Tag: blues

Single Review by William Ruben Helms

Seth Olinsky is perhaps best known for being the primary songwriter, frontman and guitarist of influential and renowned underground noise folk punk act Akron/Family — and his solo project Cy Dune has developed a reputation for celebrating raw  and primordial rock that has drawn from his work with Akron/Family, Swans’ Micheal Gira and Rhys Chatham, as well as collaborations with Hamid Drake, William Parker, Keiji Haino and Tatsuya Nakatani among others.

Olinsky’s latest effort The Desert initially came about after experimenting with making drum loops on a refurbished Alan Lomax Ampex 601-2, pushing a clash of layered 16th notes and African inspired triplet relationships to create a new, repetitive drum sound.  That early experimentation wound up inspiring some of the meta sampling on Summer Rebels; however, with The Desert, the sampling is a much rawer form, while featured layered and energetic playing from backing band and collaborators drummer Andrew Barker, bassist William Parker, who has worked with Cecil Taylor and Peter Brotzman, and bassist Shazad Ismaily. who has worked with Marc Ribot and Sam Amidon. Initially written in the Sonoran Desert after Olinsky and Lighting Records co-founder Ali Beletic relocated to the desert in 2010, the material was tested as various adobe house shows around Tucson, in open desert arroyos running off of battery power at organized sound/noise poetry happenings that featured poetry professors from the University of Arizona and their friends from Montana and Oregon, who were traveling through town — and then eventually at SXSW with 40 drummers, including Akron/Family’s Dana Janssen, Megafaun‘s Joey Westerland, Son Lux‘s Ian Chang and Jobs’ Max Jaffe.

Olinsky relocated to Joshua Tree in 2014 and he continued to further deconstruct and develop the desert blues songs he originally wrote in 2010, with some material becoming part of pieces cut together with Ampex samples of old blues tunes, eventually becoming post-minimalist compositions which he performed in the Integratron, before being installed in the desert with multiple amplifiers run off generators. The Desert interestingly enough is the first of a series of archival Cy Dune releases that Lighting Records will be releasing this year, before a full-length of new, original material next year — but in the meantime, The Desert‘s first single is the explosive, John Lee Hooker and George Thorogood boogie blues meets psych blues-like “Desert 3.” Centered around a stomping drum progression, an inspired and fiery bit of guitar playing from Olinsky, the song possesses a feral and almost unhinged urgency.

 

 

 

 

Video by William Ruben Helms

New Video: An Intimate Look at Life on the Road in New Visuals for Daniel Norgren’s Latest Single “Let Love Run The Game”

Daniel Norgren is a Boras, Sweden-born blues/roots music singer/songwriter and multi-instrumentalist — and with the release of his full-length debut, 2007’s Kerosene Dream, which was mostly recorded on mostly homemade instruments and 2008’s Outskirt, the Boras, Sweden-born multi-instrumentalist amassed a growing profile across Europe; in fact, the success of his first two albums led to eventual touring across Europe. 2010’s acclaimed, full-length effort Horrifying Deatheating Bloodspider was nominated in the Singer/Songwriter Album of the Year category at the annual Manifestgalen. 

Building upon a rapidly growing profile, Norgren followed his acclaimed Horrifying Deatheating Bloodspider with 2011’s Black Vultures EP, which featured “Going Home Finally,” a track featured on the BBC Radio show God’s Jukebox. 2013’s Buck was mostly recorded in Norgren’s home on a 4 channel cassette portages studio with studio recordings like “Whatever Turns You On,” a song that was tracked and filmed at Algorhythm Sound Studios and quickly became a viral hit on YouTube, as well as a live version of “Moonshine Got Me,” which was recorded during a Scandinavian tour. 

2015’s Alabursy was recorded in a similar fashion as its predecessor — at home on Norgren’s 4-channel cassette porta studio. The album was followed by another European tour. 

Slated for an April 19, 2019 release through his longtime label home Superpuma Records,  Norgren’s forthcoming album Wooh Dang will be the acclaimed Swedish singer/songwriter and multi-instrumentalist’s first album to see a worldwide release.  Self-produced by Norgren and engineered bu his longtime collaborator and Superpuma Records founder Pelle Nyhage, Wooh Dang was recorded last fall in a single room of a 19th-century textile farmhouse in the woods, near Norgren’s home. “The interior looked it hadn’t been touched for the past 80 years,” Norgren recalls in press notes. “I moved a lamp and it left a dark red ring on the pink tablecloth underneath…goldmine! The house was huge, full of good, inspiring mustiness, creaking wooden floors, scary old portrait paintings on the walls, and an old, black German piano which I used in all the songs.” Recorded live to tape on a 16 track analog rig, the album finds Norgren mixing live performance and rural field recordings — while capturing the simpatico and energy between him and his backing band, which features old friends and longtime collaborators Andres Grahn (bass), Erik Berntsson (drums) and Andreas Filipsson (guitar, banjo).

