Tag: Billboard

Live Footage: JOVM Mainstays Amyl and The Sniffers Perform “Maggot” at Williamstown, Australia

Acclaimed Melbourne-based punk act and JOVM mainstays Amyl and The Sniffers — Amy Taylor (vocals), Gus Romer (bass), Bryce Wilson (drums) and Declan Martens (guitar) — formed back in 2016, and shortly after their formation, they wrote and self-recorded their debut EP Giddy Up. The following year, saw the release of the Big Attractions EP, which was packaged as a double 12 inch EP with Giddy Up released through Homeless Records in Australia and Damaged Goods in the UK.

The Aussie punk quartet exploded into the international scene with a set at The Great Escape Festival, a series of sold out London area shows and a Stateside tour opening for JOVM mainstays King Gizzard and the Lizard Wizard. They added to a busy year with a headlining tours across both the UK and US before signing to King Gizzard and the Lizard Wizard’s Flightless Records for distribution across Australia and New Zealand and Rough Trade for the rest of the world. The year was capped off with a Q Awards nomination for Best New Act and won the $30,000 Levis Prize.

Building upon a rapidly growing profile, the Aussie punk quartet took 2019’s SXSW by storm. And then the band promptly released their self-tiled, full-length debut to critical applause globally while further cementing a feral and anarchic take on ’77 era punk. Adding to a breakthrough year, Amyl and the Sniffers won an ARIA Award for Best Rock Album. 

Comfort To Me, the Aussie punk quartet’s Don Luscombe-co-produced sophomore album was released last year through ATO Records.  Written during a long year of pandemic quarantining, in which the members of the band lived in the same house, the album’s material sonically draws from a heavier set of references and influences including AC/DC, Rose TattooMötorhead,  Wendy O. WilliamsWarthogPower Trip, Coloured Balls and Cosmic Psychos. Taylor’s lyrics and delivery were also inspired by her longtime love of hip-hop and garage rock. 

“All four of us spent most of 2020 enclosed by pandemic authority in a 3-bedroom rental in our home city of Melbourne, Australia. We’re like a family: we love each other and feel nothing at the same time,” Amyl and the Sniffers’ Amy Taylor says in a lengthy statement on the album. “We had just come off two years of touring, being stuck in a van together eight hours a day, and then we’re trapped together for months in this house with sick green walls. It sucked but it was also nice. We spent heaps of time in the backyard listening to music, thrashing around in shorts, eating hot chips. The boys had a hard time being away from the pub and their mates, but it meant we had a lot of time to work on this record. Most of the songs were really intuitive. Main thing, we just wanted it to be us. In the small windows we had in between lockdowns, we went to our rehearsal space, which is a storage locker down the road at National Storage Northcote. We punched all the songs into shape at Nasho and for the first time ever we wrote more songs than we needed. We had the luxury of cutting out the songs that were shit and focusing on the ones we loved. 

“We were all better musicians, as well, because that’s what happens when you go on tour for two years, you get really good at playing. We were a better band and we had heaps of songs, so we were just different. The nihilistic, live in the moment, positivity and panel beater rock-meets-shed show punk was still there, but it was better. The whole thing was less spontaneous and more darkly considered. The lyrics I wrote for the album are better too, I think. The amount of time and thought I put into the lyrics for this album is completely different from the EPs, and even the first record. Half of the lyrics were written during the Australian Bushfire season, when we were already wearing masks to protect ourselves from the smoke in the air. And then when the pandemic hit, our options were the same as everyone: go find a day job and work in intense conditions or sit at home and drown in introspection. I fell into the latter category. I had all this energy inside of me and nowhere to put it, because I couldn’t perform, and it had a hectic effect on my brain. 

