Tag: Chic

Single Review by William Ruben Helms

If you’ve been frequenting this site over its six year history, you’ve likely made yourself familiar with New York-based singer/songwriter, multi-instrumentalist and long-term JOVM mainstay artist Rene Lopez. And over the years, Lopez has uncompromisingly refused to be pigeonholed into one particular genre. Over the years, Lopez has managed to mesh salsa, boogaloo, old-school hip-hop, meringue and electronica into one cohesive whole on E.L.S.; salsa and 7os Brazilian music on his most deeply personal effort Paint the Moon Gold; and slinkily seductive synth-based R&B and funk, inspired by Prince, The Gap Band, Rick James, Chic and others on Love Has No Mercy and its subsequent releases.

Now, much like The Raveonettes and several others, Lopez has spent the past year on a single of the month series that he’s dubbed the Jam of the Month. The last and latest single of the series “Who Stole Your Heart” is a swaggering 80s freestyle and hip-hop inspired track that pairs Lopez’s silky smooth vocals with big wobbling, tweeter and woofer rocking 808s and layers of cascading synths to craft a dance floor ready party jam that sounds as though it drew from Herbie Hancock “Rockit” and others.

 

Video by William Ruben Helms

New Video: The 80s Inspired Visuals for Iconique’s “Sitting Pretty”

Building upon the buzz they’ve received for their first two singles and the video for “Step Into the Mood,” the Los Angeles, CA-based electro pop trio Iconique recently released the fittingly 80s influenced video for “Sitting Pretty,” a video that visually reminds me quite a bit of the visuals for Roxy Music’s “More Than This,” The Human LeagueR’s “Don’t You Want Me” and others — but with a focus on the video’s glamour being seemingly fleeting and unattainable for most.

Single Review by William Ruben Helms

 

Comprised of Leo Paparella (vocals, synths) and brothers Eric Promani (drums, synths) and Greg Promani (guitar), Los Angeles-based electro pop trio Iconique have quickly exploded across the blogosphere and elsewhere as their previous single “Step Into The Mood” was praised by Gawker and Surviving the Golden Age, was featured on Hype Machine and received radio airplay on KUCI and KCHUNG. And honestly, that shouldn’t be surprising as the band’s sound has been described by some of my colleague as a “synthesis of influences like Prince, David Bowie and Chic.” Interestingly, the trio’s latest single “Sitting Pretty” sonically seems as though it draws from Roxy Music, The Human League, Howard Jones and others as Paparella’s sultry speak-song and crooning is paired with a sinuous bass line, shimmering synths and propulsive drumming; in other words, it sounds as though it could have been released sometime between 1980 and 1983.

As the band’s Leo Paparella explained in press notes “‘Sitting Pretty’ is both a celebration and critique of vanity. There’s very much an innate cruelty to glamor. It operates out of exclusivity, which keeps its scope woefully narrow and out of touch. And I bet that’s why people want it so badly.” And as a result, the song possess a subtle yet palpable sense of menace and anxiousness under the clean, hyper-modern and danceable sheen.

 

New Audio by William Ruben Helms

Over the six year history of this site, I’ve written quite a bit about New York-based singer/songwriter and multi-instrumentalist Rene Lopez, one of JOVM‘s earliest mainstay artists. And throughout that time, Lopez has uncompromisingly refused to be pigeonholed into one particular genre — the New York based singer/songwriter and multi-instrumentalist has managed to mesh salsa, boogaloo, old-school hip-hop, meringue and electronica into one cohesive whole on E.L.S. (short for Electric Latin Soul); salsa and 7os Brazilian music on his most deeply personal effort Paint the Moon Gold; and slinkily seductive synth-based R&B and funk, inspired by Prince, The Gap Band, Rick James, Chic and others on Love Has No Mercy and its subsequent releases. This shouldn’t be surprising as Lopez has told me in an interview, he grew up in a household where salsa, merengue and disco were frequently played — and his first band The Authority was deeply influenced by his love of Prince and funk. So in some way, Lopez has come back full circle.

Now, if you’ve been frequenting this site over the past year in particular, you’d likely know that Lopez is among a handful of artists who has focused on a single of the month series. While on one level, such a phenomenon points to the death of the album, it also allows artists to be creative without concerning themselves with the strict thematic and lyrical structure of an album — but with fairly strict deadlines to compete and release material. Lopez’s latest Jam of the Month, “Run Run Baby,” is a sleek, slinky and sensual synth-based pop/R&B that strikes me as a modernized version of Prince’s “The Beautiful Ones” if covered by Dam-Funk as Lopez’s sultry crooning is paired with shimmering and wobbling synths, skittering drum programming.

 

Single Review by William Ruben Helms

Over the six year history of this site, I’ve written quite a bit about New York-based singer/songwriter and multi-instrumentalist Rene Lopez, who is not only among a group of artists I first wrote about when I started things here, he is also one of JOVM‘s earliest mainstay artists. And throughout the past six years, Lopez has uncompromisingly refused to be pigeonholed into one particular genre — Lopez has managed to mesh salsa, boogaloo, old-school hip-hop, meringue and electronica into one cohesive whole on E.L.S. (short for Electric Latin Soul); salsa and 7os Brazilian music on his most deeply personal effort Paint the Moon Gold; and slinkily seductive synth-based R&B and funk, inspired by Prince, The Gap Band, Rick James, Chic and others on Love Has No Mercy and its subsequent releases. This shouldn’t be surprising as Lopez has told me in an interview, he grew up in a household where salsa, merengue and disco were frequently played — and his first band The Authority was deeply influenced by his love of Prince and funk. So in some way, Lopez has come back full circle.