The album’s latest single, the defiantly hopeful “Let Love Run The Game,”  meshes twangy Americana, Southern fried rock, psychedelia and blues that to my ears reminds me of The Band (in particular, “Up on Cripple Creek”), Otis Redding and King Bee-era Muddy Waters. Interestingly, as a result of the song’s production, it manages to sound as though it could have been recorded in 1965 or so — while capturing the urgency of three like-minded musicians and longtime friends jamming over the course of an afternoon.  

Featuring footage shot by Petra Wester Norgren,  Daniel Norgren, Anders Engström, Ida Brogren, Pelle Nyhage,  Erik Berntsson, Jean Millet, Sandra Filipsson, Drew Hanson,  Nathan Von Brown, and Edward Hill, the recently released video for “Let Love Run The Game,” intimately captures life on the road, from playing large venues in front of thousands of fans, to playing smaller venues with maybe a hundred people, the endless stretches of blacktop and gorgeous scenery that one would never dreamt to see, the band and crew goofing off — or just exhausted and sleeping whenever and wherever they could. And yet all of it is treated like wonder and joy, with the tacit acknowledgement that you gotta take it all in stride. 

Single Review by William Ruben Helms

New Audio: JOVM Mainstay Matthew Stubbs Teams Up with Pat Faherty, Charlie Musselwhite, and Luther Dickinson on a Boogie Blues Number

Last year, I wrote a bit about the Boston-based bandleader, songwriter, composer and guitarist Matthew Stubbs. Stubbs has spent the past 11 years as a member of Charlie Musselwhite’s backing band, and he’s played in the backings bands for a number of other blues legends including of John Hammond, James cotton, Junior Watson and James Harman. Stubbs has also released two solo instrumental albums 2008’s Soulbender released through Vizztone Records and 2010’s Medford and Main released through Chicago, IL-based Blue Bella Records that drew from the  Memphis, TN soul/blues sound. And as you may recall, Stubbs formed his own band The Antiguas, a Duane Eddy, Link Wray, and Booker T meets garage rock, B movie soundtracks and Afrobeat-inspired act that features Just Lopes (organ), Chris Rivelli (drums) and Marc Hickox (bass). 

The Boston-based composer, songwriter and guitarist’s latest musical project GA-20 is a collaboration with his longtime friend Pat Faherty. Formed last year, the project is centered around the duo’s mutual love of traditional blues, R&B, 50s and 60s and their love of the work of Lazy Lester, J.B. Lenoir, Earl Hooker, Buddy Guy, Otis Rush and Junior Wells. Feeling a void in contemporary music, the duo set out to write, record and perform a modernized version of the blues — with the same sort of passion and earnestness on stage and in the studio of the genre’s heyday.

GA-20’s full-length debut is slated for release later this summer through Karma Chief Records, and the album’s latest single is the shuffling, “Naggin’ On My Mind.” Indebted to Earl Hooker and John Lee Hooker, the track features the imitable and explosive harmonica playing of Charlie Musselwhite, and from North Mississippi All Stars’ Luther Dickinson — and is built around a looping 12 bar blues, a slide guitar solo and a stomping rhythm. Simply put, it’s blues the way I love it — a boozy boogie stomp. 

Video by William Ruben Helms

New Video: Stone Mecca’s Politically Charged and Heartfelt Visuals for “Boogeyman”

Stone Mecca is a Los Angeles, CA-based producer, singer/songwriter and self-taught multi-instrumentalist, who honed his own craft by listening to Jimi Hendrix, BB King, Parliament Funkadelic, Al Green, Prince, and Earth, Wind and Fire — and as a producer and musician, the Los Angeles-based producer and musician has played live with the aforementioned Earth, Wind and Fire, George Clinton, Wu-Tang Clan and RZA. Developing a reputation for easily navigating through a diverse array of musical genres and styles, Stone Mecca has contributed to the soundtracks for Django Unchained, The Main with the Iron First, Friday, Blade: Trinity, Soul Plane, Repo Men, Afro Samurai and Afro Samurai Resurrection. The Los Angeles-based producer and multi-instrumentalist has also appeared on albums by Wu-Tang Clan, RZA, Kanye West, Ice Cube and Snoop Dogg. And as a solo artist, Stone Mecca’s 2007 full-length debut First Contact featured the critically acclaimed song “A Walk,” a track that OkayPlayer said “in a fair world, music like this would be present all the tim eon prime time rotation in various radio markets.” 

