Category: Video Review

New Video: JOVM Mainstays La Femme Releases a Motorik Groove Driven Freak Out

Parisian psych pop act La Femme — currently, founding members Sacha Got and Marlon Magnée, along with Sam Lefévre, Noé Delmas, Cleémence Quélennec, Clara Luiciani, Jane Peynot, Marilou Chollet and Lucas Nunez Ritter — was founded back in 2010, and the then-unknown band had managed to hoodwink the French music industry by lining up a DIY Stateside tour with only $3,000 euros and their debut, that year’s Le Podium #1.

After playing 20 gigs across the States, the members of La Femme returned to their native France with immense interest from the Parisian music scene. “The industry was like, ‘What the fuck? They have an EP out and they are touring in the US and we don’t know them?” Marlon Magnée told The Guardian. “So the buzz began to start. When we came back to France, it was red carpet. Fucking DIY.”

2013’s full-length debut Psycho Tropical Berlin was a critical and and commercial success that found the act completely reinventing the sound that initially won them internationally attention while winning a Victoires de la Musique Award. Building upon a rapidly growing internationally recognized profile, the Parisian psych pop act released 2016’s Mystére to praise by Sound Opinions, The Line of Best Fit, The Guardian, AllMusic, BrooklynVegan and a lengthy list of others.

Last year, the acclaimed French act released their first bit of new material in four years with the critically applauded single “Paradigme.” They promptly followed up with two more singles, which I covered on this site:

“Cool Colorado,” a cool yet bombastic single that seemed indebted to Scott Walker and Ennio Morricone soundtracks while being an “ode to the San Francisco of the 70s — and to Colorado, the first American state to legalize cannabis.
Disconnexion,” a surreal what-the-fuck fever dream centered around pulsating Giorgio Moroder-like motorik groove, a fiery banjo solo, atmospheric elecvtroincns, twinkling synth arpeggios, a philosophic soliloquy delivered in a dry, academic French and operatic caterwauling.

Interestingly, the Parisian JOVM mainstays announced that their highly-anticipated third album Paradigmes is slated for an April 2, 2021 release through the band’s Disque Pointu/IDOL. And along with the album’s announcement, the members of La Femme released Paradigmes’ latest single Foutre le Bordel,” a breakneck, nihilistic, motorik-groove driven, freak out that sonically seems like a slick synthesis of Freedom of Choice-era DEVO and Giorgio Moroder with a ’77 punk rock nihilism. The approximate English translation of the words chanted in the song’s chorus is: “It’s the return of terror, all the kids sing in unison, I wanna fuck it up!” And as a result, the song is a decided dance floor meets mosh pit ripper specifically designed to turn a crowd upside down.

The recently released video for the song was animated and directed by the members of the band — and the visual is a neon colored, lysergic freakout that includes a surfing guitar player, musicians, who’s innards are revealed and other weird imagery. It’s La Femme at their best — being a wild head fuck that you can bop to.

New Video: Chicago’s Joanna Connor Releases a Roaring, Boogie Blues

Joanna Connor is a Brooklyn-born, Worcester, MA-raised, Chicago, IL-based singer/songwriter and guitarist, who has publicly cited her mom (who I’ve actually met) and her mom’s record collection as being a major influence on her life and music. “She listed to blues, folk and rock as much as she could,” Connor recalls on her website. “So I heard Buddy Guy and Taj Mahal when I was kid, and got into the more obscure artists as I went on. And I saw all the Chicago bands, who came through town.” By the time, she was in her mid-teens, Connor was playing the Worcester and Boston club scene with her own band before relocating to Chicago in 1984.

