Single Review by William Ruben Helms

New Audio: Rhythm Scholar’s Soulful and Atmospheric Remix of Tears for Fears’ “Mad World”

I’ve spilled quite a bit of virtual ink covering the ridiculously prolific, New York-based producer, DJ, remixer and JOVM mainstay Rhythm Scholar through this site’s 14 year history. During that period, the New York-based JOVM mainstay has built a national and international profile for crafting slickly produced, crowd-pleasing mashups and remixes.

2024 has been a rather busy year for Rhythm Scholar. If you’ve been frequenting this site over the past couple of months, you’d know that I wrote about his  woozy remix of one of my favorite Tears for Fears tunes “Change,” and his sleek, club friendly remix of Duran Duran‘s 1984 track “Wild Boys” a that featured chopped up vocals for the hook, several Duran Duran samples and a blazing Andy Sexton guitar solo while retaining Simon Le Bon‘s vocal, the memorable hook and the synth melody.

The JOVM mainstay returns with a remix of Tears for Fears’ “Mad World” that retains Curt Smith‘s imitable vocal and pairs with a subtly modernized remix with bursts of strummed acoustic guitar, thumping beats, swirling atmospheric synths, twinkling keys and soulful horn solo. With this remix, Rhythm Scholar manages to place a classic and beloved song within a contemporary context while managing to retain the original’s brooding and uneasy air.

Video by William Ruben Helms

New Video: Liz Lamere Says Punchy and Defiant “Vibration”

Liz Lamere is a New York-based singer/songwriter, multi-instrumentalist, who has had a lengthy career playing drums in several local punk bands — and famously for collaborating with her late partner, the legendary Alan Vega on his solo work for the better part of three decades. 

Back in 2022, Lamere finally stepped out into the spotlight as a solo artist with her full-length debut, Keep It Alive. Written and performed entirely by Lamere, Keep It Alive was recorded in the Lower Manhattan apartment she shared with Vega during COVID-19 pandemic-related lockdowns — and in the same space where the Suicide frontman constructed his light sculptures. Keeping it a family affair, the album was engineered by Vega and Lamere’s son, Dante Vega Lamere. Keep It Alive was co-produced by Lamere and The Vacant Lots‘ Jared Artaud. 

“There’s something very magical about creating music in the same environment where Alan created his visual art,” Liz Lamere says in press notes. “His energy is pervasive and is inevitably infused in the recordings.” She continues “ We were living through unprecedented times and Keep It Alive took adversity and uncertainty and turned it into a message of resilience and empowerment.”

The album’s material coursed with the bold and defiant energy that motivated a young Lamere through her early double life as a Wall Street lawyer by day and a downtown New York musician, before she met and fell in love with Vega. Her relationship with Vega led to her becoming his manager, creative foil and keyboardist on his solo work including albums like Deuce Avenue, Power On To Zero Hour, New Raceion, Dugong Prang, 2007, Station and IT, as well as the posthumously released, lost album Mutator, which led to the Vega Vault, which she curates with Jared Artaud. 

After Vega’s death in July 2016, Lamere found it cathartic to write down thoughts and observations in notebooks. Simultaneously, she and Artaud had started working together on overseeing the mastering of IT and the production and mixing of Mutator. During this very busy period, the pair discussed working together on her own solo material. 

Keep It Alive is a homage to a song on her late husband’s New Raceion that has a deep and significant meaning for her. It was one of the key lines she would chant on stage, becoming a staple of their live performances together. The main theme and vision of the album is preserving your own inner fire. “Alan always encouraged me to make my own music, and I’ve waited until the time was right as I’ve been dedicated to preserving Alan’s vision and building his legacy,” Lamere says. 

Lamere’s sophomore effort, One Never Knows is slated for a June 14, 2024 release through In The Red Records. Much like its immediate predecessor, the album’s material is dedicated to her late partner Alan Vega and sees her continuing a minimalist approach to music that would be clearly in line with the aesthetic that she hoped Vega develop and refine since the late 1980s.

The Jared Artaud co-produced One Never Knows sees Lamere teaming up yet again with her and Vega’s son Dante Vega Lamere and was recorded in their Dujang Prang NYC home studio surrounded by Vega’s spectacular light sculptures. The album’s material was mixed and mastered by Ted Young and Josh Bonati.