“My brain evolved and warped and my way of thinking about the world completely changed. Having to deal with a lot of authority during 2020 and realising my lack of power made me feel both more self destructive and more self disciplined, more nihilistic and more depressed and more resentful, which ultimately fuelled me with a kind of relentless motivation. I became a temporary monster. I partied more, but I also exercised heaps, read books and ate veggies. I was like an egg going into boiling water when this started, gooey and weak but with a hard surface. I came out even harder. I’m still soft on the inside, but in a different way. All of this time, I was working on the lyrics. I pushed myself heaps and heaps, because there were things that I needed to say. The lyrics draw a lot from rap phrasing, because that’s what I’m into. I just wanted to be a weird bitch and celebrate how weird life and humans are. 

“The whole thing is a fight between by my desire to evolve and the fact that somehow I always end up sounding like a dumb cunt. So anyway, that’s where this album comes from. People will use other bands as a sonic reference to make it more digestible and journalists will make it seem more pretentious and considered than it really is, but in the end this album is just us — raw self expression, defiant energy, unapologetic vulnerability. It was written by four self-taught musicians who are all just trying to get by and have a good time. 

“If you have to explain what this record is like, I reckon it’s like watching an episode of The Nanny but the setting is an Australian car show and the Nanny cares about social issues and she’s read a couple of books, and Mr. Sheffield is drinking beer in the sun. It’s a Mitsubishi Lancer going slightly over the speed limit in a school zone. It’s realising how good it is to wear track pants in bed. It’s having someone who wants to cook you dinner when you’re really shattered. It’s me shadow-boxing on stage, covered in sweat, instead of sitting quietly in the corner.”

In the lead up to the album’s release, I managed to write about three of the album’s released singles: 

  • Guided by Angels,” a riotous, mosh pit friendly ripper centered around Taylor’s frenetic energy and punchily delivered vocals, buzzing power chords and a pub friendly, shout along with a raised beer in your hand hook. But underneath all of that, “Guided by Angels” is fueled by a defiant and unapologetic vulnerability and a rare, unshakeable faith in possibility and overall goodness; that there actually are good angels right over your shoulder to guide you and sustain you when you need them the most. 
  • Security,” a Highway to Hell-era AC/DC-like anthem full of swaggering braggadocio, boozy power chords, thunderous drumming, shout along worthy hooks and Taylor’s feral delivery. Much like its immediate predecessor, the song is fueled by its narrator boldly and unapologetically declaring that they need and are looking for love — right now! “
  • Hertz,” an AC/DC-ike ripper fueled by the frenetic energy of the bored, lonely and trapped within their heads and those desperately desiring something — hell, anything — different than the four walls that they’ve gotten sick of. Interestingly, “Hertz” captures a feeling that I’ve personally struggled with during the pandemic, and I’m sure you have too. And it does so with a urgency and vulnerability that’s devastating. 

Since its release last year Comfort to Me has been a commercial and critical success: The album hit #1 on Billboard‘s Alternative New Albums Chart, #2 on both the Heatseekers and Top New Artist Albums Charts, #4 on the Independent Albums Chart, #7 on the Rock Albums Chart, #9 on the Alternative Albums Chart and it landed on the Top 20 on the Albums Sales Chart. In the UK, the album was named BBC 6 Music‘s Album of the Day, and chartered at #21 on the UK charts. And in the band’s native Australia, the album was named Triple J’s Featured Albums of the Week while charting at #2. 

Just ahead of the band’s almost extensive and entirely sold-out Stateside tour, which includes stops at Coachella and Shaky Knees, the Aussie JOVM mainstays announced a deluxe, expanded edition of Comfort To Me. (As always, tour dates, which includes a May 19, 2022 stop at Brooklyn Steel are below. And you can get the small handful of remaining tickets here: https://www.amylandthesniffers.com/shows)

Slated for a vinyl release on May 13, 2022, Comfort To Me (Expanded Edition) will be a double LP that features the original full-length album and a bonus live LP recorded on a dock outside of Melbourne, a fold-out poster and new artwork by graphic designer Bráulio Amado.

Amyl and The Sniffers are giving Stateside fans a sneak peek of their live show with a live version of Comfort To Me album single “Maggot,” shot on a dock outside of Melbourne. Much like the rest of the album’s previously singles “Maggot” is an infectious and winning mix of mosh pit-friendly fury and aching, unabashed vulnerability.