Upon her arrival to Chicago, Connor was mentored by a number of blues legends, sitting in with James Cotton, Buddy Guy and Junior Wells. After a stint in Dion Payton’s band, Connor went solo with her own band, releasing her full-length debut, 1989’s Believe It, which began a string of critically applauded albums released through Blind Pig Records. Connor’s 2002 effort The Joanna Connor Band found Connor displaying the full extent of her influences as it featured “Different Kind of War” and a funky cover of “Slippin’ Into Darkness.” But just as the buzz and accolades were growing, Connor began a touring hiatus. “There were several factors: 9/11 had just gone down, the economy was changing and clubs were closing. But most of all, my daughter was pretty young at the time. She wound up deciding that she wanted to become a big-time basketball player, so that required dedication on both of our parts,” the Chicago-based singer/songwriter and guitarist explains on her website. That dream has come true: Connor’s daughter was awarded a basketball scholarship at Indiana State University, and Connor has pursued her career with a renewed fervor.

Although Connor wasn’t touring, she discovered that audiences were coming out to see her play renowned Chicago blues club Kingston Mines, where she began playing a weekly three night residency most weekends, between gigs at larger clubs and festivals. “It’s become kind of an institution: You go to Chicago, you go to Wrigley Field and then you go see Joanna Connor,” the Chicago-based singer/songwriter and guitarist says. “The schedule is kind of brutal, but it’s great—Usually a packed house, with lots of adrenaling pumping. When it gets to be around midnight, the audience starts getting younger. And I love that—My son is 29, and he gets people looking at him and saying, ‘That’s your mom’?” (And the schedule is brutal indeed: we’re talking about 3 two hour sets between 7:00pm and 5:00pm Fridays and Saturdays — and until 4:00am on Sundays.)

The crowds increased after a video featuring a live version of “Walkin’ Blues” was posted by a Massachusetts-based fan on YouTube. “It was just a phenomenal thing that happened. I was getting calls from America’s Got Talent and movie people reaching out; I even had a Russian billionaire fly me to Spain to play a birthday party. I think people loved the combination: Here’s a woman who looks like somebody’s mom, and she’s playing like this. What I remember most was that it was 90 degrees that day, so I was wearing the coolest dress I had.”

Connor’s 14th album, the Joe Bonamassa and Josh Smith co-produced 4801 South Indiana Avenue is slated for a February 26, 2021 release through Joe Bonamassa’s new blues label Keeping The Blues Alive. Recorded at Nashville’s Ocean Way Recording Studios, 4801 South Indiana Avenue derives its name from the actual address of hallowed, Chicago blues club Theresa’s Lounge — and the album reportedly finds Connor, Bonamassa, Smith and an impressive array of musicians digging deeply to conjure an authentic, ass kicking non-derivative set of good ol’ Chicago blues. “We want the listener to open that door, walk in, and feel to their core some of the magic that a place like that brought night after night. It was an honor to bring this to you, the listener,” Connor says in press notes. “This album is a homage to the blues school that I attended in Chicago,” Connor adds. “We attempted to capture the spirit of tradition and inject it with raw energy and passion.

“I Feel So Good,” 4801 South Indiana Avenue’s latest single is a boozy, breakneck boogie woogie centered around Connor’s blistering solos and dexterous guitar work and her powerhouse vocal while Lemar Carter (drums) holds his own with a rapid-fire hi-hat driven pattern reminiscent of Van Halen’s “Hot for Teacher.” For me the track not only captures a self-assured lady, who kicks ass and takes names and wants to have herself a good time, it captures a moment I miss dearly when you open the door to the club and see that it’s rocking. The booze is flowing copiously. People are sweating and dancing. The band is roaring. And everyone desperately wants it to never end.

“This is one heavy boogie tune,” Connor says. “The opening note I held was a fun challenge! This tune absolutely burns. Joe used some interesting microphone technique on the vocal and overdrove it purposely. The drummer (Lemar Carter) and I were flying by the seat of our pants so to speak and miraculously ended the fade out together. I particularly love the way the musicians come roaring back- all Joe’s idea!”

Shot in Kingston Mines, the recently released video features Connor in a white faux fur coat, green dress and silver “these-were-made-for-walking-all-over-you” boots rocking out all night. And it accurately captures her live stage presence. Simply put, Connor is can flat out play those blues.

