Tag: Amsterdam The Netherlands

Daniel Isaiah is a Montreal, Quebec, Canada-based singer/songwriter and filmmaker, known for award-winning short films under his full-name Daniel Schachter. The Canadian multimedia artist’s forthcoming album Only One Left is slated for a November 28, 2018 release, and interestingly, the album was written, deeply influenced and book-ended by the saddest and happiest moments of the artist’s life — his mother’s death and his wedding.  Unsurprisingly, the album thematically is centered around the inevitable beginnings and endings of life. Additionally, during that period, Schachter spent nine months traveling across Turkey, Greece, Israel, Italy, the UK, France and The Netherlands with his Nord synthesizer in tow, writing throughout his travels. As Schachter says in press notes, “I recorded in a big house in Istanbul, a tiny hotel room in Amsterdam, and an even tinier bathroom in Tel Aviv (to mute the birds in the backyard).”  Schachter adds that Only One Left is “rooted in my native Montreal, but also in the countries where I went wandering — an outsider looking in. The music itself signals a new phase in my work — still committed to the old craft of songwriting but experimenting with synthesizers and computer to carve out a sound that is my own.”

Schachter returned to Montreal and recruited his friends Brad Barr, Joe Grass and Joshua Teal to play on the album as his backing band — and his friend and frequent collaborator Matthew Lederman to mix the recording sessions. The album’s first single, album opening track “Javelin Fade” is a moody and atmospheric track centered around a sparse arrangement of shimmering electronics, twinkling keys, gently padded drumming  and ethereal vocals — and sonically, to my ears, the song manages to recall Tales of Us-era Goldfrapp and Portishead; however, lyrically, as Schachter notes, the song at points references to the sirens of Greek mythology and to the bomb warning sirens, as the narrator floats over the Earth as the sole witness of nuclear armageddon. Indirectly, the song gently buzzes with the anxiety over the seemingly impending end of the world as we know it.

 

 

 

 

 

 

 

 

 

 

 

 

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New Video: Nana Adjoa Returns with the Mesmerizing and Intimate Sounds and Visuals for “Three”

Over the past few months I’ve written quite a bit about  Nana Adjoa, an up-and-coming Dutch-Ghanian singer/songwriter, who began to receive attention across the European Union and elsewhere with the release of her debut Down at the Root, Part 1, and as you may recall Adjoa was accepted at the prestigious Amsterdam Conservatory, where she would study jazz  — electric bass and double bass; however, she found the experience to not be what she had always imagined it would.  “It was very much like school,” she says in press notes. “We thought we wanted to go to the most difficult department, that we wanted to be the best, but it wasn’t a very fun experience.” Interestingly, around the same time, the Amsterdam-born and-based singer/songwriter began to experience a growing divide between the restrictive and theoretical compositions she was studying and the melodic, free-flowing music she’d play while outside of the school environment. Adjoa quickly began to realize that pursing a solo career was the direction she needed to take, and so she formed a band and record her original songs, which has resulted in the attention grabbing Down At The Root Part 1 and the soon-to-be released Down At The Root Part 2.

“Honestly,” Down at the Root Part 2‘s first single was an effortless and breezy affair that seemed indebted to Simply Bill-era Bill Withers, Erykah Badu, Jill Scott and others, driven by an infectious hook and a lush melody. The EP’s second single, “Part Of It,” much like its predecessor was centered around a lush and plaintive melody, a sinuous and propulsive bass line, and arguably the most straightforward and honest lyrics of the entire EP, with the song focusing on the desire to fit in when you’re an outsider. “Three,” the EP’s aptly titled third single is a stripped down and intimate song in which Adjoa’s lovely and tender vocals are accompanied by simply strummed guitar and some fluttering electronics, which will further the Dutch-Ghaniaan singer/songwriter’s reputation for writing mesmerizing and effortlessly soulful, and thoughtful pop. 