As for the live footage, it’s a peak into their must-see live show: Taylor is an explosive, nuclear bomb of energy and unbridled passion and the band is ferocious and forceful.

New Audio: Delvon Lamarr Trio Releases a Strutting and Soulful Bit of Funk

Acclaimed Seattle-based soul jazz outfit Delvon Lamarr Organ Trio formed back in 2015 and currently features:

  • Delvon Lamarr, a self-taught virtuosic musician, with perfect pitch, who taught himself jazz — and can play several different instruments, besides organ
  • Jimmy James, a guitarist, whose style meshes acid rock freak outs with slinky jazz
  • Dan Weiss, the Reno, NV-born drummer, the band’s new full-time drummer, who’s best known for his work with the soul and funk collective The Sextones

Since their formation, the Seattle-based trio has released two albums of what the band dubs “feel good music” that includes 2018’s full-length debut, Close But No Cigar and last year’s critically and commercially successful sophomore effort I Told You So, which debuted on the top of multiple Billboard Charts: #1 on the Contemporary Jazz Album Chart, #3 on the Jazz Album Chart, #4 on the Tastemaker Album Chart, and #12 on the Heatseaker Album Chart.

I Told You So also received praise by Under the Radar, AllMusic, American Songwriter, Popmatters, KEXP, Live For Live Music, Jazziz, Jambase, Glide Magazine and NPR, who named it one of their favorite albums of the first half of last year.

Delvon Lamarr Organ Trio’s third album Cold As Weiss is slated for a February 11, 2022 release through Colemine Records. Cold As Weiss is the first recorded output with Weiss, the band’s newest member. And while finding the band at its tightest, the album reportedly finds the band continuing to push funky instrumental music to a new generation of fans.

“Don’t Worry ‘Bout What I Do,” Cold As Weiss‘ second and latest single derives its title from a quote by the band’s Jimmy James. “No matter what you say to this cat, ‘Yo bro, your butt crack is showing,’ he always says the same thing: ‘Man . . . don’t worry ’bout what i do,” the band’s Delvon Lamarr explains. “Don’t Worry ‘Bout What I Do” is an old-school pimp strut, centered around an expansive arrangement featuring Weiss’ quickly building up a tight, rhythmic swing, Lamarr’s sultry organ lines and James’ psych rock-like guitar lines. The end result is a composition that seems indebted to the likes of The Meters and Booker T and the MGs.

Daniel Feldman is a Rockville, MD-born, Brooklyn-based singer/songwriter, musician, who has had a lengthy and varied music career: He’s best known for a seven-year stint as the frontman of Baltimore-based indie rock outfit Yo No Say. He’s currently one-half of synth pop duo Airplane Man with lifelong friend and creative partner, Tim Sommers.

Since its formation, Airplane Man has released a handful of singles that have earned over a million streams each — all while receiving praise from Billboard and landing on Spotify playlists like New Music Friday.

Feldman’s solo recording project Sleepy Gary derives its name from two different sources: “I first heard the name Sleepy Gary in the context of a TV show called Rick and Morty,” Feldman explains. “In the episode, a suburban family becomes infested with brain parasites that present themselves as old friends via fond yet false memories. One of those parasitic cerebral manifestations is a nonexistent family friend named Sleepy Gary who wears a classic sleeping cap and pajamas and never opens his eyes more than halfway. 

“The character resonated with me because I myself am simply a mental parasite made of false memories.. ehem.. I mean, because I have always felt sleepiness was part of my identity” Feldman continues. “As a teenager I would start my pre-high school shower and end up napping on the bathroom floor, only to awake to an Amazonian climate and the sound of my mom pounding on the door, yelling that I was about to miss the bus again.

“In college I slept through nearly every one of my 8am literature classes. The sleepiness grew and grew until it became a monster that kept me up all night and ruined every morning. Something about that character in Rick and Morty nudged me subconsciously to own it. I am sleepy and that’s ok. I used to lay awake at night before playing shows with my old band. I figure, now with a name like Sleepy Gary if I don’t sleep.. I’ll just be that much more in character. Maybe it’s a way to lean into my anxiety around sleep. I also have to admit there’s just something to the way it sounds. It reminds me of a character you might meet in a gangster movie by Martin Scorcese or something.”