New Video: JOVM Mainstay HAERTS Releases a Hazy and Feverish Visual for Glistening “it’s Too Late”

Tracing their origins back to a budding high school romance in Munich, the acclaimed indie pop act and JOVM mainstays HAERTS have evolved as its founding (and core) duo — Nini Fabi (vocals) and Benny Gebert (keys, guitar) — have evolved: the duo met their bandmates while studying at Berklee College of Music. Upon graduation, the then-quintet relocated to Brooklyn, where they quickly built up a profile and released their major label, self-titled, Jean-Philip Growler-produced. full-length debut.

After a series of lineup changes, the JOVM mainstays have settled on its founding and core duo, Fabi and Gebert relocated to the Upstate New York woods, where they wrote and recorded their sophomore album, 2018’s New Compassion. Interestingly, since the release of New Compassion, Fabi and Gebert have embraced their multi-national roots by splitting their time between Berlin and New York. During that same period, they’ve been fueled by a renewed spirit of collaboration with artists and visual artists they’ve long admired, including Grizzly Bear’s Ed Droste and Julian Klincewicz, who they worked with on POWER/LAND.

The JOVM’s mainstays third, full-length album Dream Nation is slated for a March 12, 2021 release, and reportedly, the album’s material is marked by a sense of urgent intensity: Fabi and Gebert wrote the album over the course of about a month — and then they recorded most of the album with their touring band during a week-long, live recording session in New York. They then went to Los Angeles, where they put the finishing touches on the album and collaborated with Ed Droste on the album’s first single “For the Sky.” (More on that later.)

Sonically, Dream Nation finds the usual comparisons to Fleetwood Mac and First Aid Kit, making way for subtle nods at Portishead and Lamb. “We went into the studio without setting limits or parameters other than that we wanted to make a record that moves you emotionally and physically,” Fabi and Gebert explain. “We wanted it to feel like an invitation into the strange and fantastical night time world, like the songs they play just before the lights come on, when the party is almost over, and the polish is gone.”

Late last year, I wrote about “For the Sky.” Featuring Fabi’s ethereal and plaintive vocalists shimmering guitars, persistent drumming, a soaring hook and a guest spot from Grizzly Bear’s Ed Droste, “For the Sky” continues a run of carefully crafted pop that references Fleetwood Mac centered around lyrics that come from lived-in experience.

“‘For the Sky’ came from a dream I had when I first found out that I was pregnant, which was the catalyst and beginning of writing the new music,” HAERTS explained in press notes. “When we finished the demo for the song I kept hearing Ed’s voice and just thought he would sound amazing on it. We didn’t know him at the time, but were such fans. When we reached out we honestly thought we’d never hear from him. But we did and we went into the studio in LA, and ended up recording it just singing together in a room. Now that feels like such a nostalgic notion. But even then it was special. It was that feeling you get when you sing with somebody and something just clicks. And it’s especially crazy when you sing with a vocal force as Ed. I wish everybody could sing together more and feel that.”

The album’s second and latest single “It’s Too Late” is a glistening, hook-driven pop confection that sonically — to my ears, at least — is a slick synthesis of Fleetwood Mac, Shuggie Otis, Avalon-era Roxy Music, and disco centered around Fabi’s gorgeous, plaintive vocals.

Directed by their frequent visual collaborator Julian Klincewicz, the recently released video for “It’s Too Late” is a lo-fi, hazy, fever dream through Los Angeles that follows HAERTS’ Fabi as she struts, walks and flirts with the camera. But as the band’s Gerbert explained to PAPER, the video captured both the sensual and dangerous energy of nighttime in Los Angeles: “We filmed the video with Julian during one of the craziest nights in LA. It was all about Nini walking through the empty streets of the city. We wanted it to be a journey through the night, both physically and emotionally, and also capture some of that night time energy of LA. At some point during the shoot I was in a parking lot with a friend, when someone came running towards us with a gun. Luckily, we were able to get away unharmed and we finished the video that night. It was definitely a huge shock. I guess we captured the night time in more ways than we set out to.”