New Audio: Nana Adjoa Returns with an Atmospheric, Soulful, and Straightforward New Single from Forthcoming EP

Last month, I wrote about Nana Adjoa, an up-and-coming Dutch-Ghanian singer/songwriter, who began to receive attention across the European Union and elsewhere with the release of her debut Down at the Root, Part 1. Now, as you may recall Adjoa’s was accepted at the prestigious Amsterdam Conservatory, where she would study jazz (electric bass and double bass); however, she found the experience to not be what she had always imagined it would.  “It was very much like school,” she says in press notes. “We thought we wanted to go to the most difficult department, that we wanted to be the best, but it wasn’t a very fun experience.” Around the same time, the Amsterdam-born and-based singer/songwriter began to experience a growing divide between the restrictive and theoretical compositions she was studying and the melodic, free-flowing music she’d play while outside. Adjoa began to realize that pursing a solo was the direction she needed to take, and so she formed a band and record her original songs, which has resulted in the attention grabbing Down At The Root Part 1 and the forthcoming Down At The Root Part 2.

“Honestly,” Down at the Root Part 2‘s first single was an effortless and breezy affair that seemed indebted to Simply Bill-era Bill Withers, Erykah Badu, Jill Scott and others, as the song reveled a self-assured artist beyond her years, who can craft a song that’s driven by an infectious hook and a lush melody — and as Adjoa explained in press notes, the song is what she considers an “outsider track” that grew from a simple piano backing into its current, vibey, jazz-soul arrangement. “I didn’t even think it was going to make the record because it felt so different from the rest,” the Dutch-Ghanian singer/songwriter says. “I guess it’s about how people are scared of the possibility of something bad happening. And that fear is really strange because you don’t know what’s going to happen. You never know what’s going to happen.”

Down At The Root, Part 2’s second and latest single is the slow-burning and atmospheric “Part Of It,” a track centered around a lush and plaintive melody, a sinuous and propulsive bass line and arguably the most honest and straightforward lyrics of the EP I’ve heard, as the song focuses on the desire and need to fit in when you’re a complete outsider.

 

New Video: Berlin’s Alice Phoebe Lou and Olmo Team Up for a Sparse and Atmospheric Blues Duet

Earlier this year, I wrote about the Cape Town, South Africa-born, Berlin, Germany-based singer/songwriter and multi-instrumentalist Alice Phoebe Lou, and as you may recall, Lou has developed a reputation for a fiercely independent, punk rock-like DIY approach to her ethereal folk music. And although her parents were documentary filmmakers, Lou took piano lessons as a child and as a teenager, taught herself to play guitar. When she turned 16, Lou spent a summer vacation visiting her aunt Paris, where armed with an acoustic guitar, she met a number of buskers and other street performers — some who taught her poi dancing.

Upon graduation, Lou went to Europe — first landing in Amsterdam, where she made money as a poi dancer, before relocating to Berlin, where she became a well-known and well-regarded busker, performing interpretations of popular songs and her own original material, and eventually developing her own unique sound.  With the release of her 2014 self-released debut EP Momentum, the Cape Town-born, Berlin-based singer/songwriter and multi-instrumentalist began receiving international attention — and as a result, she spent the following year performing at a number of TED events in London and Berlin.

Building upon a rapidly growing profile, Lou released her critically applauded, 2016 full-length debut Orbit, which saw her garner a nomination for Best Female Artist at that year’s German Critics’ Choice Awards, as well as a set at the 27th Annual Conference for the Professional Business Women of California, which featured keynote speakers Venus Williams, Judy Smith, and Memory Banda. Lou spent much of that year on the road, touring to support her debut effort, sharing bills with Sixto Rodriguez, Boy & Bear, Allen Stone and Crystal Fighters. Additionally, the Cape Town-born, Berlin-based singer/songwriter played three, sold-out multimedia events at the Berlin Planetarium — and by demand, she added two additional planetarium shows to her 2017 tour itinerary.

Along with the Berlin Planetarium shows, Lou recorded a live version of “She” with the live performance video, shot during two different Berlin area shows going viral, receiving more than 2.5 million YouTube streams, and the song was featured in the major motion picture Bombshell: The Hedy Lamar Story;  in fact, the song was shortlisted for an Oscar for Best Original Song. Adding to an incredible run of critical success, Lou released her latest EP, Sola at the end of last year.

