Video by William Ruben Helms

New Video: La Sécurité Shares Spiky and Danceable “Detour”

With the release of last year’s Samuel Gemme-produced Stay Safe!, Montréal-based art punks La Sécurité exploded into the national and international scenes with a manic yet surprisingly laid-back sound that mischievously meandered on the fringes of punk, New Wave, no wave and krautrock while inhabiting the ethos of Riot Grrl movement.

Building upon the momentum of their breakthrough debut, the Canadian art punks released Stay Safe! REMIXED EP, an effort that features remixes from Born at Midnite, The Mauskovic Dance Band and Freak Heat Waves. They also made the rounds of global festival circuit with sets at The Great Escape, M for Montréal, Reepeerbahan Festival, SXSW, FOCUS Wales, FIJM, The New Colossus Festival and Sled Island, while also sharing the stage with the likes of Automatic, JOVM mainstays Death Valley Girls, Orchestre Tout Puissant Marcel Duchamp, Margaritas Pordridas, Exek and Civic.

The French Canadian outfit’s latest single “Detour” is the first bit of new material from the band since last year’s Stay Safe! And it’s been release as a special joint release with beloved indie label Bella Union and their label home Mothland. “Detour” continues where Stay Safe! let off: motorik grooves paired with spiky, off kilter arrangements and minimalistic melodic hooks that bring a synthesis of DEVO and the B52s to mind. The new single continues a run of material that’s both nerdy and danceable with a sneering edge.

“We recorded the song with an old friend of mine Renny Wilson,” La Sécurité’s Éliane Viens-Synnott says. “It was refreshing to watch him work on his instincts, trying to keep takes and tones as natural as possible, keeping everything open-ended to see where it could lead us. And since we know each other so well, it felt like he already knew what our music should sound like.”

Bella Union’s Simon Raymonde adds: “Working with my wife Abbey, I have become adept at processing the subtle differences between her delivery of a report from a gig she ‘really liked’, to one she was ‘blown away’ by. In March, Abbey saw La Sécurité in New York and her messages back to me were as excitable as I could remember in the 13 years we’ve been together. Maybe only her expressions of love for Chappell Roan earlier this year were comparable!” 

He continues, “In May at The Great Escape, I was finally able to hear and see for myself. They were everything she described and more. Way more. Appeals to me on so many levels, musically and culturally, touching on my own post-punk history, but when we invited them for lunch to our house and had a beautiful getting to know each other, THAT clinched it for me. Working in today’s peculiar music industry is only made tolerable by surrounding yourself with good people, who work hard, are honest and thoughtful. They seem like they tick all those boxes. Vive La Sécurité.”

Directed by dirt and daydream, the accompanying video for “Detour” is a low budget and grainy surreal fever dream that seems indebted to Harmony Korine‘s Trash Humpers.

Video by William Ruben Helms

New Video: Soccer Mommy Shares Lush and Swooning “Abigail”

Acclaimed Nashville-based singer/songwriter and musician Sophie Allison will be releasing her fifth Soccer Mommy album Evergreen on Friday through Loma Vista Recordings.

Allison’s career started in earnest as a teenager, sharing near-demo form tracks on Bandcamp. The past handful of years, have found her employing the use of synthesizers and experimental production techniques, thanks to the endless studio resources she newly found at her fingertips. But when she started to write the material that would become Evergreen, Allison knew they called for different touch.

Songwriting has always been the acclaimed Nashville-based artist’s way to sort through life and to ground herself. And she was crafting the album in the wake of a profound and personal loss, it felt important to her to keep the material raw and relatable, unvarnished and honest. So, she opted for a much more organic production, which helped to shine a spotlight on her songwriting. The Ben H. Allen III-produced album was recorded at Atlanta’s Maze Studios and is a sonic return to the project’s roots, but recast on a cinematic scale through the use of acoustic guitar and lush string and flute arrangements.