New Video: Dayglow Releases a Playful Visual for Shimmering Pop Confection “Close to You”

20-something Aledo, TX-born, Austin, TX-based singer/songwriter, multi-instrumentalist and producer Sloan Struble is the creative mastermind behind the rising, critically applauded indie rock/indie pop project Dayglow. The project aesthetically is centered around a hard-fought, hard-won yet palpably sincere optimism that can trace its origins to Struble’s adolences, growing up in a Fort Worth suburb that he has referred to as a “small football-crazed town,” where he felt irrevocably out of place — and as a result, he turned to music, as a escape from his surroundings. “I didn’t really feel connected to what everyone else in my school was into, so making music became an obsession for me, and sort of like therapy in a way,” Struble said in press notes. “I’d dream about it all day in class, and then come home and for on songs instead of doing homework. After a while I realized I’d made an album.”

Working completely on his own with a minuscule collection of gear that included his guitar, his computer and some secondhand keyboards he picked up at Goodwill, Struble worked on transforming his privately kept outpouring into a batch of songs — often grandiose in scale. “Usually artists will have demos they’ll bounce off other people to get some feedback, but nobody except for my parents down the hall really heard much of the album until I put it out,” Struble recalled. With the self-release of 2018’s Fuzzybrain, the Aledo-born, Austin-based singer/songwriter, multi-instrumentalist and producer received widespread attention and an ardent online following — with countess listeners praising the material’s overwhelming positivity.

In 2019, Struble re-released a fully realized version of Fuzzybrain that featured Can I Call You Tonight,” a track that wound up being a smash-hit lat year, as well as two previously unreleased singles “Nicknames” and “Listerine.” With the two new singles, teh album further establishes Struble’s reputation for illuminating emotional pain in a way that not only deeply resonates with listeners but while managing to make that emotional pain feel lighter.

Continuing upon that momentum, Struble kicks off 2021 with the infectious and sugary pop confection “Close to You.” Centered around shimmering synth arpeggios, thumping beats, and a two-step inducing groove, “Close to You” sonically is indebted to 80s synth-led soul — in particular Patti Labelle and Michael McDonald’s “On My Own” Cherelle’s and Alexander O’Neal’s “Saturday Love” and other duets, but imbued with an aching melancholy and uncertainty.

“There is just a certain danceable yet melancholy feeling about 80’s pop duets that I wanted to channel into,” Struble explains. “‘Close to You’ was intended to be performed as a duet, but ended up essentially being a duet with myself (which makes sense in the context of the lyrics).The song itself is about the tension between two people at a party that never said hello. It’s about the excitement and perfect fantasy you play in your head prior to seeing that person, the mediocre and nervous reality of the actual moment you see them, and the let down that always comes afterwards it not being what had always and only been living in your head. I envision the song being played inside someone’s brain— kind of like the movie Inside Out– after they are leaving a party, thinking about what they wish would have happened. But in reality, they are actually just singing to and about themselves.”

Directed and edited by Amos David McKay, the recently released video for “Close to You” manages to dial into the 80s-inspired nostalgia of its accompanying song: we see Struble in a teal suit dancing to the song in a orange lit studio space — and singing to himself in the mirror, making the song a duet with himself. Although it’s subtly implied, the video finds its protagonist essentially attempting to pump himself up and deal with disappointment — with a smile and a positive outlook to it all.

Struble is currently working on his highly-anticipated Dayglow sophomore album, which is slated for release this year. Be on the lookout.

