Tag: Berlin Germany

Single Review by William Ruben Helms

New Audio: JOVM Mainstays The Lovelines Shares Woozy, Reggae-Tinged “Girl”

Over the past couple of years, I’ve spilled quite a bit of virtual ink on The Lovelines. The duo, which is currently split between Berlin and  Orlando, have been very busy during that same period steady releasing singles that have caught the attention of the blogosphere and elsewhere.

The duo’s latest single “Girl” is anchored around a woozy yet languorous production featuring a reggae-influenced groove, bursts of glistening guitar paired with Tessa D’s soulful, subtly swaggering delivery. “Girl” manages to recall some of the JOVM mainstays earliest material, the new single continues to showcase an act that writes songs with an effortless attention to craft, while being remarkably hooky.

Video by William Ruben Helms

New Video: bat zoo Shares Shimmering “Diamond Lane”

bat zoo is a rising American-born, Berlin-based singer/songwriter and producer, who has developed a reputation for boundless creativity — and for genre-agnostic work. 

As a child, the rising artist and producer was immersed in a melting pot of musical influences, as a result of his father’s eclectic record collection. He grew up listening to soul, R&B, hip-hop and much more — and it opened his young years to kaleidoscope of sounds and styles, which helped informed his genre-blurring sound and approach. 

He also brings his artistic vision to life by seamlessly blending his work with dynamic visuals. Embracing authentic and innovation, the American-born, Berlin-based artist continues to push boundaries as a jack-of-all-trades creative director of his solo recording project, a culmination of many years of trial and error. He’s extremely busy: while developing his own sound as a solo artist, he’s also a part of the acclaimed Berlin-based vocal ensemble A Song For You and one-half of R&B duo GOLDA. 

bat zoo’s forthcoming EP, The Upward Bird is slated for a July 22, 2025 release through Lekker Collective. Last month, I wrote about the hauntingly minimalist, Nick Hakim-like “Frozen Milk,” which featured the rising Berlin-based accompanying himself on strummed acoustic guitar paired with swirling electronics and his achingly tender falsetto sining lyrics that thematically touched upon chaos and the brief and desperate search for balance amidst moments of self-destruction and connection.

bat zoo’s latest single, the sleek and slickly produced, The Weeknd-like “Diamond Lane” is anchored around swirling and glistening synths, skittering beats serving as a lush and dreamy soundscape for his yearning and heartbroken vocal turn. But just under the slick, dance floor friendly surface, the song is a bittersweet and melancholic reflection on a love affair that has slowly unraveled, fueled with the recognition that the narrator may be powerless to do anything to slow it down — or to stop it.

Lyrically abstract yet deeply intimate, the song simultaneously feels like a stream of consciousness pulled from the depths of the narrator’s memory and a conversation — or more likely a monologue — bitterly directed toward that someone, who once meant everything and now is leaving.

The accompanying video is a hazy, dream-like visual that feels like a regret-tinged tinged fever dream.

Single Review by William Ruben Helms

New Audio: Berlin’s Lucy Kruger & The Lost Boys Share Brooding “Reaching”

Over the course of six studio albums, Berlin-based art rock outfit Lucy Kruger & The Lost Boys — South African-born Lucy Kruger (vocals, guitar), Liú Mottes (guitar), Jean-Louise Parker (viola, vocals), Sally Whitton (bass) and Gidon Carmel (drums) — has firmly established a sound that blends elements of art pop, ambient noise and dark folk, while drawing comparisons to Nick Cave & The Bad Seeds, Sonic Youth, PJ Harvey and Aldous Harding.

Recipients of the Europavox Spotlight Prize back in June 2023, the band has built up a profile across the European Union and elsewhere with sets across the global festival circuit, including Orange Blossom Special, InMusic, Roadburn, Grauzone, Reeperbahn, MENT, Wave-Gotik-Treffen, Fusion Festival, Left of The Dial, Synästhesie, The New Colossus Festival and SXSW.

Outside of her work with Lucy Kruger & The Lost Boys, Kruger has contributed vocals to songs by Swans and Underground Youth. And she was selected for the Keychange Initiative, which seeks to promote gender equality in the global music scene.

The Berlin-based outfit’s latest single “Reaching” is the first bit of new material from the band since the band’s critically applauded six album, last year’s A Human Home. “Reaching” is a brooding and tense tune that alternates between slinky and atmospheric verses built around a woozy waltz-like tempo and a bruising and noisy chorus and hook featuring slashing and churning power chords.

The song thematically explores the tension between communication and disconnection, presence and absence, silence and noise. And its core, the song is raw, evocative and probing, while rooted in deeply empathetic observation of human character and nature. “I think the song tries to capture how cacophonic the quiet can feel.” Kruger says.