Feldman’s Sleepy Gary debut 21 Love Songs is a three-volume collection that took over seven years to complete and was written in three different cities —DC, Baltimore and New York. The album was completed last year while Feldman was quarantined in a 600 square foot Bushwick apartment with roommate and producer, Gabriel Stanley. Stanley co-produced the album. Grammy-nominated Dave Weingarten mixed the album. Grammy Award-winning Alex DeTurk.

The album sees Feldman quickly establishing a sound and songwriting approach that meshes elements of bedroom pop and psych pop. Thematically, the album is an ode to the many iterations of love we experience throughout our lives: unrequited, sensual, half-hearted, budding, obsessive and long-lost but while occasionally expanding upon what a love song actually is and focuses on.

In keeping with the album’s title, Feldman will release a song off the album every 21 days over the course of a year. The album’s latest single, the Tame Impala-like “W.D.I.L.Y.” Centered around tweeter and woofer rocking beats, reverb drenched guitar, glistening synth arpeggios, an enormous hook “W.D.I.L.Y.” sees Feldman pairing arena rock and club rocking bombast with intimate and achingly vulnerable lyricism: The song’s narrator longs for the old-school love song sort of love. But he finds himself alone, after yet another unrequited love. And yet it’s not completely hopeless; it’s the sort of song in which you see yourself in — and recognize that it’s a profoundly universal experience.

New VIdeo: Follow St. Vincent on a Gritty 70s Inspired Heist

Initially starting her professional career as a member of The Polyphonic Spree and as a touring member of Sufjan Stevens’ touring band, the Tulsa-born, New York-based singer/songwriter and multi-instrumentalist Annie Clark stepped out into the limelight as a solo artist and frontperson with her acclaimed project St. Vincent. Since the release of 2007’s full-length debut Marry Me, Clark’s work has continued to grow in stature and complexity with her self-titled fourth album winning a 2014 Grammy for Best Alternative Album, making her only the second female artist to ever win in that category.

Along with her work as a solo artist, Clark has collaborated with the legendary David Byrne on 2012’s Love This Giant, performed with the living members of Nirvana at the 2014 Rock and Roll Hall of Fame induction ceremony and da 2019 Grammy Awards duet with Dua Lipa.

Clark collaborated with co-producer Jack Antonoff on 2017’s critically applauded, smash hit album MASSEDUCATION, an album that landed on both the US and UK Top 10 Charts while landing at #1 of the Best of 2017 list of The New York Times and The Guardian — and placing high on the Best of 2017 lists of The AV Club, Billboard, Entertainment Weekly, Mashable, New York Daily News, NME, Paste, Pitchfork, Q, Stereogum, USA Today and a length list of others. 2018’s MassEducation found Clark collaborating with pianist Thomas Bartlett: Recorded over two nights in August 2017, the effort found Clark stripping back MASSEDUCATION’s material to its bare bones, revealing the vulnerable and earnest songwriting at their core.

MASSEDUCATION’s title track won a Grammy for Best Rock Song with the album winning another Grammy for Best Recording Package in 2019. As she was celebrating an enviable run of critical and commercial success, Clark’s father was released from prison. Clark began writing a new batch of materials which would become her soon-to-be released seventh album, Daddy’s Home. Daddy’s Home thematically closes the loop the loop on a journey that began with her father’s incarceration back in 2019 — and it ultimately led her back to the vinyl records her dad had introduced her when she was child — the gritty and sleazy rock records written and recorded in New York between 1971-1975.

Interestingly, Daddy’s Home’s latest single, “Down” is centered around a groove that’s simultaneously sultry and anxious with the track evoking images of the legendarily sleazy New York: in this case, a coke and booze fueled bender that starts at the local bar, features a stop at CBGB’s or Max’s Kansas City to see Blondie or Ramones before heading off to Studio 54. Warhol is somewhere in this picture, right? Now, while some critics have compared the album’s overall aesthetic and sound to Young Americans-era Bowie and Prince, “Down” to my ears reminds me more of Station to Station and Lodger-era Bowie. It’s far more anxious and murkier with a bit of menace seeping through.