New Video: DMV’s Kev Brown & J Scienide Release a Forward-Thinking Banger

DMV area hip-duo artist and production duo Kev Brown & J Scienide recently released their sophomore effort together Stray From the Pack — and the album is an organic effort that celebrates — and harkens back to — many of hip-hop’s classic collaborative albums, while boldly pushing the genre’s sound and approach forward. “Stray From The Pack, to me, is the perfect title. Like a pack of wolves running together in stride. Sometimes you have to be those lone wolves and go in your own direction,” J. Scienide says of the album’s title.

Sonically, the album finds the duo’s production deftly coloring outside the lines of boom-bap as they pair off-kilter syncopated beats and left-field samples with clever wordplay and straight-talk about their place in hip-hop. The album’s latest single “Out the Safari” is centered around a lush, forward-thinking production featuring neck snapping, hard-hitting beats, and a twinkling McCoy Tyner-like piano sample. The duo spit some dexterous bars full of bravado, braggadocio and mischievous wit.

The duo linked up last fall to shoot the remarkably stylish visual for “Out the Safari” — and visually, it seems to nod at film noir while following the duo walking around a suburban town while spitting rhymes.

New Video: Born Allah Teams Up with Zpu-Zilla and DJ Nu-Mark on a Soulful and Swaggering Banger

Born Allah is a grizzled veteran of Los Angeles’ hip-hop scene. The Los Angeles-based emcee had been quietly enjoying retirement, when German-born producer Zpu-Zilla contacted Born Allah and sent him the beat for “Dedication.” The “Dedication” beat inspired the Los Angeles-based emcee to rethink his retirement — and ultimately, the end result wound up being Born Allah’s latest EP Analog Baby. “After we talked about it, I sent a stack of beats and Born was hyped,” Zpu-Zilla recalls. “I’m so glad I could take him out of retirement for this project, and I hope it was worth it.”

Analog Baby not only reflects the talents and passion of the Los Angeles hip-hop vet, but it lovingly captures the era of hip-hop that Born Allah comes from. “I recorded on four-track recorders, reel to reel, and analog gear,” Born Allah says. “I wanted to tap into that energy, feeling and love I had for rapping when utilizing that equipment.” “This is me having fun spitting again,” Born Allah continues, “I’m an analog baby in a digital world.”

The EP’s latest single, opening track “Dedication” is a golden era-inspired banger centered around tweeter and woofer rocking boom bap, a soulful gospel choir sample, thumping low end and some dexterous scratching from DJ Nu-Mark. Throughout the track, Born Allah spits some witty, grown-ass folks lyrics that mesh swaggering braggadocio and hilarious, self-deprecating and self-loathing: the track essentially finds the Los Angeles hip-hop vet saying “yeah, I made be a cantankerous old head, who talks too much about the ‘good ol’ days’ but my old ass can teach you a thing or two!” (Personally, there’s something about this track that I can really associate with. As I inch further into my 40s within an industry that seemingly values youth at all costs, I’ve kind of felt the same!)

Directed by GuapCityProductions, the recently released video was shot in Downtown Los Angeles — and it captures the bravado and swagger of the song by following Born Allah as he cruises through town and hangs out with his crew. And while the crew does feature some young bloods, they seem to pay the old timers one and respect — in a way that seems all too uncommon.

New Video: L’Impératice Releases a Campy and Defiantly Feminist Visual for Strutting Disco Anthem “Peur des filles”

L’Impératice — founder Charles de Boisseguin (keys), Hagni Gown (keys), David Gaugué (bass), Achille Trocellier (guitar), Tom Daveau (drums) and Flore Benguigui (vocals) — is a Paris-based electro pop sextet that formed back in 2012. And since their formation the Parisian electro pop act has been extraordinarily busy: they released their self-titled, full-length debut in 2012. their sophomore EP Sonate Pacifique in 2014 and their third EP Odyssée in 2015.

In 2016, the French electro pop act released a re-edited, remixed and slowed down version of Odyssée, L’Empreruer, which was inspired by a fan mistakenly playing a vinyl copy of Odyssée at the wrong speed. L’Impératice followed that up with a version of Odysseé featuring arrangements centered around violin, cello and acoustic guitar.