Allison’s intention for the album was “to feel like you’re laying outside, eyes closed, the sun is on you, and you can feel the warmth & flowers & trees.” It’s appreciation that even in your darkest place, a sunny day can wash over you and lift your spirits. And with that as inspiration, this week Allison will be sharing an exclusive early first listen of Evergreen with fans, who can get to a lush outdoor location, like a backyard or a park. Starting tomorrow, Soccer Mommy fans can head to their nearest park and click open this link to access the early album listening experience.

The album’s final pre-release single “Abigail” is a lush and swooning love song that captures the desire, longing and hope of a newfound love — in this case, Allison’s purple-haired wife in the game Stardew Valley — with a lived-in earnestness.

The ConcernedApe-inspired music video, features Allison’s Stardew Valley avatar trying to court her true love.

Video by William Ruben Helms

New Video: High. Shares Swooning and Rousingly Anthemic “Catcher”

Boonton, NJ-based shoegazers High. can trace their origins back to 2021 when Christian Castan (vocals, guitar) and Bridget Bakie (bass, vocals) met while playing across the Garden State’s DIY and college circuit, building Bakie’s reputation as “The Queen of The Quarter Note” and Castan’s profile as an unforgettable guitarist. After the pair played in a band together, they longed fora project that would be their sole creative focus and could tour as far and wide as possible. A few weeks and two weeks after their proper formation with the addition of Jack Miller (drums) and Danny Zavala (guitar), the quartet made their live debut at Saint Vitus. They followed that up with shows across the Tristate DIY circuit. 

The New Jersey-based quartet’s highly-anticipated Matthew Molnar-produced sophomore EP Come Back Down is slated for a January 24, 2025 release digitally and on vinyl through Kanine Records. The EP’s first sessions started last June when the band, along with Molnar went to Chairlift‘s Patrick Wimberly‘s Greenpoint studio to test new material with engineer Sam Darwish. They also brought tracks to Shane Furst and his Cloud Factory Recording to review their recent work and begin the next stages of completion. 

Come Back Down marks the beginning of the band’s partnership with Kanine Records — and a key period in the band’s development. With a greater expression of sonic range, the EP sees the band offering more noise, more hooks, more heaviness and much more emotion: The sad is much sadder and the love is more swooningly in love. There are more song about loss and being lost. For the band, it’s the culmination of their growth after the release of their well-received debut EP Bomber, which was released through Julia’s War and Suburban Creep.

Last fall, the band took a break from the sessions to do a week-long tour with Austin-based outfit STAB, as well as opening slots for DIIV, Glare, Lowertown, A Place To Bury Strangers, as well as a Midwest run with Chicago’s Smut. After touring across the nation, the band finished the EP with Jeff Ziegler at his Philadelphia-based Uniform Recording. Zeigler’s work on Nothing.’s Guilty of Everything has been a major inspiration for the New Jersey-based group. 

Last month, I wrote about album single “In A Hole,” a decidedly 120 Minutes MTV-era take on shoegaze anchored around a towering wall of stormy guitars, thunderous drumming and ethereal boy-girl harmonies. The song’s brooding soundscape evokes the stormy emotions, trauma and unease that inspired it — but also the comfort of finding friendship and a community that truly understands where you’re coming from. 

“’In A Hole’ is inspired by meeting our group of friends,” High.’s Christian Castan explains. “It’s about being depressed and the people close to you dragging you out of it. It’s about the peace and belonging I used to dream about during childhood trauma and finally finding it. There’s a lyric – ‘These are the new stars, they burst alive.’  It’s about living life at its best and never wanting that feeling to end.”

Come Back Down‘s latest single “Catcher” continues a run of 120 Minutes MTV-like shoegaze, much like its immediate predecessor while featuring remarkably blissed out choruses and hooks. Arguably one of the most swoon worthy songs of the New Jersey shoegazers growing catalog, “Catcher” is anchored around deeply introspective lyrics tackling grief with a wisdom that belies their relative youth.

“I came to the band with the structure chords and bassline of this song, I am very attached to the music personally. Then, Christian wrote lyrics over it that have massive significance to him,” the band’s Bridget Bakie says. “’Catcher’ explores the depths of grief and the unwavering hope that binds us to those we’ve lost,” the band’s Castan adds.