The album continues a run of material charged with Lamere’s genre-defying and boundless sonic energy and poetically driven lyrics. Each song balanced the defiant lust for life that motivated the New York-based artist’s early double life as a high-end Wall Street lawyer and Downtown New York punk scene drummer,.who then met Vega and performed, wrote and toured internationally with the post-punk legend from 1985 until his death in 2016. Since Vega’s death, Lamere and Artaud have co-produced two Vega posthumously released Vega album from the vast Vega Vault archives, 2021’s Mutator and the soon-to-be released Insurrection, which will also be released through In The Red Records.

Throughout Vega’s life, the Suicide frontman encouraged Lamere to create her own music. After his death, she began writing as a form of catharsis, which became the inspirational bedrock behind her solo work. “At the end of Alan’s life, he was using the expression ‘one never knows’ to underscore that we don’t know how much time we have in this realm or where this journey will lead us,” Lamere says. “It was a phrase that had resonated so much for me. Alan taught me to go bravely into the unknown; to be fully present in the moment and deeply explore what is already here.”

Thematically, the album as Lamere says . . . “touches on universal themes and variations on those ideas that are very personal to me. I hope it will also resonate with listeners. Knowing we never fully know, accepting the certainty of uncertainty and striving to keep learning and growing is incredibly freeing.”

One Never Know‘s first single “Vibration” is anchored around a motorik-like pulse paired with glistening synth arpeggios, remarkably catchy hooks and Lamere’s punchily upbeat and defiant delivery. “Vibration is about personal empowerment,” Lamere explains. “The pulse represents our life force and the power that comes from within. It’s about commanding that force and manifesting what we want to see in the mirror’s reflection. It’s about believing until the impossible becomes the probable.”

Directed by filmmaker and photographer Jasmine Hirst, the accompanying video captures Lamere dancing to the song with movements that are both calm and violent and harsh, calling back to her longtime love of boxing. “The video intentionally captures the expressions of one’s personal movements within the song,” Lamere says. “Movements that are both poetically calm and violently harsh are juxtaposed to transform into various stages of oneself and the subliminal influences that are contained within the song. The video was shot by Jasmine Hirst in one day in New York City.”

Single Review by William Ruben Helms

New Audio: Copenhagen’s Taxidermy Shares Urgent and Uneasy “Today”

Copenhagen-based experimental noise/post-punk outfit Taxidermy — Osvald Reinhold (vocals, guitar), Toke Brejning Frederiksen (guitar), Joachim Lorch-Schierning (bass) and Johan Knutz Haavik (drums) — have quickly established a sound that draws from math rock, No Wave, post-hardcore and emo among a list of others.

Thematically, the Danish quartet’s work sees them exploring the unease and disquiet of contemporary existence through delving into the cryptic and disorientating, the claustrophobic and the surreal. Crafting material anchored around unpredictable arrangements, raw and visceral textures, broad dynamic range and intense emotional delivery, the members of the Copenhagen-based outfit actively challenges the listener to confront the discomfort of the unknown. 

The Copenhagen-based quartet’s forthcoming EP Coin will feature the previously released “Rot,” a slow-burning bit of noisy post-punk that evokes the narrator’s sanity fraying at its edges with the song being built around an arrangement of intricate layers of dissonant guitars, swirling feedback and a propulsive rhythm section serving as an uneasy and stormy bed for Reinhold’s desperate wailing. Sonically, seeming to channel Disappears/FACS, as well as Radiohead and The Smile, “Rot” not only captures a narrator who’s drowning in their own vacillating and self-flagellating doubt and hatred, but one who does so in a world that’s mad and cruel to him, as he is to himself. 

Coin EP’s second and latest single “Today” features an uneasy and intense slab of post punk-meets noise rock that seemingly pairs angular and fragmented Entertainment-era Gang of Four-like groove with the sort of feedback-driven skronk and squeal reminiscent of Nirvana and Sonic Youth with frenetic and propulsive drumming. Reinhold’s desperately wailing vocal floats uneasy over the hypnotic, machine-like arrangement, seeming to rage against a brutal and unceasingly mad world.

New Video by William Ruben Helms

New Video: Brainstory Shares a Woozy 70s-Inspired Visual for “XFaded,” an Ode To Getting Fucked Up

Brainstory‘s Leon Michels-produced sophomore album Sounds Good was released last month through renowned purveyors of soul, Big Crown Records. 