During the summer of 2017, the members of L’Impératice signed to microqlima Records, who released that year’s Séquences EP. They followed that up with their full-length debut Matahari, which featured “Erreur 404,” a song they performed on French TV show Quotidien. Now, if you were frequenting this site last year, you may recall that I wrote about “Voodoo?,” a slinky disco strut featuring a propulsive groove, layers of arpeggiated synths, Nile Rodgers-like funk guitar and Benguigui’s sultry, come-hither vocals.

Directed by Aube Perrie, the recently released video stars L’Impératice’s Flore Benguigui and is set in an alternate universe in which she kills every man in her path during a potential extraterrestrial event. She later figures out a way to have her headless victims dance and play instruments — all while she collects more victims. Visually the new video makes playful references to Mars Attacks!, horror movies and Warren G among other things.

The French act’s highly anticipated sophomore album, the L’Impératrice and Renaud Letang co-produced Taku Tsubo is slated for a March 26, 2021 release through their longtime label home. Interestingly, the album derives its name from the medical term for broken heart syndrome takutsubo syndrome (蛸 壺, from Japanese “octopus trap”). The condition usually manifests itself as deformation of the heart’s left ventricle caused by severe emotional or physical stress — i.e., the death of a loved one, an intense argument with someone you care about, a breakup, a sudden illness or the like. And while the condition can occur in men and women of any age, it primarily affects older women.

“Peur des Filles,” Tako Tsubo’s latest single is a shimmering disco floor strut, centered around a sinuous bass line, atmospheric synth arpeggios, squiggling funk guitar, an infectious hook and Benguigui’s sultry come-hither vocals. But underneath the slickly produced dance floor friendly vibes, the song is a scathingly sarcastic ode to femininity and the differences between men and women. “Vive le difference! But be careful of those men folk, they’re afraid of strong and confident women,” the song’s narrator seems to say to its listeners.

New Video: Wax Tailor Teams Up with Mark Lanegan on a Brooding and Cinematic Single and Visual

Vernon, Normandy, France-based DJ, producer Jean Christophe Le Saoût is an acclaimed producer and DJ who can trace his career back to the 90s: After a stint as a radio host in the Paris suburb, Mantes-La-Jolie, Le Saoût founded La Formule. In 1998 Le Saoût founded Lab’Oratoire Records and continued to produce material from La Formule, as well as Break Beat compilations and a collaboration with Swedish act Looptrop.

The Vernon, Normandy-based producer and DJ started the critically acclaimed symphonic, trip-hop solo recording project Wax Tailor in 2001, first appearing on a remix of Looptroop and La Formule’s “Deep Under Water.” Since then Le Saoût has released five, critically acclaimed full-length albums — 2005’s Tales of the Forgotten Melodies, 2007’s Hope & Sorrow, 2009 In The Mood For Life and 2016’s By Any Means Necessary — which found the French producer collaborating with an eclectic and diverse array of artists from all over the world.

Le Saoût’s sixth Wax Tailor album The Shadow of Their Suns is slated for release tomorrow. The album is the French producer’s first bit of new material in five years — and album continues his long-held reputation for collaborating with a diverse and eclectic array of artists, with the album featuring guest spots from D. Smoke, Rosemary Standley, Gil Scott-Heron, Del The Funky Homosapien, Mr Lif, Yugen Blakrock, Boog Brown, and JOVM mainstays Adeline and Mark Lanegan.

The Shadow of Their Suns’ material comes as a result of a lengthy period of deliberate and deep introspection inspired by a desire to truly observe and understand life in a way that’s impossible while living in the whirlwind of it all. And considering the horrible events of yesterday, an album that encourages observation, reflection, collaborative discussion, cooperation and collective action seems more urgent than ever.

