresses the anger, frustration, shock and dismay over a disconnected and failing social order — but through the prism of a romantic relationship gone wrong.
“We, as a group, felt as though there was this real disconnect between the actions of Australia’s leaders and the true needs of those affected by the fires,” the band’s frontman Nic Schwarz says in press notes. “‘Moving On’ addresses our politicians’ disregard for public opinion, along with their seemingly growing inaction and detachment from issues in order to protect their self-interests.”
Earlier this year, the members of Telescreen put together a benefit show with fellow rising Melbourne acts Feelds and El Tee to raise much-needed funds for bushfire relief. And although, the year has been a loss, they did receive some incredibly good news: they won this year’s Triple J Unearthed NIDA Competition, in which the winner would be provided an opportunity to work with a team of students from the National Institute of Dramatic Art to create a music video. (Full credits are below, if you’re curious. Plus, we should try to always shout out talented young people, right?)
Shot with pandemic-related restrictions and limitations, the entire creative team came up with a bold and striking visual featuring a diverse cast of models/actors at a photoshoot. Initially forced to conform through wearing all black outfits. But as the video progresses, the actors strike back out of frustration and annoyance, eventually letting their freak flags — and their true selves proudly fly.
Copenhagen-based singer/songwriter and multi-instrumentalist Jonas (born Jonas Rendbo) has been hailed by international press as the Godfather of Scandinavian Soul throughout the course of his 20+ year music career. Renbo has managed to be remarkably prolific, releasing a ton fo his own original music, which he has supported with tours sharing stages with the likes of internationally applauded artists like Omar, John Legend, Joss Stone, Lynden David Hall and Bilal among a lengthy and growing list of others. Adding to his accolades, Rendbo won Artist of the Year and Best Video at the 2016 Scandinavian Soul Music Awards.
Since 2004, Rendbo has split time between Copenhagen and London, where he met his wife and started a family. And while in London, he started collaborating with London-based multi-instrumentalist and producer The Scratch Professor, who coincidentally is Omar’s brother. Rendbo and The Scratch Professor had an instant musical simpatico and a couple of songs they wrote together wound up on Jonas’ sophomore album 2009’s W.A.I.T.T.
Their collaboration also managed to produce a handful of songs that the Copenhagen-based singer/songwriter had kept in his vault over the past decade or so— until he released them as the four song EP EP 4ward Fast To Future. Recorded, produced, mixed and mastered during COVID-19 quarantine lockdown during April, the EP is return to the warm, neo-soul sounds of his earliest work. Earlier this year, I wrote about “Pick Me Up,” a warm, 90s neo-soul track, centered around shimmering Rhodes, boom bap-like beats, a sinuous bass line, a strutting horn line, an infectious hook and Rendbo’s sultry and plaintive falsetto. And while being a joyous, two step-inducing, radio friendly jam, the song’s narrator talks about desiring — and then having — the sort of love (and lover) that most of us dream of: that ride or die person, who’s with you and supports you through thick and thin, joy and heartbreak, sickness and health.
The EP was released to widespread praise across the blogosphere including SoulBounce.com, ScandinavianSoul.com and was a featured album on SoulTracks.com. Additionally, the EP’s material received airplay on soul music ration station across the globe. Building upon that momentum, the Danish-born singer/songwriter released teh 4ward Fast to Future (Remixes) which features remixes of some of the EP’s material by friends and musical collaborators, done inc completely different styles. But in the meantime, Renbo released the EP’s latest single, the slow-burning “What’s Cooking.” Much like it’s predecessor, the track is centered by twinkling Rhodes arpeggios, a sinuous bass line, strutting horns and Renbo’s plaintive vocals; however, the song finds its narrator wanting to simply his life and find himself in his own terms while living in a chaotic world.
Featuring video graphics and editing by Jacob Vinjegaard, the recently released video for “What’s Cooking” is shot with a grainy Instagram-like filter and follows Renbo in some intimate and trippy footage.