The album features the previously released:

  • “Gift of Life,” a lush, old-school, Quiet Storm-like, show-topping ballad built around a shimmering and vibey arrangement featuring fluttering, ethereal flute paired with Kevin Martin’s emotive, falsetto croon and some incredibly catch hooks. While the song see the band pulling from classic soul, psych soul and dub in a way that sounds like it could been released sometime between 1968-1974, “Gift of Life,” manages to feel remarkably modern. 

  • “Listen,” a classic, two-step inducing groove-driven song with shimmering analog synths, an overdrive-fueled guitar solo paired with some dreamy falsetto melodies and harmonies that sounds — to me, at least — as though it could have been been a Mandrill or Isley Brothers B side. The song sees the band’s Kevin Martin encouraging the listener to spend some time enjoying the present moment, because life’s all too short and remarkably fleeting 

  • “Peach Optimo,” a slow-burning and summery bit of psych soul anchored around a strutting and wobbling bass line, glistening keys, some funky drum rhythm patterns and an expressive guitar solo paired with some retro-futuristic synths. Seemingly channelling JOVM mainstays Mildlife and L’Eclair, sees the trio diving into the banality and simple pleasures of teenaged suburban life — full of the nostalgia of cul-de-sac hangs and bullshit sessions with the homies.

And Sounds Good‘s fifth and latest single “XFaded,” a strutting, hook-driven and funky psych soul jam anchored around an arrangement featuring skittering boom bap, a sinuous bass line and squiggling bursts of guitar. According to the trio, the song’s sound was partially inspired by what theft thought a modern day George Clinton/Parliament funk jam would sound like — and by small town life, where getting fucked up is an unofficial/official pastime because there isn’t much else to really do. The slick Leon Michels production paired with the band’s razor sharp yet seemingly effortless performance ironically contrasts the notion of getting sloppy and fucked up but reveals the easy-going chemistry between the trio and producer. 

Directed and animated by J. Bonne, the animated video for “XFaded” is visually indebted to The Beatles‘ Yellow Submarine, Fat Albert and Scooby Doo and follows the trio getting absolutely fucked up at a house party to wildly different results, including passing out with lit joint and drool rolling out of the corner of your mouth and almost starting a fire, desperately needing the wall to hold you up, but somehow failing and throwing up — or even hooking up with that pretty young thing that caught your eye. The video captures the wooziness of getting sloppily fucked up in a way that feels familiar to anyone who’s ever been sloppily fucked up at a party or in public.

Video by William Ruben Helms

New Video: Nashville’s Chapel of Roses Shares Slinky “Cast Out to Sea”

Nashville-based post punk outfit Chapel of Roses — Chris E. Kelley (vocal, guitar), Jim T. Graham (pedal steel), Preach Rutherford (bass), Colin Baker (drums) — can trace their origins back to the mid 1980s.

Their single “Chapel of Roses” received regular airplay on the local college radio station WRVU. And while the band’s members were just in high school, they toured for a bit including opening for Gene Loves Jezebel before breaking up. However, the members of the Nashville-based quartet continued to write and record music in a number of different projects throughout the years.

The band’s Chris Kelley spent the better part of the past two decades living overseas. But right before the pandemic, he returned to Nashville, and the the members of quartet started making music again.

The Nashville-based outfit’s latest single, “Cast Out to Sea” features backing vocals from Brittany Hadley. Anchored around a sinuous and slinky bass line, angular guitar stabs, driving four-on-the-floor and swirling reverb-soaked pedal steel serving as a brooding and sultry bed for Kelley’s yearning delivery and remarkably soulful catchy hooks with backing vocalist Brittany Hadley. And while the band cites Velvet Underground, Big Star, Ride, Joy Division, New Order as influences on their sound, “Cast Out to Sea” seems to channel Primal Scream and Britpop.

The accompanying, slickly edited video features the band performing the song in front of roving spotlight.

Video by William Ruben Helms

Throwback: Happy 58th Birthday, Janet Jackson!

JOVM’s William Ruben Helms celebrates Janet Jackson’s 58th birthday.

Video by William Ruben Helms

Throwback: Happy 59th Birthday, Krist Novoselic!

JOVM’s William Ruben Helms celebrates Nirvana’s Krist Novoselic’s 59th birthday.