Co-directed by Clark and Bill Benz, the recently released video features Clark in Candy Darling-like regalia through an anxious chase that’s one part French Connection and one part drug-fueled, paranoid fever dream. It fits the song’s careening and glitchy groove perfectly.

Snohomish, Washington-based Americana act FretlandHillary Grace Fretland, Jake Haber and Luke Martin — released their self-titled full-length debut to critical praise from Billboard, American Songwriter, The Boot, Gimme Country, Americana Highways and No Depression, who wrote that “this talented Americana band … has a bright future ahead of it.” Their shimmering and aching ballads, which feature elements of alt-country and indie rock have managed to amass over a million streams across the globe.

Much like countless acts across the globe, the rising Pacific Northwest-based trio embarked on a successful West Coast tour in early 2020 but subsequent tours across the US and Europe were put on indefinite hold as a result of the pandemic. However, during that time the band wrote and recorded their highly-anticipated sophomore Nich Wilbur-produced sophomore album Could Have Loved You. Slated for a March 26, 2021 release through Soundly Music, Could Have Loved You reportedly finds the band crafting material that sonically is equal parts Nashville country, Pacific Northwest indie rock and dream pop. Thematically, the nine-song sophomore album finds the band telling stories of lost love and hard-won yet necessary lessons learned.

Could Have Loved You‘s third and latest single “Too Much” is a shimmering honky tonk that’s a proudly defiant yet a bit tongue-in-cheek anthem for those who have honestly stopped giving a damn about what people think — and attempted to just live their own lives. Interestingly, the song is inspired and informed by personal experience:

“There was indeed a wedding in Capitol Hill where I drank too much, danced too much, smoked too much, regretted too much, and punished myself too damn much,” the band’s Hilary Face Fretland explains in press notes. “A trait I am still trying to remedy. The only inconsistency in the song is that sometimes you can be ‘too serious’ or ‘not serious enough.’ That was deliberate. At the end of the day, if you’re feeling too much of anything you’re just being too hard on yourself. And I personally can “feel” too serious and not serious enough in a matter of hours.”  

Kevin Rodrigues is a Paris-born and-based electronic music artist, producer and DJ, best known in electronic music circles as Worakls. Rodrigues, who grew up in a musical family, started to learn the piano when he had turned three. After studying in a conservatory, he started to dedicate his time to electronic music and composition.

After receiving acclaim for his remixes and his earliest solo releases, Rodrigues along with his friends N’to and Joachim Pastor founded Hungry Music in 2014. Since the formation of Hungry Records, Rodrigues has been praised by Billboard, who referred to him as a “rising French DJ” and described his tracks as “serious techno with a light touch,” full of focused, nervous energy.”

In 2019, the rising French electronic music artist, DJ and producer released his full-length debut Orchestra. The label went on a brief hiatus — and they returned with a slew of releases including a series of remixes to celebrate the second anniversary of Orchestra‘s initial release.

Recently, Patrice Bäumel, an acclaimed East German-born, Amsterdam-based electronic music artist, DJ and producer remixed Orchestra album track “Detached Motion.” The remix finds Bäumel retaining the arpeggiated and gently morphing synths of the original, the East German-born, Dutch-based producer’s take feels cinematic and expansive, with the track slowly and continuously building up energy and tension paired with a muscular and insistent thump and euphoric hooks. Sonically, the song — to my ears, at least — is a seamless synthesis of Tour de France-era Kraftwerk and deep house, imbued with a cosmic sheen.



BLAZAR · Tomorrow


Jerad Finck is and artist and producer and the creative mastermind behind the rising indie electro pop act BLAZAR. The project was formed last year, after he released the breakthrough single “Criminal” which sold 57,000 copies an independent and charting on the Billboard charts and caught the attention of AntiFragile Music‘s Tom Sarig, who signed him to a recording contract.