Directed by the band’s Bridget Bakie and filmed by Bakie and her brother Max, and edited by Shower Curtain‘s Victoria Winter, the accompanying video for “Catcher” was filmed in New Jersey and stars the band’s Jack Miller. The grainy VHS-styled video is rooted in a bittersweet nostalgia that becomes a larger and larger part of adulthood.

On directing the video, Bakie says, “I felt I should make the music video because I know the source of the lyrics so closely, but they still aren’t my own. I used the boat as a metaphor for staying afloat through grief, while still moving and trying to find peace. The vast lake and the change of seasons are also a part of that. I tried to show the combination of pain and peace that this song holds.”

Single Review by William Ruben Helms

New Audio: BUÑUEL Shares a Furiously Primal Ripper

BUÑUEL — OXBOW‘s Eugene S. Robinson, Afterhours and A Short Apnea‘s Xabier Iriondo (guitar), The Framers‘ Andrea Lombardini (bass) and Il Teatro Degli Orrori’s Franz Valente (drums) — is a transatlantic supergroup that specializes in heavy music that’s been described as beautiful, merciless and unforgiving. 

Creatively, the band has always been led by instinct and the id-like impulse to expressed completely unfiltered and unvarnished emotion through song. And through their close musical alliance, they’ve displayed a seemingly innate ability to craft material that warps and buckles with complexity, freedom, tenderness and primeval energy — simultaneously. 

“BUÑUEL is a name that embodies a certain cultural and literary reference, which evokes an entire world,” the band’s Franz Valente says. “Like his films, our Buñuel is surrealism. We take the listeners into a place that’s suspended between dream and reality.” Eugene S. Robinson adds “What we’re doing with BUÑUEL is to carve out a very specific glimpse… partly into hearts of darkness, but more specifically into the depth of our secrets. Secrets we keep from each other, ourselves and whatever futures we’ve imagined for ourselves. We are ultimately trying to communicate something direct and deadly about the human condition.”

Slated for an October 25, 2024 release through SKiN Graft Records and OVERDRIVE Records, the transatlantic supergroup’s latest album, the Timo Ellis-produced Mansuetude derives its title from an archaic word, which means “meekness’ or “gentleness.” Certainly, for a band known for being punishingly heavy, the title seems like an ironic juxtaposition. Firmly anchored in the band’s long-held penchant for surrealism, the album reportedly sees the band taking every opportunity they can to stretch their musical tendrils towards discomfort and the deconstruction of tradition, all while reaching absolute abandon. Sonically, the album’s material encompasses many moods — sometimes simultaneously — while blurring elements of post-hardcore, avant-noise, hard blues, post-industrial, symphonic thrash, metal and free-jazz, played at great cost. The record is, in Robinson’s words “extreme but articulate.” 

The album also features guest spots from Converge‘s Jacob Bannon (vocals), The Jesus Lizard‘s Tomahawk‘s and The Denison Kimball Trio‘s Duane Denison (guitar), Andrea Beninati (cello) and David Binney(alto sax, vocals). 

Earlier this month, I wrote about “Class,” an urgent, amygdala-driven teeth-bared, id-fueled ripper built around Robinson’s primal shouts and howls, thunderous drumming and scorching riffage. Seemingly featuring elements of heavy metal, No Wave, thrash punk and noise rock, “Class” sonically seems like a forceful synthesis of Boris, Bo Ningen, The Stooges and several others while being deliriously artful. But underpinning it all, the song is rooted in incisive socioeconomic criticism that’s furious yet very funny. “America is schizophrenic about class and class attributes,” BUÑUEL’s Robinson explains. “On the one hand we claim it doesn’t exist here, on the other hand like Paul Fussell lays out in his book on class it works its way through every aspect of American life and living. The song itself eviscerates the notion by placing it where it most needs to be placed: in the iD fuelled [sic] underworld.”