New Video: Lost Horizons Teams Up with Ural Thomas on a Shimmering and Soulful Single

Lost Horizons — Cocteau Twins‘ and Bella Union Records label head Simon Raymonde (bass. guitar, keys, production) and Dif Juz’s Richie Thomas (drums, keys, guitar) — each ended a 20+ year hiatus from creating music with the 2017 release of their full-length debut together, Ojaiá, (Spanish for “hopefully” or “God willing”) to critical praise. “These days, we need hope more than ever, for a better world,” Thomas said in press notes at the time. “And this album has given me a lot of hope. To reconnect with music . . . And the hope for another Lost Horizons record!”

Since the release of Ojalá, the state of the world has gotten much worse. And while many of us had begun to feel hope that things may turn for the better with a Biden Administration, the events yesterday in Washington, DC has quickly brought that sense of hope and possibility crashing to the ground. Things are dire: our socioeconomic and political systems are collapsing, exposing both the worrisome gaps in our systems. The fight for a better and fairer world continues, as it always does but interestingly enough, one small portion of Thomas’ hopes have been immediately fulfilled: Raymonde and Thomas will be releasing a new album’s worth of together, In Quiet Moments.

Written and recorded during pandemic-related restrictions and lockdowns, In Quiet Moments‘ material is inspired by the sense of existential doom, fear, uncertainty and anxiety of the larger world surrounding them and everyone else, as well as the same emotions and sensations of their own personal lives: Just as the duo were settling into the studio to craft the largely improvised, instrumental bedrock of the album’s material, Raymonde’s mother died.

As a response, Raymonde threw himself into his work as a way to channel his grief. “The way improvisation works,” he says, “it’s just what’s going on with your body at the time, to let it out.” The duo forged ahead, crafting 16 instrumental tracks that they sent to an eclectic array of guest vocalists including Ural Thomas, Penelope Isles‘ Jack Wolter, The Hempolics Nubiya Brandon, Tim Smith, Gemma Dunleavy, the innocence mission’s Karen Peris, Horse Thief‘s Cameron Neal, Marissa Nadler, Porridge Radio‘s Dana Margolin, John Grant, Ballet School‘s Rosie Blair, Penelope Isles’ Lily Wolter (as her solo recording project KookieLou) and an impressive list of others.

When they sent the instrumental tracks to their then-prospective guest vocalists, Raymonde suggested a guided theme for their lyrics: “Death and rebirth. Of loved ones, of ideals, at an age when many artists that have inspired us are also dead, and the planet isn’t far behind. But I also said, ‘The most important part is to just do your own thing, and have fun.” Roughly half of the album’s lyrics were written during the middle of pandemic-related lockdowns but as it turns out, Raymonde in particular, saw a sliver lining: people were forced to slow down and take careful stock of themselves and their lives. Interestingly, after having heard a lyric written by Ural Thomas, Raymonde singled out on praise “in quiet moments,” and thought it would be a perfect album title. “It just made sense,” he says. “This moment of contemplation in life is really beautiful.”

Although generally centered around loss and heartbreak, the album’s material is imbued with a sense of hope. And as a result, the album subtly leans in the direction of rebirth more so than death. “I think it’s more joyous than Ojalá,” Thomas says. “But both albums have a great energy about them.” That shouldn’t be surprising as both Lost Horizons albums find the duo and their various collaborators on a journey through a dizzying area of moods and voices.

Last year, I wrote about three of the album’s previously released singles:

“Cordelia,” a lush track centered around atmospheric synths, gorgeous steel pedal guitar from David Rothon, elegant strings from Fiona Brice, and John Grant’s brooding vocals. The song is a meditation on the passing of time, the inevitable changing of the seasons — but with the tacit understanding and acceptance that all things in our world are transient.
“One For Regret,” a dark and foreboding song centered around shimmering, reverb-drenched guitars, propulsive drumming and Porridge Radio’s Dana Margolin’s frantic vocals. While sonically, the song finds Raymonde and Thomas paying homage to the beloved sound and approach that won Raymonde accolades “One For Regret” is a meditation on the messiness of regret and loss, that acknowledges that regret and loss are a necessary part of life — and that the only way out is through.
“Every Beat That Passed,” an old-timey waltz centered around shimmering and arpeggiated keys, jangling guitars and Kavi Kwai’s Julia Ringdahl ethereal vocals. Much like its immediate predecessor, In Quiet Moments’ third single sonically seemed indebted to Raymonde’s while being defiantly upbeat.

