Single Review by William Ruben Helms

New Audio: jjuujjuu Shares Hazy “Up To You”

Phil Pirrone is a Los Angeles-based musician and co-founder of Desert Daze. After spending the previous decade of his life as a touring bassist, Pirrone borrowed and SG and DL4 and began his exploration of writing and recording looped-based music with jjuujjuu back in 2011.

Pirrone’s jjuujjuu debut, 2013’s FRST EP and the follow-up, one-off single “Bleck” helped to build up some early buzz around the project. In the project’s earliest days, the lineup and instrumentation moved in step with Pirrone’s ethos of ephemera and flux: the project would turn in several different configurations with Pirrone at the center.

Building upon a growing profile, Pirrone and company shared stages with a number of nationally and internationally known acts, including The Claypool Lennon Delirium, Tortoise, Allah-Lahs, Temples, Tinariwen and a list of others. 

Pirrone spent the next few years recording material in various spaces around California. Those sessions included collaborations with Vinyl Williams, members of Lumerians, Dahga Bloom and a list of others. The material from those sessions eventually comprised Pirrone’s jjuujuu full-length debut, 2018’s Zionic Mud. The album was accompanied by alternate versions of its tracks remixed or reimagined by many of the band’s most notable fans and supporters, including J. Mascis, Warpaint‘s jennylee, Liars, METZ, and Autolux. JJUUJJUU supported the album by opening for Primus, Mastodon, Kikagaku Moyo, and Earhtless, as well as festival sets at Pickathon, Nelsonville, M3F and others. 

During the height of the pandemic, Pirrone taught himself how to produce and record material and sent tracks to longtime bandmembers and collaborators Ian Gibbs and Joseph Assef. Those tracks were sent to a collection of talented friends that included METZ’s Alex Edkins and JOVM mainstays Boogarins and a lengthy list of others. 

Pirrone and company started off the year with “SOME,” a collaboration with acclaimed Brazilian psych rock outfit and JOVM mainstays Boogarins. Built around a hypnotic motorik groove and layers of swirling and howling feedback and reverberated distortion. Boogarins added a dreamy bridge and vocals that seem that oscillating between English and their native Brazilian Portuguese, which gives the song a dreamy, psilocybin-fueled, hallucinogenic air. 

Tracked remotely between Los Angeles and Brazil between 2020-2021, Pirrone says: “We sent the track to Boogarins, who added a really beautiful bridge to the song, and vocals oscillating between English and Portuguese. Something in this song recalls early childhood memories of Muppet Babies or Elton John ‘Benny and the Jets’… but in a really weird (but good) way. End result feels like a flower dancing on the sand under a São Paolo sun.”

To celebrate the project’s debut at Coachella, Pirrone shares the latest jjuujjuu single “Up To You.” Anchored around swirling and shimmering feedback-driven guitar textures, a sinuous and propulsive bass line paired with wobbling layers of percussion, the song’s arrangement serves as a lush yet subtly uneasy bed for Pirrone’s reverb-drenched and dreamily yearning delivery to add to the psilocybin fueled haze.

Single Review by William Ruben Helms

New Audio: Population II Shares Woozy and Fiery “Comme tu le souhaites (Ding Dong)”

Acclaimed Montréal-based psych rock outfit Population II — Pierre-Luc Gratton (vocals, drums), Tristan Lacombe (guitar, keys) and Sébastien Provençal (bass) — can trace their origin back a long way and are inextricably linked to their teenage memories. After years of jamming to the point of developing a unique sense of telepathy, the trio began recording independently releasing material that caught the attention of Castle Face Records head and The Oh Sees‘ frontman John Dwyer, who released the band’s full-length debut, 2020’s À la Ô Terre, an album that saw the band displaying their mastery of improvised and sophisticated composition. 

The Montréal-based psych outfit then spent the better part of the next two years touring to support their full-length debut, which included stops at SXSW, Pop Montréal, Toronto, NYC, and Québec City. 

Population II signed with Bonsound‘s label, booking and publishing arms. Bonsound released the French Canadian trio’s l Èthier-produced sophomore album Èlectrons libres du québec late last year. Èlectrons libres du québec is much more straightforward than its predecessor and showcases their remarkably adept musicianship and furthers their unique take on heavy psych rock, which features feverish punk rhythms, early punk energy bursts, hints of jazz philosophy and al love of minor scales informed by heavy metal’s early roots.

Èlectrons libres du québec received praise on both sides of the Atlantic from the like son Rock & Folk, Exclaim!, La Presse, Le Devoir and long list of others. And adding to a breakthrough year for the Montréal-based outfit, they also won a Breakthrough of the Year Award at last year’s GAMIQ ceremonies. 

