Tag: Baby’s All Right

New Audio: JOVM Mainstay Cold Specks Returns with a Chilly Industrial-like New Single

Over the course of the past handful of posts, I’ve found myself focusing on new material from a series of long-time JOVM mainstays — and if you’ve been frequenting this site for a while, you’d likely be intimately familiar with the renowned, Toronto, ON-born and- based singer/songwriter  Ladan Hussein, best known as Cold Specks. Now, as you may recall, after spending the better part of 2015 and 2016 touring to support Neuroplasticity, Hussein returned to Toronto, where she began working on her third full-length album, Fools Paradise, which is slated for a September 22, 2017 release through Arts & Crafts Records, and from the album’s early batch of singles — the slow burning and atmospheric  “Wild Card,” which was inspired by the refugee experience and an act of unusual and profound kindness towards a stranger, from a familiar yet far away place; the aching and vulnerable album title track, Fool’s Paradise;” and “New Moon,” a song that conveyed the struggle to find stability and oneself after life (and love) have thrown you for a complete and total loop.

Fool’s Paradise’s fourth and latest single sonically pairs Ladan’s gorgeous and soulful vocals with shimmering yet chilly industrial beats and electronics — and while nostalgic, the song possesses a bittersweet tinge to it, influenced in some way by the fact that when Hussein grew up, she never heard much about her parents’ life in Mogadishu before fled the country; in fact, the vision of the country the song evokes seems both uncertain and mythical, all while being something (anything, really) to cling to and understand.  And although the song finds Ladan and her collaborators expanding upon the sound that first caught the attention of this site and the rest of the blogosphere, the new single may arguably be the album’s haunting, fever dream. 

New Video: The 60s Inspired Sounds and Visuals of Melbourne Australia’s The Babe Rainbow

Comprised of Bryon Bay, Australia-born and based founding members, Jack “Cool-Breeze” and Angus Darling The Hothouse Flower and Venezuelan-born pianist Lu-Lu-Felix Domingo, the Australia-based trio The Babe Rainbow can trace their origins to when its founding […]

New Video: Danish-born Los Angeles-Based Artist Dinner Releases Americana-Inspired Visuals for “Un-American Girl”

Anders Rhedin is a Danish-born, Los Angeles, CA-based producer, singer/songwriter and multi-instrumentalist, who may be best known for a brief stint collaborating with Danish-born singer/songwriter and guitarist  Jannis Noya Makrigiannis in Copenhagen -based Choir of Young Believers, an act that had multiple chart topping hits in Denmark and was named “Best New Act” in 2009’s Danish Music Awards. Since relocating to Los Angeles several years ago, Rhedin started his own solo recording project Dinner, which received attention with the release of his debut EP collection and his full-length debut Psychic Lovers. 

With his sophomore effort New Work, which is slated for a September 8, 2017 release through renowned indie label Captured Tracks Records, Rhedin had a desire to do things differently.  “I just needed to get back to the approach I used when I was still self-release cassettes back in Copenhagen,” Rhedin explains in press notes. “I spent way too much time on the previous record. I was sitting in front of a computer screen alone for seven months working on it, obsessing over it. This time, I wanted to work very fast in order think less. I wanted to collaborate more. I hoped that other people’s presence would keep my perfectionism in check.” Rhedin enlisted Regal Degal’s and Ducktails’ Josh Da Costa to co-produce New Work, and the album features guest spots from Tonstartssbandht’s Andy White, and unlike the previous album, an array of American-born and-based musicians including Blouse’s Charlie Hilton, Infinite Bisous’ and Connan Mockasin’s Rori McCarthy, The Paranoyds’ Staz Lindes and Sean Nicholas Savage. The recording sessions found Rhedin, Da Costa and company working during the late night, off-hours at a  studio in an industrial section of downtown Los Angeles, with material being recorded on the spot — with little preparation time. “A lot of my favorite music is American. I thought it would be fun to go a little bit less Euro on this one,” Rhedin says in press notes. “I’m pretty Euro by myself, some might say. I wanted to add a different color.” 

In between sessions, Rhedin recoded and overdubbed material in his apartment with a 4 track recorder from the early 80s. We did very little editing, we just tried to record what was there. You’ll hear a lot of first-takes on the record,” Rhedin informs us in press notes. “The best part of the process was driving home early in the morning though the empty streets of LA, listening to the night’s recordings. Because it was such an immediate experience.”