The album’s fourth and latest single, album title track “In Quiet Momtents” features Ural Thomas. Born in Louisiana in 1939, the seventh of 16 children, a young Thomas learned how to sing in church. His family relocated to Portland, where he would spend the bulk of his life.

In the 50s, Thomas became a professional singer, opening for the likes of Etta James, Otis Redding, James Brown, and Stevie Wonder at the Apollo Theater. But by 1968, Thomas had returned to Portland. In terms of music, Thomas fell off the map, and not much is really known until the early 2010s when Scott Magee, a Portland-based soul DJ, was informed by the owner of Mississippi Records that Thomas — whose early records he regularly spun at this DJ sets — still lived in the area.

As it turned out, Thomas had been hosting weekly jam sessions at his home since the 1970s but seldom performed live. But Thomas and Magee started Ural Thomas and the Pain, an octet that backs Thomas. The act has released two albums so far, 2016’s self-titled debut and 2018’s The Right Time. So now that we went through the necessary background, let’s talk about the track: “In Quiet Moments” is a shimmering and slow-burning bit of old-school inspired soul meets shoegaze centered around twinkling keys, jazzy drumming, gently buzzing guitars and Thomas’ easygoing and gorgeous vocals. It’s a gorgeous and thoughtful track that evokes a complex and confusing array of emotions with a simple yet profound earnestness.

“Sometimes you just have a clear vision for a song and then try as you might, it doesn’t quite hit the mark and other times, you’re not quite sure where it’s going and then all of sudden it’s like The Matrix and you’re buzzing!” Lost Horizons’ Simon Raymonde says in press notes. ” I’d been talking to Ural and his team since I heard about him earlier that year, and they were all working on a new Ural Thomas and The Pain album, but just as I finished the bass part on our piece, which Richie had started at a session in London, my inner voice was screaming ‘ASK URAL TO SING!’ Scott and Brent who are his producers and write with Ural and in his band too, responded very positively to my enquiry and said Ural was into it, and it looked like they could do it all at their studio in Portland, AND film him at the same time as they were making a documentary about him! I couldn’t believe my luck. After he was done with the first half of the song I asked if he could make the ending spoken-word in the style of Gil Scott-Heron and he did something ad-libbed which I loved. I then asked Wendi Rose who sings with Spiritualized to add some of her beautiful vocals and I think this took it all to the next level. Paul Gregory and Jonathan Wilson also played some delicious guitar parts which were the fairy dust on top!”

“When I first heard the song, I thought it was such a wonderful thing, both open and calm, with that steady, insistent groove,” Ural Thomas adds. “The chords go from looming to embracing then back again, like a sad, friendly giant. It took a quiet moment to go over it in my mind and then we were off and running with the tune. At times I feel strong and one with the world. At other times I feel tiny and solitary. In a way they’re two parts of the same feeling. That sense of being closed in and defined by walls became more real just a short while after we worked on the song. But we’re all those other things, too—connected, hopeful, with a long arc that will go beyond this time.”

The recently released and cinematically shot black and white visual for “In Quiet Moments” is split between footage of clouds passing the sun, stock footage of a slow pan of a forest, Thomas singing the song in the studio and other natural phenomena. It’s a fittingly gorgeous and thoughtful visual.

Now, as you may recall In Quiet Moments was slated for a two part release through Bella Union. The first part was released last month with the second part due February 26, 2021, along with the physical release of the entire album.