Mansuetude‘s latest single “American Steel” features The Jesus Lizard’s, Tomahawk’s and the Denison Kimball Trio’s Duane Denison continues a run of unhinged, amygdala-driven, id-fueled rippers anchored around Robinson’s primal shouts and howls, thunderous drumming and scorching riffage. Sounding much like a man, who has gone absolutely mad, “American Steel” captures a certain kind of power madness with the song pays tribute to something particularly American: our love of big bore hemis, assault weapons, tanks, violence and Harleys.

Duane Denison says. “Eugene Robinson’s vocals have the effect of listening to a desperately flailing drowning man, and my guitar serves as a malfunctioning floatation device–it never quite makes it long enough to provide actual safety.”

Video by William Ruben Helms

New Video: Amyl and The Sniffers Share Defiant and Punchy “Jerkin'”

Acclaimed Aussie punks Amyl and The Sniffers will be releasing their third album, the Nick Launay-produced Cartoon Darkness on Friday through B2B Records/Virgin Records. The album, which will feature BBC Radio 1 Hottest Record “Chewing Gum,” U Should Not Be Doing That,” BrooklynVegan‘s, Consquence‘s, Paper‘s, Paste Magazine‘s and Under the Radar‘s Song of the Week and a ton of other bangers that will showcase the band’s quantum progression and their boundless energy.

The band’s Amy Taylor explains, “Cartoon Darkness is about climate crisis, war, AI, tiptoeing on the eggshells of politics, and people feeling like they’re helping by having a voice online when we’re all just feeding the data beast of Big Tech, our modern-day god. It’s about the fact that our generation is spoon-fed information. We look like adults, but we’re children forever cocooned in a shell. We’re all passively gulping up distractions that don’t even cause pleasure, sensation or joy, they just cause numbness.”

“Cartoon Darkness is driving headfirst into the unknown, into this looming sketch of the future that feels terrible but doesn’t even exist yet. A childlike darkness. I don’t want to meet the devil half-way and mourn what we have right now. The future is cartoon, the prescription is dark, but it’s novelty. It’s just a joke. It’s fun.”

The album’s third and latest single “Jerkin'” is a straightforward, defiant and punchy ripper that further cements the acclaimed Aussies unique ability to convey righteous fury with a tongue-in-cheek bit of humor, all while being rousingly cathartic.

“It’s good to express your anger when someone’s been pissing you off and it’s good to have humor in life, especially as a woman, when you’re meant to just passively say ‘everything’s good’ to keep everyone else comfortable,” Amy Taylor says of the new single. “The best part about this song is that a squirter can be anybody’s genitals. I wanted to write a song to big-up ‘the self’ while putting down the ‘other’ because sometimes, even if it’s just for a small window, that’s the best way to laugh something off and empower yourself. World’s pissing me off and breaking my heart more than ever right now, might as well poke it back. It’s pointless but it’s cathartic.”

Directed by long-time collaborator, PHC Films‘ John Angus Stewart, the accompanying video for “Jerkin'” features an eclectic array of models, who strip naked, not to for titilation, but to show the remarkable diversity of the human body. Throughout each model shows a sense of pride and playfulness. Of course, because we live in a weird society, a censored version appears on streaming platforms — and just above the text of this post. A full, uncensored version is only available to watch on the band’s website: https://www.amylandthesniffers.com. You must be 18 and older to view the uncensored version.

 “The level of offense that a vagina or penis can generate is absolutely bizarre. Once, Amy said to me, ‘If the world wasn’t so fucked up, I’d never wear clothes,'” John Angus Stewart says. “It’s the context we stamp onto our sex organs that makes them innately ‘offensive.’ This is why we wanted to strip away the artifice and examine the body in an open, conversational way. We approached the project as if it were a performance in itself. From concept to crewing to casting, we (the production) let the project evolve in the most natural way possible, allowing our subjects to dictate their level of input based on their comfort on the day. We were learning what it was as we were making it, which is basically the opposite approach I’m used to. But because this idea was driven by people’s personalities, it felt wrong to do it any other way. We just kept pulling things further and further back until we were left with just a white wall and the human body. I want to come out of everything I do with a different perspective. Just as one’s perspective changes with an Amyl song, I want to change in the same way. I think we all walked away from the shoot with an innate need to be less prudish and give less of a shit.”