Lou released a studio version of “She” back in February, which coincided with a number of international tour dates to build up buzz for her highly-anticipated sophomore album.  But before that, the Cape Town-born, Berlin-based singer/songwriter and multi-instrumentalist collaborating with the Bologna, Italy-born, Berlin-based blues singer/songwriter and multi-instrumetnlist Franceso Lo Giudice, best known as Olmo. Much like Lou, Olmo spent his summers going to a different city or two with a lap slide guitar, busking and soaking up the local vibes. Upon finishing his studies at the University of Bristol, Lo Giudice got heavily into production — so much so that he left a band he started Amoa Mass, relocated to Berlin and started his solo project, which meshes the blues with electronic music. Interestingly enough, Lou and Lo Giudice’s collaboration can trace its origins to when they met while busking in Berlin, and their latest song together “Devil’s Sweetheart” was reportedly written and crafted within an hour — and the song is a sparse, atmospheric yet cinematic track centered around a looping twangy, blues guitar line, a moody string arrangement, and the duo’s uncanny harmonies. Sonically, the song brings to mind Daughn Gibson’s dusty, old-timey sample-based take on country and the work of the legendary T. Bone Burnett.

The gorgeous and moodily shot video for “Devil’s Sweetheart” features some spectacular aerial performances by Valia Beauvieux and Dennis Macaofrom the Berlin based circus crew Birdmilk Collective.

Over the past 18 months or so, I’ve written quite about the Utrecht, The Netherlands-based singer/songwriter Annelotte de Graff and her solo recording project Amber Arcades, and as you may recall with the release of her full-length debut Fading Light, de Graaf received international attention for an album that thematically focused on the and the relativistic experience of it, magic, jet lag and her own dreams, which have managed to influence much of her personal and creative life; in fact, as the story goes, De Graaf used her life savings for a flight to New York and studio time to record her debut with Ben Greenberg, who has worked with The Men, Beach Fossils and Destruction Unit, and a studio backing band that included Quilt’s Shane Butler (guitar) and Keven Lareau (bass) and Real Esate’s Jackson Pollis (drums) — both of whom she had specifically hand picked because she had dreamt of working with them. Along with that, De Graaf had a long-held dream of working for the UN, and she eventually worked as a legal aide on UN war crime tribunals and n human rights and immigration law, assisting Syrian refugees.

Last year, saw the release of the critically applauded Cannonball EP, which was among my favorite releases last year — in particular, the gorgeously shot video for “Wouldn’t Even Know,” which featured a guest spot from British singer/songwriter, composer, producer and guitarist  Bill Ryder-Jones brought back memories of riding trains through the Dutch countryside from Amsterdam to Dordrecht, passing through and by towns like Abcoude, The Hague, Breukelen and others. Along with that, EP singles like “It Changes” and her cover of Nick Drake’s “Which Will,” revealed a singer/songwriter with an self-assured yet uncanny knack for a catchy hook within jangling guitar pop.

De Graaf’s latest single “Goodnight Europe” is the first taste of her forthcoming sophomore, full-length album slated for release later this year, and the single finds the renowned Dutch singer/songwriter’s sound leaning heavily towards Ziggy Stardust-era David Bowie, The Rolling Stones, T. Rex and Sgt. Pepper and Let It Be-era Beatles, as the song features some impressive and bluesy guitar work paired with a gorgeous string arrangement — and the song manages to further cement De Graaf’s ability to craft a razor sharp hook around some thoughtful songwriting; in fact, the song is a meditation on the current state of the European Union, written from the perspective of a dysfunctional and confusing romantic relationship that’s inescapably odd. As De Graaf explains in press notes, “I guess about half of it is me actually being worried about the current state of the Union. The other half is me kind of messing around with, and making fun of, this archetype of the tiresome existentialist academic in me.”

New Video: Up-and-Coming Dutch Singer/Songwriter Nana Adjoa Releases Symbolic Visuals for Soulful Single “Honestly”

If you follow me through the various social media platforms, you’d know that I’ve had an absolutely epic time during my first two days in the Windy City — and everyone I’ve met has been a wonderful and kind ambassador to their hometown. Man, right now, I feel as though Chicago can’t do me wrong. But on to the business end of things  . . . 