Video by William Ruben Helms

New Video: AKA Kellz Teams Up with Ria Boss on a Celebration of Black Liberation, Beauty and Self-Acceptance

AKA Kelzz is a Berlin-based, queer, non-binary Black artist, who’s committed to intersectionality and uplifting BIPOC communities. The Berlin-based artist’s career and musical journey has been a testament to perseverance. Overcoming various setbacks and limited representation, AKA Kelzz found much-needed solace in Berlin while reigniting their passion for music.

The COVID-19 pandemic served as a catalyst for the Berlin-based artist to develop their songwriting and to hone their production skills. Collaborating with producer Rafa Mura helped to launch their career, and since then they’ve become a rising figure in Berlin’s soul music scene.

Over the past year, the Berlin-based artist has played opening slots for Pip Millet and Madison McFerrin. They’ve also played sets at Melt Festival and X-Jazz Berlin Festival. And along with that, they’ve collaborated with JOVM mainstays Nick Hakim and Annahstasia as part of Noah Slee’s vocal ensemble A Song For You. Building upon a growing profile, AKA Kelzz’s recent releases “Free Falling,” “Hidden” and TikTok viral hit “Fly,” are part of the creation of a platform that specifically uplifts the voices of dark-skinned and/or queer black folks, who are often overlooked. (Fuck yes to all of that.)

Ria Boss is an acclaimed Ghanian musician, songwriter and performer with an incredible voice. Affectionately nicknamed “Cat Mama,” Boss has created Cat Mama World, where her multiple artist personalities and endeavors come to life.

Her latest album, 2022’s Remember was ranked the #1 R&B album of that year by Native Magazine. And Boss’ live show Cat Mama World as gained popularity for its showcase of her theatrical ability and storytelling.

AKA Kelzz’s latest single “Mango” sees the Berlin-based artist collaborating with the acclaimed Ghanian artist. Anchored around a sleek Afrobeats-meets-contemporary R&B-like production featuring bursts of strummed acoustic guitar, swirling and painterly layers of glistening synths paired with skittering beats, the song’s production serves as a dreamily lush bed for AKA Kelzz’s and Boss’ to trade soulful vocals — and for their ethereal harmonies. The song captures the profound joy of finding understanding and acceptance in a world that can be all too cruel to anyone not white, cis het or heteronormative.

And while sonically reminding me of THEESatisifaction, “Mango,” as the two collaborators explain is “a celebration of liberation, beauty and self-acceptance” that was inspired by the rising Berlin-based artist’s experience visiting Ghana last summer.

During that trip, AKA Kelzz experienced a profound sense of liberation. “I saw my reflection daily,” the Berlin-based artist says. “This unlocked a new level of Black liberation for me, and I want to bring this sunshine and liberation back to folks all over the world.” 

“This song is about embracing our own beauty and power. It’s about not being afraid to be who we are and to shine our light,” Ria Boss adds. “It feels like the softness of the sun on my skin and reminds me of how sweet life can be when we accept ourselves.”

Directed by Yalla She Said, the accompanying video for “Mango” features a collection of beautiful and incredibly stylish Black folk at a picnic in a verdant park. There’s different expressions of gender and of Black people — but they’re experiencing a collective joy while championing and holding each other up.

“The ‘Mango’ music video serves as a call to liberation, crafted to ignite inspiration and empowerment among BIPOC wom*n, urging them to champion each other on a profound life journey: to lead and shape a fresh reality where all feel truly seen and heard. Equal and embraced, amidst our myriad differences,” Yalla She Said explains.

“‘Mango’ becomes a vibrant celebration of colors and diversity, embracing the tender link between goddesses and the essence of nature, rooted in Mother Earth’s embrace. 

Video by William Ruben Helms

New Video: Shonali Shares Mischievous, Dance Floor Friendly Bop “Up All Night”

Shonali Bhowmik is a Nashville-born, New York-based singer/songwriter, actor, comedian, filmmaker, lawyer and writer, whose musical roots developed in Nashville, where she began making music on an 8-track recorder with her childhood best friend Michelle Dubois in Ultrababyfat, an act that opened for the likes of Pavement and PJ Harvey while she was in law school.

She was pulled into the NYC comedy scene by her close friend David Cross after touring with him during his Let America Laugh tour. Since then, she started the groundbreaking and influential comedy collective Variety Shac alongside Chelsea Peretti, Heather Lawless and Andrea Rosen, and she was the host of The Shac’s popular Upright Citizen’s Brigade live show. Bhowmik has also worked with renowned comedians like Fred Armisen, John Early, John Roberts, Nimesh Patel, Dave Hill, Wyatt Cenac, and Amy Poehler. She currently released comedy albums by rising comedians on her own label Little Lamb Recordings. And lastly, she co-shots her own live variety show podcast series We Don’t Know, which showcases comedians, artists and musicians.