Building upon a breakthrough 2023, the French Canadian JOVM mainstays will be releasing Èlectrons libres du québec‘s highly-anticipated follow-up Serpent Échelle EP. Slated for a Friday release through Bonsound, the EP, which will be released on a limited-edition cassette tape and on all digital platforms, sees the band crafting crating material that stands out from their previously released work: Shifting between orchestrated passages and lysergic riffage without warning, the EP’s material is wilder, more adventurous and heavier. Rooted in their remarkable compositional skills, the material displays a newfound commitment to songwriting. 

Thematically, the material touches upon the desperate urgency of life in the age of global doom while still enjoying life’s small pleasures — love, friendship, wine, good tunes and the like. 

The album also features violin from their acclaimed friend and producer Emmanuel Éthier. 

In the lead up to the EP’s release later this week, I wrote about the previous released single “R.B.” Beginning with a gorgeous string intro and an angular and propulsive bass line paired with a rapid paced hi-hat driven bit of percussion, the song quickly explodes into scorching riffage around the 35-45 second mark. Throughout the song’s run, it alternates between breathtaking beauty and scorching power chords. Gratton’s plaintive croon darts in and out of a lysergic and deceptively anachronistic arrangement that sounds as though it could have been released sometime between 1967-1973.

The EP’s latest single “Comme tu le souhaites (Ding Dong)” was written on the spur of the moment, right before its recording and was recorded during the Electrons libres du québec sessions. Reportedly one of the most self-referential tracks of their growing catalog, the song’s lyrics allude to a number of anecdotes and tales of events that they experienced in the stood while paying loving tribute to their dedicated sound engineer, Trevor Turple.

Much like its immediate predecessor, “Comme tu le soulhaites” is anchored around a mind-bending and woozy arrangement held together by a propulsive rhythm section that draw some inspiration from Miles Davis’ On the Corner Sessions paired with some prog rock-like keys and some forceful, scorching riffage. Throughout Gratton’s vocal alternates between singing and cooing.

Single Review by William Ruben Helms

New Audio: Ohnarp Janson Shares Sleek and Funky “I Remember”

Ohnarp Janson is a French jazz musician and composer, who over the past 30 years has specialized in a genre and convention-defying jazz fusion sound that blends elements of jazz, funk and electronic music. In that time, Janson has played at renowned festivals and clubs across the world, while releasing albums that showcase material that’s innovative and dynamic.

Janson’s latest single “I Remember” is a sleek and funky composition that seemingly channels Bob James, Herbie Hancock, Return to Forever and Jaco Pastorius that features glistening Rhodes, a propulsive and funky drum pattern, a brooding yet soulful horn line, and a supple yet chugging bass line within an expansive arrangement that showcases musicians, who know how to really swing when it counts — and when to allow room for some dexterous and impressive soloing.

Video by William Ruben Helms

Throwback: Happy 71st Birthday, Peter Garrett!

JOVM’s William Ruben Helms celebrates Midnight Oil’s Peter Garrett’s 71st birthday.

Single Review by William Ruben Helms

Rialto, CA-based soul outfit Brainstory will be releasing their Leon Michels-produced sophomore album Sounds Good on Friday through renowned purveyors of soul, Big Crown Records.

The album will feature:

  • “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.

Sounds Good‘s fifth and latest single “XFaded” is 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.

The trio are about to embark on a run of headlining Stateside dates and a couple of stops on the global festival circuit, before joining Lady Wray in May for a run of UK and European Union dates. Tour dates are below.