Nana Adjoa is an up-and-coming Dutch-Ghanaian singer/songwriter, whose father emigrated to Amsterdam in the 1980s and eventually married the Amsterdam-born and-based singer/songwriter’s “very Dutch” mother. Growing up, Adjoa spent a portion of her childhood in the rough and tumble, working class Biljmer neighborhood, a section once described by a local police chief a “national disaster area.” In press notes, Adjoa describes her upbringing as being fairly liberal until her parents’ divorce and their subsequent embrace of Christianity. “The second part off my growing up was with some Christian values, but by this point, I was getting to the age of making up my own mind,” the Dutch-Ghanaian singer/songwriter recalls in press notes. “It was a bit too late for me.” Eventually, there was a rift within her family with the Christians (Nan’s father, mother and brother) on one side and the non-Christians (Nana, her sister and the rest of the extended family) on the other. Understandably religion, as well as questions about her own gender identity and of being a black person in an extremely white environment have been regularly occurring themes and concerns in her work. “In fact, I think I still unconsciously use a lot of Christian ideas and metaphors in my music,” she adds.

Adjoa was accepted at the prestigious Amsterdam Conservatory to study jazz (electric bass and double bass); however, she found the the experience to not be what she had always imagined it would. “It was very much like school,” she says. “We thought we wanted to go to the most difficult department, that we wanted to be the best, but it wasn’t a very fun experience.” Around the same time, the Amsterdam-born and-based singer/songwriter began to experience a growing divide between the restrictive and theoretical compositions she was studying and the melodic, free-flowing music she’d play while outside. Adjoa began to realize that pursing a solo was the direction she needed to take, and so she formed a band and record her original songs, which has resulted in the attention grabbing Down at the Root Part 1 and the forthcoming Down at the Root Part 2.

“Honestly,” Down at the Root Part 2‘s first single is an effortless, neo soul affair that nods at Simply Bill-era Bill Withers, Erykah Badu, Jill Scott and others, as the song reveals a quietly self-assured singer/songwriter beyond her relative youth, who can craft a song that’s driven by an infectious hook and a lush melody; but as Adjoa explains, the song is an “outsider track” that grew from a simple piano backing into its vibey, jazz-like arrangement. “I didn’t even think it was going to make the record because it felt so different from the rest,” Nana says. “I guess it’s about how people are scared of the possibility of something bad happening. And that fear is really strange because you don’t know what’s going to happen. You never know what’s going to happen.”

Directed by Bear Damen, the recently released video for “Honestly” features Adjoa and her backing band, as the backing musical act for a surrealistic play; but underneath that are much deeper interpretations — including, the vulnerability of having someone capture your heart, and knowing that with a cruel or thoughtless act, that they can crush it. 

Live Footage: JOVM Mainstays METZ on “The Chris Gethard Show”

Over the past three or four years, I’ve written quite a bit about the Toronto, ON-based JOVM mainstays METZ, and as you may recall the trio’s third, full-length album Strange Peace was released last year, and album found the band retaining the furious and blistering energy of their live sets, while pushing their songwriting in new directions, with the most personal and politically charged material they’ve written yet, as it captures the anxiousness, uncertainty and fear of our time; but interestingly, the album’s material manages to suggest that when things are their bleakest, that you aren’t alone, because they are others just like you.  As the band’s Alex Eadkins explained in press notes, “The songs on Strange Peace are about uncertainty. They’re about recognizing that we’re not always in control of our own fate, and about admitting our mistakes and fears. They’re about finding some semblance of peace within the chaos.”

The members of METZ have been relentless road warriors, melting faces and pummeling eardrums on stages large and small all across the world, and before  embarking on an extensive world tour that will include stops in lovely Amsterdam and Rotterdam and elsewhere, METZ appeared on truTV’s The Chris Gethard Show, where they played a face melting set featuring singles “Mr. Plague,” “Cellophane” and “Mess of Wires.” Oh and check out the exuberant dude in the banana suit, because if you had even half his exuberance, life would be way more fun. 