If you’ve been frequenting JOVM over the past few months you’ve come across posts on Lopez’s “Heavy, Baby Heavy,” “Trouble Lovin’ Lady,” and “Watch Me Turn It Up,” the first, third and sixth singles of his continuing Jam of the Month Series. The seventh and latest single in the series is the slow-burning Quiet Storm-like synth-based ballad that pairs Lopez’s sultry crooning with contemporary electronic production consisting of shimmering synths and persistent keyboards, ambient and swirling electronics, skittering drum programming, a gorgeous violin arrangement and anthemic hook. Sonically, the song sounds as though it draws influence from Prince, Blood Orange and Tuxedo and while being danceable and sensual, there’s an earnest sentiment at its core — a mix of desire, uncertainty, doubt and vulnerability that comes about from sincerely putting your heart and soul out on the line with the hope that it’d be reciprocated, and that it’d be a real and meaningful love.

 

Single Review by William Ruben Helms

 

Over the last half of 2015 and the beginning of this year, you’d likely come across one of JOVM most recent mainstay artist, Raleigh, NC-based funk and soul artist Jamil Rashad and his solo recording project Boulevards. Describing his sound as “party funk jams for the heart and soul to make you move,” Rashad’s work caught my attention as it draws from the classic funk sounds of Earth, Wind and Fire, Prince, Rick James, Chic, the production work of Quincy Jones – most notably Off the Wall and Thriller-era Michael Jackson, as well as Talking Heads, Grace Jones, and Cameo among others. Unsurprisingly, those acts were the sounds that he listened to as a child — although his teenage interest in punk, hardcore and metal also influenced his own songwriting and production work. And with the release of his Boulevards EP, Rashad quickly put himself on the map as part of a growing neo-disco/neo-funk movement that includes several other JOVM mainstays including Dam-Funk, Escort, Rene Lopez, and several others.

April 1 will mark the highly-anticipated release of Rashad’s Boulevards full-length debut, the aptly titled Groove! Now you may recall that last month, I wrote about Groove!‘s first single “Cold Call,” an 80s synth R&B and pop-inspired single comprised of layers of wobbling and shimmering synth stabs paired with a sinuous bass line, Rashad’s seductive cooing, warm blasts of horn and an anthemic hook in a slow-burning jam that channels Cameo’s “Word Up!” and “Candy,” Oran “Juice” Jones‘ “The Rain” Adding to the period specific feel, are the brief interludes with Rashad seemingly flirting and coming on to the listener. The album’s second and latest single “Up On On Your Love” continues Rashad’s burgeoning reputation for dance party worthy, sensual funk as it pairs shimmering synths, propulsive drumming, shimmering Nile Rodgers-like funk guitar chords, handclaps around the infectious hook and Rashad’s sexy come ons — and although the song sonically manages to resemble The Jacksons “Can You Feel It?,” it may arguably be the sexiest single on the album to date. Like the rest of Rashad’s work it’s sexy yet incredibly danceable, especially around the percussive “Burn This Disco Out” like bridge.

Single Review by William Ruben Helms

 

If you were frequenting this site over the last four to six months of 2015, you’d likely be familiar with Raleigh, NC-based funk and soul artist Jamil Rashad and his solo recording project Boulevards. Describing his sound as “party funk jams for the heart and soul to make you move,” Rashad’s work caught my attention as it draws from the classic funk sounds of Earth, Wind and Fire, Prince, Rick James, Chic, the production work of Quincy Jones – most notably Off the Wall and Thriller-era Michael Jackson, as well as Talking Heads, Grace Jones, and Cameo among others. Unsurprisingly, those acts were the sounds that he listened to as a child — although his teenage interest in punk, hardcore and metal also influenced his own songwriting and production work. And with the release of his Boulevards EP, Rashad quickly put himself on the map as part of a growing neo-disco/neo-funk movement that includes several mainstays including Dam-Funk, Escort, Rene Lopez, Mark Ronson (in particular, his mega-hit “Uptown Funk”) and several others.

April 1, 2016 will mark the anticipated release of Boulevard’s full0-length debut, the aptly titled Groove!, and the album’s first single “Cold Call” is indebted to 80s synth R&B and pop as layers of wobbling and  shimmering synth stabs are paired with a sinuous bass line, Rashad’s seductive cooing, warm blasts of horn and an anthem hook in a slow-burning jam that channels Cameo’s “Word Up!” and “Candy,” Oran “Juice” Jones‘ “The Rain” Adding to the period specific feel, are the brief interludes with Rashad seemingly flirting and coming on to the listener. Simply put, it’s the sort of song that you can do that old-fashioned two step to — while flirting with hat pretty young thing you saw across the club.