Reportedly, New Work and its first single “Un-American Woman” was inspired a by William Blake’s “Proverbs of Hell” and Rhedin’s own personal experiences. “‘Un-American Woman’ is a song I wrote just before I stopped going out, just before I stopped sleeping around with woman,” the Danish-born, Los Angeles-based producer, singer/songwriter and multi-instrumentalist says in press notes. “The song seems to be about disillusionment and a fear of being stuck in a certain lifestyle. But it also also touches upon the potential transformational aspects of ‘bad things.’ Nothing’s black or white, good or bad. There is just life-force moving. A constant movement. ‘The road of excess leads to the place of wisdom’ in the words of Blake.” 

Sonically speaking, New Work’s first single manages to be a mischievously anachronistic and effortless meshing of Joy Division and The Smiths-like post-punk, 60s guitar pop and psych pop with Around the World in a Day-era Prince, as the song manages to possesses a similar moody Romanticism paired with an ability to craft a slick and infectious hook. 

Interestingly, the recently released visuals for the song were shot in and around Las Vegas and manages to evoke the song’s haunting loneliness and swooning Romanticism; but interestingly enough the video features Mac DeMarco’s brother Hank dancing with his ballet troupe, and a sequence featuring a bunch of young people roughhousing in a seedy motel room. It’s decidedly American but from an outsider’s point of view. 

Live Footage: JOVM Mainstays White Reaper Performing New Album Single “Little Silver Cross”

Now, if you’ve been frequenting this site for the past couple of years, you may recall that with the release of both their self-titled EP and their critically applauded full-length debut White Reaper Does It Again, the Louisville, KY-based quartet White Reaper received national attention and toured with acts like Deerhoof, Young Widows, Priests and others while quickly becoming JOVM mainstays. And after touring to support their full-length debut, the members of the Louisville-based band retreated to write and record the material that would comprise their long-awaited sophomore effort, The World’s Best American Band, which Polyvinyl Records officially released today.

Over the past couple of months, I’ve written about The World’s Best American Band’s first two singles “Judy French,” which revealed that the band had gone through a decided change in sonic direction — going from scuzzy, power chord-based garage barn burners towards a sound that clearly draws from 80s New Wave, power pop and prog rock with a studio sheen that reminded me quite a bit of The Cars “You Might Think” and Moving Pictures-era Rush. The album’s second single, album title track “The World’s Best American Band” continued on a similar clean, lean vein, while being reminiscent of the anthemic power pop of Cheap Trick. And from the release of their sophomore album’s first two singles, several websites have begun to tab the album as one to be on the look out for, if not arguably one of the better releases of the year. Building on the growing buzz that The World’s Best American Band has received, the members of White Reaper recently released live footage of the album’s third and latest single “Little Silver Cross,” and like its preceding singles, it possesses incredibly self-assured and ambitious songwriting and an undeniable studio polish — while retaining a vibrant, forceful, punk rock and garage rock urgency, the band reveals an ability to craft arena rock worthy hooks paired with a propulsive rhythm section and some inspired, blistering guitar work.

Interestingly, the live footage will serve as a bit of a taste of what the band’s live set and sound is like, as they’re about to embark on a lengthy national tour to support their sophomore effort that includes a May 30, 2017 stop at Baby’s All Right.

New Video: The Bluesy Sounds and Visuals for Winstons Barn-burning “Enough”

Comprised of Lou Nutting (guitar, harmonica, vocals) and Ben Brock Wilkes (drums, vocals), the up-and-coming Virginia-born, Brooklyn-based duo Winstons can actually trace their origins to when the duo met while working at Williamsburg hotspot Baby’s All Right. With the release of two EPs Turpentine and Black Dust back in 2015, the Brooklyn-based duo received attention for a soulful, garage, blues rock that owes an equal debt to The Black Keys, Screamin’ Jay Hawkins complete with a visceral and forceful earnestness — and for making a decided point of recording live to tape, with no touch-ups, no overdubs, no retakes; first thought, best thought.

Earlier this year, I wrote about “Without You,” off their “Without You”/”Enough” 7 inch, a single bluesy single that possessed a forceful immediacy and heartache and an anthemic, arena rock sized hook. And building upon the buzz that “Without You” has received, the duo released the B side single “Enough” a single which will further cement their burgeoning reputation for crafting raw, urgent, blues-leaning garage rock with arena-friendly, anthemic hooks — and while drawing from The Black Keys, the mid-tempo barnburner manages to nod at The Band and The Animals.

Directed by Buried Muse, the recently released music video for the single follows in a similar vein as the visuals for “Without Out,” as the video follows the duo jamming on the roof and performing inside Williamsburg’s Baby’s All Right, broodingly smoking cigarettes out of their window, thinking about the past, and heading to a local bar, where they encounter their dopplegangers — with a natural sense of suspicion. In some way, it captures the rock ‘n’ roll life, suggesting that it’s far more cooler than living an actual life, complete with banality, routine and utter boredom.