 

Nana Adjoa is an up-and-coming Dutch-Ghanaian singer/songwriter, whose father emigrated to Amsterdam in the 1980s and eventually married the Amsterdam-born and-based singer/songwriter’s “very Dutch” mother. Growing up, Adjoa spent a portion of her childhood in the rough and tumble, working class Biljmer neighborhood, a section once described by a local police chief a “national disaster area.” In press notes, Adjoa describes her upbringing as being fairly liberal until her parents’ divorce and their subsequent embrace of Christianity. “The second part off my growing up was with some Christian values, but by this point, I was getting to the age of making up my own mind,” the Dutch-Ghanaian singer/songwriter recalls in press notes. “It was a bit too late for me.” Eventually, there was a rift within her family with the Christians (Nan’s father, mother and brother) on one side and the non-Christians (Nana, her sister and the rest of the extended family) on the other. Understandably religion, as well as questions about her own gender identity and of being a black person in an extremely white environment have been regularly occurring themes and concerns in her work. “In fact, I think I still unconsciously use a lot of Christian ideas and metaphors in my music,” she adds.

Adjoa was accepted at the prestigious Amsterdam Conservatory to study jazz (electric bass and double bass); however, she found the the experience to not be what she had always imagined it would. “It was very much like school,” she says. “We thought we wanted to go to the most difficult department, that we wanted to be the best, but it wasn’t a very fun experience.” Around the same time, the Amsterdam-born and-based singer/songwriter began to experience a growing divide between the restrictive and theoretical compositions she was studying and the melodic, free-flowing music she’d play while outside. Adjoa began to realize that pursing a solo was the direction she needed to take, and so she formed a band and record her original songs, which has resulted in the attention grabbing Down at the Root Part 1 and the forthcoming Down at the Root Part 2.

“Honestly,” Down at the Root Part 2‘s first single is an effortless, neo soul affair that nods at Simply Bill-era Bill Withers, Erykah Badu, Jill Scott and others, as the song reveals a quietly self-assured singer/songwriter beyond her relative youth, who can craft a song that’s driven by an infectious hook and a lush melody; but as Adjoa explains, the song is an “outsider track” that grew from a simple piano backing into its vibey, jazz-like arrangement. “I didn’t even think it was going to make the record because it felt so different from the rest,” Nana says. “I guess it’s about how people are scared of the possibility of something bad happening. And that fear is really strange because you don’t know what’s going to happen. You never know what’s going to happen.”

 

New Video: Up-and-Coming British Act ISLAND Release Gorgeously Cinematic Visuals for Soaring Album Single “Horizon”

ISLAND, an up-and-coming London-based act can trace their origins to when vocalist Rollo Doherty’s solo, acoustic, bedroom project expanded to a fully fleshed out band with the addition of Jack Raeder (guitar), James Wolfe (bass) and Toby Richards (drums)  — and with the release of two critically applauded EPs, the band have quickly developed a reputation for crafting atmospheric yet anthemic, arena rock friendly material largely inspired by the likes of Fleetwood Mac, Kings of Leon, The War On Drugs, Grizzly Bear and others, and for must-see live see that they’ve honed through some relentless touring of the UK and European Union over the course of 2017.

Building upon their growing profile, the London-based quartet’s highly-anticipated self-produced, full-length debut Feels Like Air reportedly continues their long-held DIY approach to the creative process while further cementing their reputation for crafting incredibly self-assured earnest and anthemic songs; in fact, album singles “Try,” “The Day I Die,” and “Ride” have amassed a total of over 2.6 million Spotify steams — with the band earning nearly half-a-million monthly listeners.  Interestingly, the album’s latest single “Horizon” is a slow-burning, atmospheric track with enormous, arena friendly hooks reminiscent of Unforgettable Fire and Joshua Tree-era U2 and while self-assured, it reveals a band that’s managing the difficult balance of an ambitious desire to rock everyone’s pants off with a thoughtful and deliberate attention to mood and craft.

Directed by Claes Nordwall, the recently released, and incredibly cinematic video for “Horizon” follows the members of the band driving through the snowy Swedish countryside, with each individual member broodingly lost in their thoughts. And as the members of the band explain in press notes, the video “captures a key theme of the album as a whole — the idea of a passenger drifting through different dreams on a journey. We wanted the video to reflect the open soundscape, we feel the song creates, so we jumped at the chance to shoot in the vast Swedish countryside. Claes took us back to his snowy hometown for the video, which had an amazing dreamlike feel that really suited the ideas we wanted to convey.