Tag: Bilal

 

I’ve written quite a bit about the Oakland, CA-based futuristic soul act and JOVM mainstays Bells Atlas over the past few years, and as you may may recall, the act which is comprised of Derek Barber (guitar) Geneva Harrison (drums, percussion, keys) Sandra Lawson-Ndu (vocals, percussion, keys) and Doug Stuart (bass, vocals, keys) have received attention across the blogosphere for a lush, kaleidoscopic sound that draws from indie rock, 90s R&B, Afro-pop, Afro-futurism, jazz, electro pop and experimental pop. Adding to a rapidly growing profile, the act has opened for Hiatus KaiyoteBADBADNOTGOODBilalMeshell NdegeocelloW. Kamau BellAngelique Kidjo and others, as well as Bermuda Triangle, the side project of Alabama Shakes‘ Brittany Howard. Along with that, they spent 2016 as the touring band for NPR’s Snap Judgement.

Last year, the act released the SALT AND SOAP EP, an effort inspired by cleansing rituals and preservation methods, with the understanding that when you’re not accustomed to releasing your most personal stories, the idea is then to take a moment to prepare for a shift — for a new way of being open. Interestingly, during the creative process for the EP and their full-length effort the mystic, which is slated for release later this week, the band stumbled upon a new songwriting process that incorporated the use of sampling grainy phone memo recordings of Geneva Harrison’s drumming as the bedrock of the material.

With the writing and recording sessions focusing on spontaneity and even humor, the band aimed to craft music that managed to be cinematic yet deeply personal — all while allowing room to highlight each member’s individual skills and talent within the larger whole. Narratively and thematically, the album is a sci-fi fantasy of two first generation Nigerian-American women coming to terms with a mental health diagnosis — and at the same time, a universal exploration of how we make sense of reality. “It’s about a truth seeker and a skeptic trying to make sense of what’s mystical and what’s clinical,” the band’s Sandra Lawson-Ndu says in press notes. “The listener is made to consider the possibility of magic. Is it possible, for instance, that someone who navigates the world differently may have a deeper understanding of the universe? The mystic is a spectrum of deep emotionality, impulse, and even humour; a tool to explore the full dimension of our reality.” the mystic‘s latest single is the slow-burning and ethereal “Final Ceiling.” Centered around Lawson-Ndu’s dreamy cooing, shimmering synths and guitar and gently propulsive drumming, “Final Ceiling” evokes a hazy yet vividly remembered dream that lingers in your consciousness for hours.

The Oakland-based JOVM mainstays will be touring to support the mystic throughout May and June, and the tour includes a June 1, 2019 stop at C’mon Everybody. Check out the tour dates below.

TOUR DATES 

5.9 Los Angeles, CA The Satellite 
5.10 The Wayfarer Costa Mesa, CA 
5.11 Starline Social Club Oakland, CA 
5.16 Doug Fir Lounge Portland, OR 
5.17 Fisherman’s Village Festival Everett, WA 
5.18 Rhythm and Rye Olympia, WA 
5.19 The Auditorium Seattle, WA 
5.23 BSP Kingston Brooklyn, NYC 
5.24 Riverwalk Cafe and Music Bar Nashua, NH 
5.25 The Diving Bell Social Club Montreal, CA 
5.26 Columbus Theatre Providence, RI 
5.28 State House New Haven, CT 
5.30 Milkboy Philadelphia, PA 
5.31 Songbyrd Record Cafe and Music House Washington, DC 
6.1 C’mon Everybody Brooklyn, NYC 

 

Over the past couple of years, I’ve written a bit about the acclaimed Toronto, Ontario, Canada-based singer/songwriter, guitarist and producer Charlotte Day Wilson. And as you may recall, Wilson’s musical career started in earnest with a stint as the frontwoman of the equally acclaimed jazz, funk and soul act The Wayo; but with the release of her debut single “After All,” the Canadian singer/songwriter, producer and guitarist quickly emerged as an up-and-coming solo talent within her hometown’s scene, eventually beginning ongoing collaborations with BADBADNOTGOOD and River Tiber.

2016’s CDW featured critically acclaimed singles “Work” “Find You,” and the aforementioned “After All,” and unsurprisingly, the album found Wilson further establishing herself as an artist, who crafted deeply personal songs with an wisdom, insight and honesty that betrayed her relatives youth — paired with sleek, minimalist, electronic production. Interestingly, this past year may arguably be one of biggest years of her career: Stone Woman, Wilson’s sophomore effort is a decided and self-assured change in sonic direction in which Wilson paired her effortlessly soulful vocals with neo-soul, soul and jazz-leaning production in which organic arrangements are meshed with subtle electronic production.  Since its releasee earlier this year, Stone Woman has amassed over 30 million streams across all screaming platforms. Wilson was nominated for a Polaris Music Prize — and the video for “Work” was awarded a Prism Prize for best Canadian music video. Wilson and the video’s directed Fantavious Frtiz used the prize money to create the Work Film Grant, a fund that awarded $10,000 to emerging female and non-binary directors. 

Additionally, Wilson toured with longtime collaborators BADBADNOTGOOD, which included an incredible BRIC Celebrate Brooklyn! Festival at the Prospect Park Bandshell stop back in August. The acclaimed Canadian artist  ends a big 2018 with two Spotify singles recorded at Toronto’s HOB Studios– “Doubt,” the first single off Stone Woman is a slow-burning and soulful ballad featuring a production that recalls BilalErykah Badu and others; but more important, the song is centered around a heartbreaking emotional honesty in which, the song’s narrator expresses a deep, crippling uncertainty over her own worthiness. The Spotify singles version possesses a “you-were-there-in-the-room” immediacy that gives the song’s an emotional punch. 

The second track is Wilson’s cover Dolly Parton‘s “Here You Come Again” centered around a sparse arrangement featuring the Canadian singer/songwriter, producer and guitarist’s soulful vocals, shimmering guitars, twinkling keys — and although Wilson’s version is a slow-burning and atmospheric take, the track maintains the song’s ache, reminding contemporary listeners of what an under appreciated songwriter Parton is.