BRAINSTORY TOUR DATES

Apr 18 Lodge Room – Los Angeles, CA **SOLD OUT

Apl 19 The Independent- San Francisco, CA

Apr 20 Moe’s Alley – Santa Cruz, CA

Apr 21 Pappy & Harriets – Pioneertown, CA 

Apr 22 Valley Bar – Phoenix, AZ

Apr 23 Love Buzz – El Paso, TX 

Apr 25 Tandem – San Antonio, TX 

Apr 26 Psych Fest – Austin, TX

Apr 27 Norman Music Festival – Norman, OK

Apr 29 Sister Bar – Albuquerque, NM 

May 01 Larimer Lounge – Denver, CO 

May 02 The Atrium – Fort Collins, CO 

May 03 DLC – Salt Lake City, UT 

May 04 Neurolux – Boise, ID 

May 07 High DIve – Seattle, WA 

May 08 Mississippi Studios – Portland, OR

May 14 Bird, Rotterdam, Netherlands +

May 15 Bitterzoet, Amsterdam, Netherland +

May 16 Knust – Hamburg, Germany +

May 17 Franz Mhelhose – Enfurt, Germany +

May 18 Lido – Berlin, Germany +

May 20 La Maroquinerie – Paris, France +

May 23 Belgrave Music Hall – Leeds, UK +

May 24 Lost Horizon – Bristol, UK +

May 26 Cross The Tracks Festival – Brockwell Park, UK

May 27 Jazz Cafe – London, UK +

May 28 The Blues Kitchen – Manchester, UK +

May 29 St. Luke’s – Glasgow, Scotland +

Jun 08 The Rockaway Hotel – Rockaway, NY +

Jul 08 FEQ Festival D’ete De Quebec – Quebec, Canada

+ notes dates with Lady Wray

Video by William Ruben Helms

Throwback: Happy 56th Birthday, Ed O’Brien!

JOVM’s William Ruben Helms celebrates Radiohead’s Ed O’Brien’s 56th birthday.

Single Review by William Ruben Helms

Austin-based trio Boss Battle specialize in a sludgy and dirty alt rock/grunge-meets pop sound anchored around precise beats, stomach-dropping synth bass lines, walls of analog synth, scorching guitar and dual male/female vocals. While being heavy enough to thrash along with, the Austin-based outfit’s work has always been catchy and melodic enough to sing along to — presumably with a beer raised in the air.

So far, through the release of a handful of singles and EPs, Boss Battle has been compared to The Jesus Lizard, Pixies, The Dead Weather, Deftones and Failure among a list of others. Building upon a growing profile locally and elsewhere, the band will be releasing a handful of singles over the course of the next year.

The band’s latest single “Burned Alive” is a sludgy and soulful dirge, anchored around scorching riffs, whirring electronics, thunderous drumming and enormous, sing-along worthy hook and choruses within an expansive yet grunge-inspired song structure. The song’s arrangement serves as lush yet anthemic bed for remarkably melodic, powerhouse vocals.

“‘Burned Alive’ might be the simplest yet most melodic song we’ve written,” the band’s Chico Jones says. “All the parts landed quickly. The arrangement was straight forward. I remember Ben suggesting that we kill any intro and start cold with the lyrics and music. Bang! you’re in the middle of it! I also remember recording the vocal lines into my phone almost immediately after we wrote the guitar and drums. I am proud of the melodies. Definite singalong feels.”

“The lyrics took a while though—and several rewrites as well,” Jones continues. “But I like where we landed with the words … The vibe is sort of this Flowers for Algernon perspective but only the worst parts. Abandon all hope… And Erin really nails that emotion at the end— so good. I also can tell that the band geek in me is giving a shoutout to influences that use a lot of space in their riffs . It’s as if the beginning is just an excuse for that drop at the end— but in reality you have to hammer everyone for a bit before you take them for a slow ride.Oh yeah I’m also not really playing chords — why are there so many strings on this thing?”

Single Review by William Ruben Helms

Formed back in 1995, Stockholm-based duo Club 8 — Karolina Komstedt (vocals) and electronic music producer, artist and Labrador Records founder and label boss Johan Angergård — initially began as a recording project, before expanding into a full-fledged touring band.

Throughout their nearly three decade history, the Swedish pop outfit has a long-held reputation for being sonically restless and notoriously difficult to pigeonhole. Their full-length debut, 1995’s Nouvelle saw the duo tackling Bossa nova. 1998’s The Friend I Once Had saw the duo exploring electronic pop and electronic dance music. The Swedish outfit’s next three albums — 2001’s self-titled, 2002’s Spring Came, Rain Fell and 2003’s Strangely Beautiful — saw the duo dabbling with old-school-inspired soul.

2017-2018 may have arguably been one of the more prolific and busiest periods of Angergård’s lengthy career: With his solo recording project The Legends, he released Nightshift. Djustin, the Labrador Records founder and label boss’ collaboration with Rose Suau released their full-length debut, Voyagers. He closed that period out with Club 8’s 10th album, 2018’s Golden Island, which featured “The Hospital,” one of the most industrial/goth-leaning tracks the pair have ever released.

Over the past year, the Swedish duo have released a batch of singles, including their latest, the recently released “Sucker.” Anchored around incredibly catchy hooks, shimmering, reverb-soaked guitars and a relentless motorik groove serving as a lush bed for Komstedt’s ethereal croon, “Sucker” sees the Stockholm-based outfit dabbling in dance floor friendly, hook-driven 80s New Wave nostalgia.