Video by William Ruben Helms

New VIdeo: bat zoo Shares Haunting “Frozen Milk”

bat zoo is a rising American-born, Berlin-based singer/songwriter and producer, who has developed a reputation for boundless creativity — and for genre-agnostic work.

As a child, the rising artist and producer was immersed in a melting pot of musical influences, as a result of his father’s eclectic record collection. He grew up listening to soul, R&B, hip-hop and much more — and it opened his young years to kaleidoscope of sounds and styles, which helped informed his genre-blurring sound and approach.

He also brings his artistic vision to life by seamlessly blending his work with dynamic visuals. Embracing authentic and innovation, the American-born, Berlin-based artist continues to push boundaries as a jack-of-all-trades creative director of his solo recording project, a culmination of many years of trial and error. He’s extremely busy: while developing his own sound as a solo artist, he’s also a part of the acclaimed Berlin-based vocal ensemble A Song For You and one-half of R&B duo GOLDA.

bat zoo’s forthcoming EP, The Upward Bird is slated for a July 22, 2025 release through Lekker Collective. The EP’s latest single, the hauntingly minimalist, Nick Hakim-like “Frozen Milk” features the Berlin-based artist accompanying himself on strummed acoustic guitar paired with swirling electronics serving as a atmospheric bed for his achingly tender falsetto singing lyrics that touch upon themes of chaos, brief and the desperate search for balance amidst self-destruction and connection.

The bat zoo-directed and edited video for “Frozen Milk” is a stark contrast with the haunting minimalist of the song, with the visual being a whirlwind of raw emotion and vivid imagery, rooted in flashes of personal, archival footage featuring the artist and his friends not just partying, but escaping their grief, numbing themselves with fleeting, often self-destructive thrills that quickly spiral out of control. What begins as fun, turns into a desperate escape from harsh, brutal reality. But there’s also moments of love, affection and connection between lovers and friends. And those moments are often the most deeply moving, profound moments of our lives.

The song and the video reminds the viewer that while life can be brutal, harsh and unforgivingly cruel, life is most often about small but mighty measures of love, small joys and pleasures, the sweet and funny moments with our dearest ones. Without those things life would be too difficult to keep on.

Single Review by William Ruben Helms

New Audio: Berlin’s Shimizu Teams Up with Giorgia-May on a Euphoric, Feminist Anthem

Brazilian-born, Berlin-based multi-instrumentalist and producer Rafa Mura, initially relocated to Berlin when he was 18 years-old to study Computer Science. While in school, he built a home studio in his dorm room. After dropping out of his computer science program, he went on start his own recording project Shimizu. Shimizu sees Mura creating a sound that’s melancholic yet danceable while drawing from R&B, house, breakbeat and neo-soul.

Mura’s latest Shimizu single “BxbyGirl” features Giorgia-May’s self-assured and sultry delivery ethereally floating over a slick and euphoric club and lounge friendly production that draws from Larry Levan-era house and UK garage. Thematically, the song is anthem for female empowerment, touching on themes of feminine energy, women’s rights and bodily autonomy.

“I wanted to write a short R&B song that was to the point and felt somehow empowering,” says Giorgia-May. “As women, we don’t just get to feel safe in our bodies—it’s something we have to constantly learn and practice. We face rules and regulations that restrict us, society pits us against each other, we earn less than men, and we are continuously subjected to harassment and control over our autonomy.”

Single Review by William Ruben Helms

New Audio: The Lovelines Shares Slow-Burning “Slow High”

Over the past couple of years, I’ve spilled quite a bit of virtual ink on The Lovelines. The duo, which is currently split between Berlin and  Orlando, released material from their forthcoming full-length debut single-by-single. 

The duo’s latest single “Slow High” is a slow-burning ballad that to my ears is one-part Still Corners, one-part lullaby, one part-Amy Winehouse soul, and a subtle Sgt. Pepper nod that serves as a lush bed for Tessa D’s soulful croon.

Single Review by William Ruben Helms

New Audio: JOVM Mainstays The Lovelines Shares New Order-Inspired “Shades of Blue”

Over the past couple of years, I’ve spilled quite a bit of virtual ink on The Lovelines. The duo, which is currently split between Berlin and  Orlando, released material from their forthcoming full-length debut single-by-single.

The JOVM mainstays’ latest single “Shades of Blue” is a nostalgia-inducing and hook-driven bit of post punk, that reminds me a bit of fellow JOVM mainstays Club 8 — while clearly being indebted to early 80s New Order.

The band’s Todd Goings explains “‘Shades of Blue’ is an ode to New Wave; it was me pretending I was writing a song for New Order.”