Throughout her lengthy music career, Bhowmik has released nine albums with Ultrababyfat, including three with her current band Tigers and Monkeys and her 2011 solo debut, 100 Oaks Revival. The Nashville-born, New York-based artist steps back out into the spotlight again as a solo artist with her long-awaited sophomore album One Machine At A Time.

Slated for a July 26, 2024 release through Little Lamb Recordings, One Machine At A Time reportedly sees Bhowmik touting her clever songcraft and evocative lyrics while culminating in genre-bending material that feels ubiquitous yet unique to her own experience as an Indian-American woman from Nashville. The album’s songs playfully explore and mesh different genres and eras but within a cohesive, carefully curated musical universe — and overall, a well-rounded album.

The strength and bravery of Bhowmik’s artist drive is rooted in the steadfast support of her mother and father, professors who immigrated to the States and constantly encouraged her musical and creative efforts. For her, that support is a significant influence on why her music is so unabashedly emotional and fearless.

The forthcoming album sees Bhowmik honoring her father Dr, Dilip Kumar Bhowmik, who recently passed away after a full life of kindness, humor and academic achievement. The album’s cover art, a photo of a young Shonali, taken by her father demonstrates their love and lasting connection. That love and spark of her father’s life continues to fuel her artistic life. Now, she’s able to say “Farewell, sweet one,” while showing how, in the face of loss, how her delicate spark shines on.

For the album, the Nashville-born, New York-based artist wrote a personal statement on the album, which I’m including below:

“A year to-the-date, after losing my father in 2022, I came to the realization I had to share my music with the world again. My dad always encouraged me to take risks, to be true to myself and to ‘go for it.’ In an effort to embrace his wisdom, there was little thinking to be done; I went for it. Once I made the decision to record a new full-length release everything came together quickly. I had a stockpile of demos recorded on my GarageBand which I suddenly realized were worth sharing with the world. I left New York City to go record in Atlanta, Georgia with my OG musical family, friends with whom I formally started my musical career. In July 2023 in Peoplestown, Georgia, I sat with my insanely talented producer friend Dan Dixon, drummer Darren Dodd (along with other talented friends K. Michelle DuBois, Shannon Wright, and Jeff Holt) and recorded my album.

The result of our therapeutic time together is One Machine At A Time, out July 26, an album which combines aspects of all the music I am inspired by – indie rock, soul, psychedelic and retro sounds of the 70s, 80s, and 90s along with the folk singer-songwriter and country influences of my time growing up in Nashville, Tennessee. It takes you on a journey through many genres.

“One of my BFF’s asked his 24-year-old nephew to listen… to which he said “this is really fucking good. It’s like a different genre every song.” Another one of my favorite quotes comes from a friend who said “there’s something retro feeling about these songs that tug on my heart strings in the best way…without feeling retro or dated, if that makes any sense.

As the daughter of Indian professors who immigrated to the United States during the Civil Rights Movement and a woman who grew up in Nashville, Tennessee, I have always been drawn to stories that amplify voices minimized by mainstream media outlets – so here I am pushing myself to be louder and prouder. I considered sharing my music under a pseudonym, but realized that this album reflects my personal journey – pondering the meaning of our lives (including past loves), the state of our world, where love of machines has taken over love for each other, and the celebration and difficulty of life. 

My name is Shonali (pronounced Show-nalley.) I am a southern girl with Indian parents, who has been recording my songs on a tape recorder since childhood. My first doll was named Johnny Cash. My goal is connection – our goal should be connection – and I continue to be unable to resist the need to share my voice.   It’s my hope that this album fills in the gaps musically, sonically and emotionally for those who feel like they are watching life from the outside in.”

One Machine At A Time‘s latest single “Up All Night” is a disco pop-tinged bit of post punk anchored around squiggling guitar stabs, oscillating synths, propulsive polyrhythm and a sinuous bass line. The new single sonically channels a slick synthesis of Talking Heads “Stay Up Late,” Entertainment-era Gang of Four and Stevie Nicks‘ “Stand Back” but while evoking a mischievous coquettishness and achingly earnest yearning. The song also showcases Bhowmik’s uncanny knack for crafting ridiculously catchy hooks and larger-than-life, Karen O-like delivery.