Stone Mecca’s latest album Alienman was released last November, and the album finds the Los Angeles-based producer and multi-instrumentalist stripping down his sound to the rawest form possible — and while pairing tweeter and woofer rocking hip hop beats, funky bass lines, bluesy guitars and soulful melodies, his sound generally blurs the lines between hip-hop, soul, blues, funk and roots rock. Alienman’s latest single is the sultry and swaggering “Boogeyman.” Centered around thumping beats, some blazing guitar work and a G-funk era bass line, the track features some politically charged and righteous lyrics that subtly recall the great Curtis Mayfield and JOVM mainstay Cody ChesnutT, as the song touches upon hypocrisy and challenges media-driven fear-mongering, stereotyping and racism. 

Directed by Alex Von Kurkendall and based on a concept by Stone Mecca and Von Kurkendall, the recently released video further emphasizes the politically charged nature of the song as it reminds the viewer that with every group there are villains and heroes — and that most important, we live in a society in which the dignity and decency of entire groups of people are being ignored. 

Video by William Ruben Helms

Live Footage: The Blue Stones Perform “Be My Fire” on SiriusXM’s The Verge Channel

I’ve written a bit about up-and-coming alt rock duo The Blue Stones and as you may recall, the band which is comprised of high school friends Tarek Jafer (vocals, guitar) and Justin Tessier (drums, percussion, backing vocals) can trace their origins to when the duo decided that they should start a musical project together, while attending college. Jafar and Tessier spent seven years honing and perfecting their sound, a period which they wrote and recorded an independently released EP. 

Building upon several years of hard work and dedication, the duo released their full-length debut Black Holes last October — and the album features two previously released, attention-grabbing singles, Rolling With The Punches,” a single that received placements on USA Network‘s Suits, Showtime‘s Shameless and ESPN‘s Monday Night Football and lead single and album title track “Black Holes (Solid Ground), which has amassed 8 million streams, furthered cement the duo’s growing profile for  playing blues rock that as the duo’s Justin Tessier says is “lean, raw, tight, without a wasted note.”

Throughout 2017 and 2018, the members of The Blue Stones played sets across the national festival circuit with stops at Carolina Rebellion, Northern Invasion, Winnetka Music Festival and Bonnaroo Festival. Black Holes’ third single, the sultry and anthemic “Be My Fire,” is centered around the sort of enormous power chords, thundering drumming and arena rock friendly hooks that bring The Black Keys, Jimi Hendrix, and North Mississippi All Stars to mind — although the song is actually an urgent and plaintive yearning for someone just out of reach. Recently, the members of the up-and-coming alt rock duo were invited to SiriusXM’s The Verge Channel, where they performed several singles from their full-length debut, including the aforementioned “Be My Fire,” and a cover of The Rolling Stones’ classic “(I Can’t Get No) Satisfaction).” Check out some live footage of The Blue Stones performing “Be My Fire.” 

Video by William Ruben Helms

New Video: Up-and-Coming Blues Rock Act The Blue Stones Release a Disturbing and Timely Video for Arena Rock Friendly “Black Holes (Solid Ground)”

Comprised of high school friends Tarek Jafer (vocals, guitar) and Justin Tessier (drums, percussion, backing vocals), the up-and-coming alt rock duo The Blue Stones can trace their origins to when the duo, who had attended college together decided that they should start a musical project together. While being among an increasing number of blues-tinged rock duos including The Black Keys, The White Stripes, Royal Blood, and others, the duo cite Led Zeppelin, Black Sabbath, Jimi Hendrix, The Stooges, MC5, Alice Cooper, MUTEMATH, My Morning Jacket, Jay-Z, Kanye West, J. Cole, Muddy Waters, Howlin’ Wolf and B.B. King as influences on their overall sound and aesthetic.