Video by William Ruben Helms

New Video: Anika Shares PJ Harvey-meets-Joy Division-like “Hearsay”

Acclaimed British-born, Berlin-based singer/songwriter and musician Annika Henderson, best known as Anika will be releasing her fourth album Abyss through Sacred Bones on April 4, 2025.

Abyss was born out of the frustration, anger and confusion Henderson feels from existing in our contemporary world. Reportedly much heavier than 2021’s Change, the 10-song album is raw, urgent and fueled by strong emotions, the album’s material takes the acclaimed British-born, Berlin-based artist on a new sonic journey.

The forthcoming album was recorded live to tape at Berlin’s legendary Hansa Studios. Recording live and with minimal overdubs was an important decision, Henderson stresses, in order to capture the raw immediacy of the album. Much like previously released material, she wrote the songs herself before fleshing them out with Exploded View‘s Martin Thulin, and then assembled a live band to join the pair in the studio that included Andrea Belfi (drums), Mueran Humanos‘ Tomas Nochteff (bass) and The Pleasure Majenta‘s Lawrence Goodwin (guitar). Studio engineering was done by Nanni Johansson and Frida Claeson Johansson. “I always work with people I respect and admire,” Henderson says. “It’s very genuine in that way.” 

The acclaimed British-born, Berlin-based artist consciously sought to make an album that was inherently physical — one that would take the listener out of their heads and back into their body. The physicality of the album and its material is further emphasized by its album cover, which features androgynous bodies from a drawing by a teenage friend of Anika’s. Fittingly, teenage angst plays a part in the album. “These days it feels like you have to have very catered opinions – like language has gone out the window,” Henderson says. “It makes you feel very much like a restricted child again.”

With Abyss, the acclaimed British-born, Berlin-based artist was determined to break free from holding back genuine emotions — even if they might seem uncomfortable or too much. “It’s like I’m doing all the things that I never allowed myself to do,” she says. Anika hopes this pure emotion will position the listener to fully immerse themselves in the album. “There needs to be room for people to put themselves in this album, and put their own narratives on it,” she says. “This is a space for you.”

“There’s so much going on in the world, and you have to sit there and watch it through a screen that you’ve allowed into your home, like a vampire who had been preying at your door, then immediately digest it, have an opinion, and publicly comment on it,” Henderson continues. “The state of the world just feels like an abyss right now.” With this new album, she wants to create a place where people can feel safe to be themselves, and to unite in their diversity. “Abyss is like a call to action,” she says. “To come and figure it out together.”

Abyss’ lead single, album opening track “Hearsay” is a gritty Joy Division– meets-PJ Harvey-like tune, anchored around an angular and driving bass line, stuttering four-on-the-floor and slashing guitars paired with Henderson’s melodic, Nico-like croon. The song hones in on the extreme divisions between the left and right in contemporary society with Anika explaining that “this song is about media moguls – about the power of the media, whether social, tv or beyond – we are as much under its spell as we ever were and some nasties are exploiting it for their own gains. Parasites feeding off the blood of the public — PJ Harvey inspired for sure.” 

Directed by Laura Martinova, the accompanying video features a Queen of the Damned/Interview with the Vampire-like vibe. Martinova explains that the video is ” “inspired by vampire aesthetics and seeks to connect with the grungy essence of Abyss. We aimed to create a dark yet dynamic and surprising video. My collaboration with contemporary dancers and the use of raw camera movement transcends this imagery, while Zeynep Schilling’s creative direction elevates the video to another level—somewhere between evil and heaven. We worked with stylist Danny Muster and emerging designers to craft a timeless aesthetic.”

Video by William Ruben Helms

New Video: Berlin’s Bloke Shares Trippy and Incisive “Money Says”

With the self-release of their first three singles “Satellite” “Chewed Up,” and “Survivor,” the Berlin-based psych rock/krautrock outfit Bloke quickly amassed a profile across Europe for a unique fusion of krautrock rhythms and shoegazer guitar textures paired with garage punk energy that’s draws from frontman and founder Jakob Buraczewski’s five year stint in London, where the band was originally founded.

The Berlin-based outfit has shared stages with Helicon, Verstärker, Data Animal, Body Horror, The Shadracks have developed a reputation for a raw, intense and noisy live set.

Building upon growing buzz, Bloke’s highly-anticipated debut EP Living Without Expectations is slated for a February 14, 2025 release through Tonzonen Records. The band’s Jakob Buraczewski explains that the EP was “envisioned as the foundational collection of sounds, noise and concepts that would give life to the project Bloke in a musical scene. It was essential for me to ensure that each song resonates with the others, creating an interconnected and cohesive experience. The journey from capturing the essence of the songs in the intimate setting of a home studio to meticulously re-recording each instrument in the refined atmosphere of a professional studio can be quite an emotional rollercoaster. It’s a process filled with passion and dedication, where every note matters and every sound contributes to creating something truly special.”