Finck’s idea behind BLAZAR was to create music in an old school fashion, bar by bar by bar, with some of the talented producers, artists and vocalists he had been working with throughout the last few years — but in something entirely new, where there was complete creative control.  Finck’s BLAZAR full-length debut will find Finck collaborating with producer/songwriter Steven Solomon, Denny White, Anthony Resta, Troy Welstad, Jay Condiotti, Hans DeKline, Jake Newton, and David Felice among others. The album’s latest single, the infectious, summertime anthem “Tomorrow” is a collaboration with DAXSEN that’s centered around shimmering analog synths, copious modulations and other effects and thumping beats.  Interestingly, underneath the slick production, is a deliberate attention to craft, as the song reveals an unerring ability to craft, as the song reveals an unerring ability to craft an infectious, crowd pleasing hook.



New Video: Cutting Crew Revisit and Re-work Their 80s Smash Hit

Tracing their origins back to when its founding members Nick Van Eede (guitar, vocals) and Canadian-born Kevin MacMichael toured Canada as members of The Drivers and Fast Forward respectively, the Grammy-nominated, Sussex, UK-based rock act Cutting Crew was formed in London in 1985. Within a few months of their formation, the band — then a duo — signed with Siren Records/Virgin on the strength of their demos. 

By 1986, the band expanded into a quartet and went into the studio to record their breakthrough full-length debut Broadcast, which featured their smash-hit single “(I Just) Died in Your Arms.” The song was a multi-format hit in the States, hitting number 1 on the Top 40, number 4 on Hot Mainstream Rock Tracks, number 24 on the Hot Adult Contemporary Tracks and an extended remix version landed at number 37 on the Hot Dance/Club Play chart. The song also landed on the top of the Canadian and Norwegian Charts while hitting in the top 10 of the singles charts in the UK, Switzerland, South African, Sweden, Ireland and Austria. Undoubtably, the act’s biggest song, it’s arguably one of the more memorable songs of the 80s — and as a result, you’ll hear the song in Hot Tub Time Machine, Stranger Things, Ash Vs. Evil Dead, and Grand Theft Auto: Vice City. 

Broadcast also featured “I’ve Been in Love Before” and “One for the Mockingbird,” both of which also received massive commercial success with the songs reaching the Billboard Top 10 and Top 20 Charts respectively. As a result of their success the band wound up opening for the likes of The Bangles, Jefferson Starship and Huey Lewis & The News, eventually playing their own sold-out headlining shows. 

The band went on to write and record two more albums — 1989’s sophomore effort The Scattering and 1992’s third album Compus Mentus. After Kevin MacMichael’s death, the band went on an extended hiatus but after about a decade, van Eede chose to revive the band with a new lineup. And with the new lineup, the band recorded their fourth album 2006’s Grinning Souls in MacMichael’s hometown in Nova Scotia. The band then went on to release 2015’s Add to Favourites. Since the band’s reunion, they’ve toured across Mexico, Canada, Australia and Japan. 

The band’s latest album Ransomed Healed Restored Forgiven was released earlier this year, and the album’s latest single finds the band re-working “(I Just) Died in Your Arms” with a string arrangement while retaining the song’s familiar and beloved elements — including that rapturous chorus. Certainly, as a child of the 80s listening to the original and the reworked version bring back a lot of memories — but while subtly making the song more contemporary. 

New Video: Rising Los Angeles-based Indie Act Polartropica Releases a Swooning, Queer Meet Cute

Led by its Taiwanese-born, Los Angeles-based creative mastermind Ihui (pronounced as Eeway) Cherise Wu and featuring Andrew Lessman, Graham Chapman and Alexander Noice, the Los Angeles-based indie act Polartropica has received attention locally and elsewhere for an ethereal and spacey taken dream pop that’s centered around organic and synthetic instrumentation, quickly pop melodies and classical string arrangements. Musically, Wu aims to allow listeners to let their imaginations run wild, with the hopes that her work is a little escape from the harshness of reality — if even just for a little bit. “I wanted to create a healing, inspiring and empowering space with just the right amount of disco-party,” Wu says. 