Jafar and Tessier spent seven years honing and perfecting their sound, during which they wrote and recorded an independently released EP. As the duo’s Tarek Jafar says in press notes, “It takes a lot to be a success. You have to stay proud and focused.” Building upon several years of hard work and dedication, the duo’s full-length debut Black Holes was released earlier this year— and the album, which features “Rolling With The Punches,” a single that has received placements on USA Network‘s Suits, Showtime‘s Shameless and ESPN‘s Monday Night Football and the attention-grabbing lead single “Black Holes (Solid Ground),” which has amassed 8 million streams, will further cement the duo’s growing profile for  playing blues rock that as the duo’s Justin Tessier says is “lean, raw, tight, without a wasted note.” Thematically, the album as Jafar explains is “. . . about being a young adult and entering the real world from a sheltered environment, like college. Feeling torn between taking the secure path or doing something that might be riskier but you’re passionate about . . . following what you love as opposed to sticking to the straight and narrow.”

Over course of the year playing across the national festival circuit with stops at Carolina Rebellion with MUSE and Queens of the Stone Age, and at Northern Invasion, Winnetka Music Festival and Bonnaroo Festival.  But let’s talk about the aforementioned, arena rock friendly “Black Holes (Solid Ground),” which is centered around big, bluesy power chords, thundering drums and anthemic hooks — and while clearly indebted to classic Delta blues, The Black Keys, The White Stripes and early Black Sabbath but with a subtly psych rock-leaning that reveals a twist on a familiar and winning formula.

Directed by Jason Lester and filmed in Los Angeles, the first official video from the band’s full-length debut is provoking, and considering the recent news stories about migrants and refugee seekers being tear gassed at our borders — disturbing and timely. As Lester says in press notes about the video treatment,  “When the band told me about how their great track was an exploration of the battles we fight within ourselves, my mind went instantly to Stanley Milgram’s infamous shock experiments of the early 1960s,” says director Jason Lester. “Using the setup of his obedience tests as a jumping off point, we constructed a visual representation of the struggle with the self — a person facing their own image in a mirror, pushed to the brink by a choice that must be made.”

Single Review by William Ruben Helms

Comprised of Henry Hill Kammerer (guitar, vocals) and John Johnson (drums, percussion), the Portland, OR-based folk and blues duo Hillstomp have received attention regionally and nationally for a gritty and sincere,  rock ‘n’ roll-take on Americana/roots music that draws from hill country blues stomp, North Mississippi trance blues, Appalachian folk and blues, rockabilly and punkabiliy played on a drum kit made from assorted buckets, cans, BBQ lids and other ephemera and slide guitar. And over their 17 years together, the duo have toured with Reverend Horton Heat, JOVM mainstays The Devil Makes Three, and Southern Culture on the Skids among others.

Slated for an October 19, 2018 release through their longtime label home Fluff and Gravy Records, Kammerer and Johnson’s sixth full-length Hillstomp album Monster Receiver was recorded by Juniana Lanning and John Shepski with mixing engineer john Askew — and the album finds the band pushing their sound and songwriting into even more experimental territory with the album’s material seamlessly flowing from grungy folk, garage rock and intimate and tender ballads while featuring guest spots from Anna Tivel (violin), Hook & Anchor‘s Eric Clampitt (pedal steel) and I Can Lick Any Son of a Bitch in the House’s David Lipkind (harmonica). Interestingly, the album’s first single “Hagler,” is a grimy, psych blues stomp centered around shuffling drumming, chugging guitar and an explosive guitar solo that recalls the North Mississippi All Stars and fellow labelmate Drunken Prayer as its full of piss, vinegar and whiskey.

Single Review by William Ruben Helms

New Audio: Introducing the Arena Rock Friendly Blues Rock of The Blue Stones

Comprised of high school friends Tarek Jafer (vocals, guitar) and Justin Tessier (drums, percussion, backing vocals), the up-and-coming alt rock duo The Blue Stones can trace their origins to when the duo, who had attended college together decided that they should start a musical project together. While being among an increasing number of blues-tinged rock duos including The Black Keys, The White Stripes, Royal Blood, and others, the duo cite Led Zeppelin, Black Sabbath, Jimi Hendrix, The Stooges, MC5, Alice Cooper, MUTEMATH, My Morning Jacket, Jay-Z, Kanye West, J. Cole, Muddy Waters, Howlin’ Wolf and B.B. King as influences on their overall sound and aesthetic.