The EP’s latest single “Money Says” sees the Berlin-based outfit pairing a forceful and thunderous motorik-groove, scuzzy, distortion-fueled power chords and swirling feedback with enormous hooks and choruses. While sonically recalling A Place to Bury Strangers, Hookworms, METZ and others, the song as the band explains is inspired by the childhood game Simon Says, “using it as a metaphor to explore capitalism’s impact on society and relationships. Just as in the game, where commands prefaced with ‘Simon says’ must be obeyed, we often silently comply with what ‘Money Says’ reflecting societal norms. This subtle agreement can feel like conditioning, offering a poignant commentary on our interactions. The melody features a persistent feedback tone and guitar strums that punctuate the social narrative.”

Fittingly, the trippy visual for “Money Says” features moments of commerce and business in super saturated colors.

Single Review by William Ruben Helms

New Audio: Laura Carbone Shares Brooding “Red Velvet Fruit”

Berlin-based singer/songwriter, guitarist, photographer and JOVM mainstay Laura Carbone‘s third album The Cycle was released earlier this year. The album, which debuted on North American college radio at #19 on the NACC Top Adds Chart, is a concept album that explores the emotional turmoil, triumphs and transformative experiences that the album’s protagonist experiences through the course of the passing seasons of a year. 

Each song of the represents an experience or inspiration associated with that particular season and the story of the album’s protagonist. 

Over the past handful of months, I’ve written about three of the album’s singles:

  • “Horses,” a slow-burning song built around lush and shimmering acoustic guitar, Carbone’s expressive and yearning delivery, paired with a supple bass line and dramatic drumming. Sonically bringing PJ Harvey’s “You Said Something” to mind, the song is set in the fullness of summer. The song’s protagonist is experiencing the heat, humidity and passion of the season — when fields become gold and heatwaves and wildfires turn them into ash. But there’s a reminder that Mother Earth will restore and reclaim burnt ground in time. 

  • “The Good,” a breathtakingly gorgeous song featuring shimmering and reverb soaked guitar, a supple and sinuous bass line, gently padded drumming and bursts of soaring organ serving as a lush bed for Carbone’s expressive vocal. At its core, the song is rooted in the lived-in personal experience and hard-fought, harder-won wisdom of someone who has lived a full, messy and complicated life. And a result the song is profoundly empathetic and understanding examination of human behavior that seems to say “I’ve been there, too.” Carbone explains that the track looks at our puzzling capacity for denial — not just of the truth, but of the embrace and love we owe ourselves. 

  • “Silver Rain,” a bittersweet ballad anchored around a propulsive rhythm section, shimmering reverb-soaked guitars, a cathartic hook serving as a lush bed for Carbone’s expressive, soulful vocal. While seemingly channelling Stories from the City, Stories from the Sea-era PJ Harvey, “Silver Rain,” as Carbone explains explores the relief a break-up can bring and the room in our hearts that such a bittersweet letting go creates.

The Cycle‘s latest single “Red Velvet Fruit” is a slow-burning, hauntingly gorgeous track anchored around a brooding and dramatic piano melody that seems locked in a velvety embrace with Carbone’s resonant yet ethereal delivery, which express the longing, frustration, heartache and shame that come about when one submits to temptation. But at its core, is the tacit understanding that the temptation may lead to one’s own demise — whether literally or figuratively.

Single Review by William Ruben Helms

New Audio: deathybypeanuts Teams Up with J.A.D.E on a Sultry Ode to Black Hair

deathbypeanuts is a mysterious and rising Berlin-based producer, multi-instrumentalist and artist. As a classically trained pianist, the mysterious and rising German-based artist switched to contemporary jazz piano and bass guitar as a teen, before starting his music career at 17 as a touring musician.

During the pandemic, the rising German-based artist took his first steps as a producer and songwriter. And since then, he has collaborated with an eclectic array of acclaimed and rising artists including Kelvyn Colt, Chris James, Noah Slee, Beau Diako, JOVM mainstay Marie Dahlstrom, Sipprell, J. Lamotta, and a lengthy list of others while showcasing an ever-evolving sound and approach.

deathbypeanuts’ highly-anticipated debut EP is slated for a November release through Lekker Collective. The EP’s latest single “4 My 4Cs” features vocals from Amsterdam-based neo-soul/R&B artist J.A.D.E. The Dutch-based artist’s work delves deeply into her open-minded exploration of love experiences, featuring her captivating and soulful melodies. Anchored around a lush, Quiet Storm-like production with glistening synths, a strutting bass line, “4 My 4Cs” sees the Amsterdam-based artist singing about self-love — namely loving your coily, kinky Black hair — with a sultry vocal turn.