Video by William Ruben Helms

New Video: Sheer Division Shares a Bruising Ripper

French metal outfit Sheer Division — Xavier Chaquet (guitar), Simonian Jérôme (vocals, guitar, programming) and Marie Helene Rattin (bass) — formed last year in Valence, where the band’s Jérôme worked as a sound engineer at the city’s concert venue, Mistral Palace.

The French trio describe their sound a mix of of stoner rock, punk, grunge and metal paired with lyrics inspired by sci-fi and fantasy writers like Asimov, Lovecraft, Drullet — with a bit of black humor and nihilism.

Their just released EP Saalammbö, features EP title track “Saalammbö.,” a blistering and forceful ripper that sounds like a gritty synthesis of Deftones, Queens of the Stone Age and Soundgarden, anchored around enormous, arena rock friendly hooks and choruses. Play at eardrum shattering volume.

The accompanying animated video is fittingly a dystopian and apocalyptic sci-fi visual that’s captures a world on fire and in endless war, almost like ours.

Single Review by William Ruben Helms

New Audio: Terciopelo Returns with Soulful “Nothing Can Stop Me”

Terciopelo is the solo recording project of a mysterious and emerging Costa Rican-born and-based electronic music producer and artist, who blends diverse instrumental elements, trap beats, jazz and soulful melodies into a unique and moody sound that has been described as thought provoking.

The mysterious Costa Rican-born and-based electronic music producer and artist’s forthcoming full-length debut, The Breakaways reportedly sees him collaborating with a talented and diverse group of female vocalists. Thematically, the album focuses on women and their journeys through life — with each vocalist singing lyrics that detail the trials, tribulations and joys of their life through their perspective. The album’s material delves into the depths of passion, love and all of the various aspects of human life. 

“This album represents a significant chapter in my musical journey,” the mysterious producer and artist says. The Breakaways is not just a music album, it’s a celebration of life, love and the magnetic power of music. We poured our hearts into every note, and we hope it resonates with our audience on a profound level.”

Late last year, I wrote about “Your Love . . .,” a brooding and slickly produced synthesis of Portishead-like trip hop, trap beats and contemporary electro pop paired with yearning vocals and evocative lyrics. The song thematically is a deep dive into the lives of women trapped in abusive romantic relationships. The song’s narrator paints a poignant and haunting picture of the internal and external struggles that domestic abuse victims face with a seemingly lived-in specificity. 

The Breakaways’ latest single “Nothing Can Stop Me” continues a run of slickly produced material that pairs contemporary pop with trap beats, shimmering acoustic guitar, bursts of twinkling Rhodes with a soulful vocal, pop starlet delivery. Much like its predecessor, the song capture the interior world of its narrator with a lived-in specificity.

Video by William Ruben Helms

Throwback: Happy 107th Birthday, Dizzy Gillespie!

JOVM’s William Ruben Helms celebrates the 107th anniversary of Dizzy Gillespie’s birth.

Single Review by William Ruben Helms

New Audio: Lowly Light Teams up with Nouvelle Vague’s Liset Alea on 80s Synth Pop-Inspired “Chill Child”

Matt Gorny is an award-winning, New York-based songwriter and producer, best known as Lowly Light, who has collaborated with dance music artists like Ultra Naté, Amanda Lepore, Luca Perra and others. As a producer, Gorny’s work has show continually evolution, ranging from nu-disco jams like “Get Over Yourself,” the chilled out groove of “Prayin'” and “Candy Lied,” to the energetic indie pop of “Down the Coast.”

“Do You Feel Me” amassed over 115,000 Spotify streams. And building upon a growing profile. “Lose You (John “J-C” Carr & Bill Coleman 808 Beach Remix) along with The Weekend remix on Acid Stag and was on regular rotation on SiriusXM channel 312.