Jafar and Tessier spent seven years honing and perfecting their sound, during which they wrote and recorded an independently released EP. As the duo’s Tarek Jafar says in press notes, “It takes a lot to be a success. You have to stay proud and focused.” Building upon several years of hard work and dedication, the duo’s full-length debut Black Holes is slated for an October 26, 2018 release — and the album, which will feature “Rolling With The Punches,” a single that has received placements on USA Network’s Suits, Showtime’s Shameless and ESPN’s Monday Night Football and the attention-grabbing lead single “Black Holes,” which has amassed 8 million streams, will further cement the duo’s growing profile for  playing blues rock that as the duo’s Justin Tessier says is “lean, raw, tight, without a wasted note.” Thematically, the album as Jafar explains is “. . . about being a young adult and entering the real world from a sheltered environment, like college. Feeling torn between taking the secure path or doing something that might be riskier but you’re passionate about . . . following what you love as opposed to sticking to the straight and narrow.”

Over course of the year playing across the national festival circuit with stops at Carolina Rebellion with MUSE and Queens of the Stone Age, Northern Invasion, Winnetka Music Festival and Bonnaroo Festival. Interestingly, Black Holes’ third and latest single is the sultry and anthemic “Be My Fire,” which sonically is indebted to The Black Keys, Jimi Hendrix, North Mississippi All Stars as its built around enormous power chords, thundering drumming and arena rock friendly hooks — but while being centered around an urgent and plaintive yearning for someone, just out of reach. The song possesses a compelling name-taking and ass-kicking, swaggering bombast underpinned with a sincerity and earnestness. 

Video by William Ruben Helms

New Video: The Mischievous Silent Film-Inspired Visuals for Barrence Whitfield and The Savages’ “Let’s Go to Mars”

Formed by founding members Barrance Whitfield, Peter Greenberg, who has also played with Lyres and DMZ and Phil Lenker in the mid 80s, the Boston-based blues and soul act Barrence Whitfield and The Savages quickly developed a reputation for crafting primal and soulful blues, centered around Whitfield’s full-throttle soul screaming (in the spirit of Little Richard, Solomon Burke, and others), and for sweaty, dance party-like live shows. With their original lineup, the band released several attention grabbing records through Rounder Records, and as a result they toured with Bo Diddley, Tina Turner and George Thorogood, were a favorite of BBC DJ Andy Kershaw and won seven Boston Music Awards. The band reunited in 2011 with a new lineup that features Whitfield, along with Andy Jody (drums) and Tom Quartulli (sax), which has released three albums Savage Kings, Dig Thy Savage Soul and Under the Savage Sky and building upon their long held reputation, the band has toured with The Sonics, played at SXSW and have played on the BBC’s Later . . . with Jools Holland. 

Released earlier this year, Soul Flowers of Titan is Barrence Whitfield and The Savages fourth full-length album since reforming after a 25 year hiatus, and the album, which derives its name from the largest moon of Saturn, a planet which astrologically symbolizes pain and struggle was recorded in Ultrasuede Studio in Cincinnati, a town that was home to a number of classic and somewhat unknown independent labels, including King Records and Federal Records that were best known for a fostering a frayed and raucous sound during the 50s and 60s. Of course, knowing that history, the band couldn’t resist the urge to celebrate and expand on that legacy — with the album finding the band sonically meshing blues, punk, rock, garage rock and soul while thematically, the album’s material focuses on people shooting guns, separating, coming home (someday), falling in love, running around, leaving earth in search of someplace better, going crazy, drinking way too much coffee and thinking about the legendary Sun Ra. As a result, the material features a much heavier sound, B3 and Rheem organ playing from the band’s newest member Brian Olive and a live-in-the-studio urgency. 

Soul Flowers of Titan’s latest single “Let’s Go To Mars” is centered around a boozy, and shuffling power chord riff that brings Howlin’ Wolf and George Thorogood to mind but paired with lyrics inspired by an early 70s documentary on Sun Ra that its songwriters Peter Greenberg and Phil Lenker saw multiple times, and as a result there’s a mischievous yet plaintive ache to go off someplace that may be better than Earth — or least someplace, where you can live freely and not be bothered by the cruelty and viciousness of humanity. Directed by Eric Baconstrip, the recently released, animated video further emphasizes the song’s mischievous vibes while nodding at classic, silent films. 

Video by William Ruben Helms

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.