Directed by Eleanore Pienta, the accompanying video is a much-needed joy bomb that follows Bhowmik letting loose and getting down while wearing a sparkly top, blue pants and neon green shoes and singing to the song. The video captures an unabashedly goofy and fun-loving spirit — while pointing out something we all do in our own homes, even if it’s singing wildly off-key.

Bhowmik writes on the video:

“At this point, I’m on a mission to continue to make every aspect of sharing this album a celebratory occasion. So asking Eleanore Pienta who directed the video for ‘Up All Night’ was a no brainer. She is the definition of celebration! She’s an actor, director, comedian, dancer, performance artist – yeah – we are all multi-hyphenates. She and I are long time friends who initially met through the comedy world. She’s a member of the incredible dance group Cocoon Central Dance Team (along with Sunita Mani and Tallie Medel.) I was especially blown away by watching one of her one-woman shows at Under St. Marks years ago – in which she’d shared some of her brilliantly kooky films. Our heads came together simultaneously regarding me just letting GOOOOO for this video! We are soul sisters when it comes to silly dancing. So we spent an afternoon at Wyckoff Windows Studios in Brooklyn with the goal of having a blast and our mission was accomplished. You can’t help but feel the joy of Shonali and Eleanore in this new video. Honestly, if you don’t – what’s going on with you? Ha!”

Video by William Ruben Helms

Throwback: Happy 81st Birthday, Jack Bruce!

JOVM’s William Ruben Helms celebrates the 81st anniversary of Jack Bruce’s birth.

Single Review by William Ruben Helms

New Audio: Don Glori Shares Breezy “All Seeds”

Gordon Li is a Melbourne-born, London-based producer, composer and multi-instrumentalist, best known as Don Glori. Following the release of his acclaimed 2022 full-length debut Welcome, which was supported with a run across the Aussie festival circuit and an European Union and UK tour, Li found himself right back in the studio. But he found himself coming up short.

The Aussie-born, British-based artist explains that his forthcoming sophomore effort “Don’t Forget To Have Fun was initially recorded in mid 2022 after several months touring my first album Welcome and at a semi-tumultuous time in my life. Add in a tough 3 days in the studio – broken equipment, illness, burn out from the touring, 40 degree Australian summer heat, a bike accident, and I was left finding it quite hard to enjoy the music. All these things combined made me decide to put the DFTHF session recordings on ice indefinitely.”

After relocating to London last year, Li managed to tape into a potent creative current by taking himself out of his comfort zone and going to the basics while allowing additional room for experimentation. “I revisited the album after moving to London in May 2023. I was living in a tiny room with barely any equipment and my only income was from the slight bit of touring I was doing, which was going to towards rent and groceries. It was a good opportunity to redefine the songs from the DFTHF sessions and inject some new life into them,” Li recalls. “I had just finished touring Europe, moved to a new city, didn’t know anyone, and had all the free time in the world to experiment with wacky, zany ideas.”

“In the end I re-recorded a lot of the parts on the record in the kitchen of my Whitechapel flat while my housemates were at work. (You can hear the ambulances in the background when you isolate some of the tracks).”

This approached helped the Melbourne-born, London-based artist to distill the initial sketches into a compelling and intoxicating listening experiences, with all the tracks sharing similar subtle themes and commonalities throughout, while sonically channeling Lynda Dawn, Sade, John Carrol Kirby and others — with the album’s material featuring elements of jazz, smooth jazz, funk, soul, R&B, samba and others.

The album’s title as the rising producer, composer and multi-instrumentalist explains “. . . is a nice reminder to myself about the journey of the album. How you can chance the narrative by keeping a positive attitude, trusting the process and continually experimenting.”

Don’t Forget To Have Fun’s third and latest single “All Seeds” is a breezy tune anchored around a slinky bossa nova-meets cosmic jazz fusion-like groove featuring flowing and strummed guitar, soulful bursts of saxophone, congo-driven percussion, a strutting bass line and glistening synths paired with murmured backing vocals. The result is a composition that simultaneously recalls JOVM mainstays Mildlife and the recently departed David Sanborn and others while revealing an artist that can craft a catchy hook.

Don’t Forget To Have Fun is slated for a June 7, 2024 release through DeepMatter Records.