Gorny’s latest single “Chill Child” is a collaboration with Nouvelle Vague‘s frontperson Liset Alea. Alea’s ethereal pop starlet cooing floats over a percussive and ebullient, 80s synth pop and dance pop-like production that recalls Madonna‘s 1984 self-titled debut, Banarama‘s “Cruel Summer” and St. Lucia.

The New York-based songwriter and producer explains that the song lyrically is a meditation on the much-needed art of patience and perspective. Ultimately, it’s about “giving time a chance to work its magic to reveal what’s truly worth fighting for,” he says. He goes on to say that the collaboration came about when he pitched the song to Alea, who has been on the top of his list of artists he wanted to work with. She loved the track and the lyrical message and was eager to bring her own vision to the song.

Video by William Ruben Helms

Throwback: Happy 53rd Birthday, Snoop Dogg!

JOVM’s William Ruben Helms celebrates Snoop Dogg’s 53rd birthday.

Video by William Ruben Helms

Throwback: Happy 74th Birthday, Tom Petty!

JOVM’s William Ruben Helms celebrates the 74th anniversary of Tom Petty’s birth.

Single Review by William Ruben Helms

New Audio: GITKIN Shares Trance-Inducing “The One”

Brian J. Gitkin is a New Orleans-based multi-instrumentalist and Grammy-nominated producer, best known for his work as the bandleader and frontman of the road warrior, party rock outfit Pimps of Joytime. He also collaborated with  Cedric Burnside on a Grammy-nominated country blues effort.

Gitkin’s solo recording project, the aptly named GITKIN was initially conceived as a way for the Pimps of Joytime frontman and producer to “explore tonalities I’d never mess with,” as he puts it. Gradually, the instrumental project became a release from “having to write lyrics or involve my voice,” Gitkin explains.

With the release of 2018’s debut album, 5 Star Motel, the New Orleans-based Pimps of Joytime frontman, multi-instrumentalist and producer quickly established a sound that he dubbed “Outernational Psychedelic Twang,” which drew from a wide range of sounds and styles, including Peruvian Chicha, 60s Pakistani surf rock while featuring a back band with an impressive collection of players.

His sophomore GITKIN album, 2020’s Safe Passage saw the New Orleans-based multi-instrumentalist and producer expanding upon an already rich and eclectic sonic palette with melodies informed by Greek and Middle Eastern modalities, Saharan Tuareg guitar, creating a sound that was a mix of stomping blues and gritty funk.

Gitkin’s latest album, the recently released, 10-song Golden Age showcases yet another evolution of the New Orleans’ based artist’s lyrical guitar-driven sound. Exploring the endless expanses of cumbia, North African and Middle Eastern music, the acclaimed multi-instrumentalist and producer has increasingly brought his own personality to those traditions, while creating a lively interplay between distant modes and rhythms and his own New Orleans-steeped sound.

The album’s latest single “The One” seems to be a mesh of Tuareg Desert Blues, Black Sabbath-era metal and krautrock that to my ears reminds me of Here Lies Man — but with deep, lysergic-fueled grooves. Gitkin describes teh song as “Sudanese synth-trance mixed with Tuareg, Black Sabbath, and 2000s-era hipster disco.”

“My goal when creating is to think as little as possible and do what feels good,” the New Orleans-based artist and producer says. “I don’t overthink creating. If I wake up with a groove in my head or melody idea I just go into my studio and record it.”

Single Review by William Ruben Helms

New Audio: Jack Manley Returns with Grunge Rock-Influenced “Grow Up”

Jack Manley is a grizzled veteran music, whose career has proven to be the embodiment of resilience and rebirth: He has played in a number of projects, including Cosmonaut, The Jennifer Shop, and Spires. While touring in those projects, Manley struggled with depression and addiction. 

When the COVID-19 pandemic struck and the world came to a grinding halt, Manley spiraled downward. Two near-fatal overdoses served as a wake-up call that propelled him back to music. In the confines of a Poughkeepsie hospital room, armed with a broken guitar and sheer determination, Manley began to craft melodies from the threads of his experiences. 