Last year, Wu and company were named LA Weekly’s Best Indie Pop Band of 2019 and received praise from Billboard, LADYGUNN and others. Polartropica’s recently released, full-length debut Dreams Comes True further cements the band’s attention grabbing sound while building upon a rapidly growing profile. Thematically, the album draws from stories of people she knows, world news and Wu’s experiences as a queer Asian-American living in California, which imbues the material with a deeply personal air. “In Another Life,” Dreams Come True’s latest single is a perfect example of the band’s genre-mashing, difficult to pigeonhole sound and approach. Centered around a sinuous and strutting, disco-styled bass line, shimmering and atmospheric synths, four-on-the-floor drumming, Wu’s ethereal vocals and an infectious hook, the song is a swooning and dreamy yet dance floor friendly take on dream pop. Thematically, the song focuses on karmic love, and the heart falling into your stomach feeling when meeting someone for the first time and yet it feels like you’ve known them forever. 

Written by Wu and directed by Stephanie Kim, the recently released video for “In Another Life” is the first part of a video trilogy — and it’s a boldly queer fever dream that plays on Grease and James Dean movies, complete with an adorable meet cute between the video’s protagonists. 

New Video: Rapidly Rising Early James Releases a Southern Gothic-Influenced Visual for Brooding “It Doesn’t Matter Now”

Early James is a Birmingham, AL-based singer/songwriter, guitarist and frontman of the Birmingham-based act Early James and The Latest. Along with bandmates James Mullis and Adrian Marmolejo, the act seamlessly meshes roots rock, the blues, early rock and classic country.  The band is Dan Auerbach’s latest singing to his Easy Eye Sound Records — and as the story goes, Auerbach decided he needed to produce James’ work after watching roughly two seconds of the Birmingham-based singer/songwriter and guitarist performing. “Every line has to mean something to him, personally. It’s not good enough to just write a good song, it needs to have a deeper meaning,” Auerbach says of working with James. “He’s unlike any person I’ve ever worked with. He’s not writing a song to be universal; he’s writing a song for him.”

Singing for My Supper, Early James’ full-length debut is slated for a March 13, 2020 release through Easy Eye Sound/Nonesuch Records.  Reportedly, the Dan Auberach and David “Fergie” Ferguson-produced debut features ten-wide ranging songs that span across blues, folk and old-timey pop crooning that are influenced by Fiona Apple, Tom Waits and the Southern Gothic poets — while being deeply personal, full of world weary wisdom and informed by lived-in experience.  

Singing for My Supper’s second and latest single “It Doesn’t Matter Now” tells a tale of a bitter breakup of a dramatic and dysfunctional relationship with recriminations and accusations and deliberately hurtful actions coming from both sides. Musically, the song is centered around a cinematic and brooding Chris Issak “Wicked Game” meets Mississippi Delta Blues arrangement — reverb drenched guitars, gently padded drumming, a sinuous bass line and James’ incredible vocals, which express the heartbreak, bitterness, pride, longing and ambivalence at the core of the song. 

Directed by Tim Hardman, the recently released video is a Southern Gothic-influenced visual that recalls Deliverance, A Time to Kill and others, as it stars James, his backing band and a collection of sideshow freaks and primarily set in and around a creepily beaten up cabin in the middle of nowhere. But the video’s protagonist are the sideshow freak couple, who inflict pain on each other — and gleefully enjoy it. “The subject matter for this song is pretty heavy. I felt there needed to be some aggression on screen but didn’t want it to play out like a typical break up,” Hardman told Billboard. “For some reason, Sideshow Bennie, whom I worked with several years ago, popped in my head. I looked him up and learned he was now working with a sidekick, Anna Fiametta. When I read how they met, I thought it was a funny story that would fit the song. The thought of them inflicting pain on each other, and the pleasure they receive from it, was intriguing. I pitched the idea to Early and I’m grateful he got it and trusted my vision for his song.”