Fueled by a hard-won, newfound clarity, Manley reunited with his childhood friend, classically trained guitarist Billy Pierson. Andy Idol (bass), Josh Eppard (drums) and Noah Sonenstein (drums) were recruited to be the grizzled indie artist’s backing band and collaborated. Since then, Manley and his backing band play regularly for audiences in and around Woodstock, NY.

Earlier this year, I wrote about “Save Your Own,” a remarkably catchy song that nodded at The Beatles, Elvis Costello and the like while revealing a slick combination of earnestness and lived-in experience. Building upon the momentum of “Save Your Own,” Manley returns with “Grow Up,” a 90s grunge-like anthem that recalls Pablo Honey-era Radiohead featuring distortion pedaled power chords, enormous raise-your-beer-in-the-air-and-shout-along worthy hooks and choruses paired with Manley’s plaintive delivery.

Anchored around a classic grunge song structure of alternating quiet verses and loud choruses, the song is arguably one of the most personal song Manley has ever written: The song sees the Kingston, NY-based artist reflecting on his life’s journey through young adulthood, addiction and loss. Thematically, the song explores Manley’s need to desperately take control of his life, a message directed at himself as he continues to navigate adulthood and sobriety. Initially dismissed as a rambling note to himself, the song’s words resurfaced after Manley’s father died from COVID in 2022. And in some way, the song unexpectedly echoes his feelings of grief and loss.

Ultimately, the song captures the complexity of adult life, of maneuvering through a life of sobriety and the grief of loss with lived-in bitterness, heartache and resolve.

Single Review by William Ruben Helms

New Audio: LENny (IT) Shares A Lush Club Banger

Lenny Lorenzi is a Romagna, Italy-born, New York-based electronic music producer and DJ, best known as LENny (IT). Lorenzi’s career started in earnest when he was a teenager with his first DJ sets and first original productions. 

By the time, he was 17, Lorenzi was on the decks at Titilla, a room at the Riccione-based club Cocoricò. And in a short period of time, the Italian-born, New York-based producer and DJ played some of the most important, internationally renowned clubs including Ibiza‘s Sankeys, Barcelona‘s Macarena, Brooklyn’s Output and Miami‘s Clevelander, as well as the most important clubs of the Romagna Riviera. 

Adding to a growing profile in the electronic music scene, back in 2011, Lorenzi started the Wave Music Boat, a traveling party that cuts across the Adriatic with stops in Catalonia and the Balearics that featured guests like Sam Divine, Michael Cleis, Argy, Supernova and a lengthy list of others. Wave Music Boat is a major backer of the Molo Street Parade, an event that pairs seafaring traditions with contemporary electronic music. Lorenzi also serves as the artistic director of the event. 

Currently based in New York, the Italian-born DJ continues to push the sonic and stylistic boundaries of electronic music. Earlier this year, I wrote about “Night Lights,” a lush club and lounge friendly track featuring glistening and arpeggiated synths, skittering beats, bursts of African-influenced percussion and twinkling keys.

The Italian-born, New York-based DJ and electronic music producer’s latest single “Encontarte” continues a run of lush, soulful club friendly material that recalls a slickly produced synthesis of Between Two Selves-era Octo Octa, 90s house.

Video by William Ruben Helms

New Video: Mariaa Siga Teams Up With ODDY on Hopeful “Boukanack”

Over the past handful of years, I’ve spilled quite a bit of virtual ink covering Senegalese singer/songwriter, musician and JOVM mainstay Mariaa Siga. 

Siga continues an ongoing collaboration with ODDY on the slow-burning and heartfelt “Boukanack,” which pairs a shuffling and twinkling reggae riddims, bursts of soulful and meditative horn with the Senegalese JOVM mainstay’s gorgeous and expressive delivery. “Boukanack” continues a run of material that blurs and transcends cultural and international boundaries while celebrating diversity in all forms. With “Boukanack” in particular, the song is anchored in a much-needed message of peace and hope for all humanity.

Directed by Mao Sidibé, the gorgeously shot accompanying visual for “Boukanack” is set in beautiful Senegal and offers a slice of daily life in that country; but perhaps more importantly, the video celebrates diversity — both within the country and outside.