Tag: Coachella

Keep Shelly in Athens is an internationally renowned duo that has released dreamy, mid tempo electro pop material through Forest Family Records, Transparent Records, Planet Mu Records, Cascine Records and Friends of Friends Records and others, and building upon a growing international profile, the duo have played at some of the world’s largest festivals including — Coachella, Parklife Festival, The Great Escape Festival and Fun Fun Fun Festival. Along with that, the fact has made official remixes for Tycho, Blood Diamonds and Steve Mason among others.

The act’s third full-length effort, Philokalia is slated for a September 29, 2017 release through their own label Athenian Aura Recordings, and the album finds the act featuring their newest vocalist, Aussie Award-winning novelist and poet Jessica Bell. And while the album’s latest single “Game Over (Daniel’s Theme) will further cement their reputation for crafting moody and cinematic, mid-tempo electro pop — with their latest single featuring shimmering synths, swirling, ambient electronics, a mournful string arrangement and stuttering drum programming paired with Bell’s viscerally earnest and heartfelt vocals that bristle with the self-flagellation and recrimination of someone who’s been betrayed or lied to in some deeply unforgivable fashion.

 

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New Video: New Visuals for Tourist’s “We Stay Up All Night” Captures the Joy and Possibility of Youth and Young Love

Now, if you were frequenting this site around this time last year, you may have come across a post or two featuring William Phillips,  London, UK-based electronic music artist/producer and songwriter, best known in electronic music circles as Tourist, and cowriter of Sam Smith’s smash hit, Grammy Award-winning single “Stay With Me.” Adding to a breakthrough 2015, Phillips played that year’s Coachella and Pitchfork Festival Paris, went on lengthy tours of the European Union and North America, made mixes for BBC 1‘s Diplo and Friends and i-D Magazine, as well as received praise from a variety of media outlets — including Pitchfork, FADER and others. Phillips built upon a growing international profile with the release of his full-length debut U, an album that focused on a failed personal relationship the songwriter and producer had; in fact, as Philips mentioned in press notes on his full-length debut, “I’ve always recorded a lot of my life through my phone. Whilst writing the album, I found a huge number of recording that I had whilst being in that relationship, so my ex’s voice is all over this record. Also the sounds of the places we lived and visited together form prominent backdrops to the music.” 

I don’t know how to describe it sonically, it’s not really body music, it’s just a story told through different tempos and sounds. I’m not channelling any specific scene or sound, just my thoughts and feelings. I don’t really understand the term ‘electronic music’ but I suppose if pressed I’d call it that.

I have zero interest in beats and scenes, I’m much more interested in stories. I feel as though this is the biggest lesson I learnt whilst writing this album, that I don’t write music to express myself but to enrich myself. It wasn’t until finishing this album that I could truly feel at peace with that chapter in my life.”

“We Stay Up All Night” is Phillips’ latest single is an ethereal and shimmering collaboration with pop vocalist Ardyn that features the sort of soaring and anthemic hooks reminiscent of M83 — but underneath the bright neon-colored vibes is a subtle hint at wistful nostalgia — presumably at the passing of youth but with a fondness and sweetness. As Phillips mentions in press notes, the new single is “more reflective of who I am now, and how my life has changed over the past year. I moved out of my windowless studio and started writing from home again. I think subconsciously, I’ve started writing more joyous, colourful music and I’ve loved being collaborative once again. ” Phillips goes on to say that the new music he’s recently written may be some of his favorite material he’s produced so far, because he’s loved the opportunity to push his sound towards a new place. Of course, while pushing his sound to a warmer and happier vibe, the internationally renowned producer and songwriter has retained elements of the aesthetic that caught the attention of fans and the blogosphere across the world — mainly  a shimmering, cosmic glow and a swooning earnestness to the proceedings. 

Directed by Daniel Brereton, who has directed videos for Kindess, Connan Moccasin and Metronomy, the video follows a quartet of teenagers as they drive to the British countryside to goof off, explore both in daylight and at night, couple up, canoodle, get high and share intimate moments before one couple stumbles upon a forest-based all night rave, and spends the morning watching the sun rise. The video manages to perfectly encapsulate the feeling of exploration, limitless possibility, naivete and foolhardy passions of youth. 

New Video: An Intimate Portrait of Life on the Road with The Head and the Heart in New Visuals for “City of Angels”

Currently comprised of founding member Jonathan Russell (vocals, guitar, percussion), Matt Geravis, Charity Rose Thielen (violin, guitar, vocals), Chris Zasche (bass), Kenny Hensley (keys) and Tyler Williams (drums), the Seattle, WA-based indie folk/indie rock act The Head and the Heart can trace their origins to a series of open mic nights at Conor Byrne Pub back in 2009. At the time Russell, who had relocated from Richmond, VA and the band’s other founding member Josiah Johnson (vocals, guitar, percussion), who had relocated from Southern California were relatively recent transplants. Russell and Johnson met Hensley, who also was a relatively recent transplant, who had relocated the previous year to pursue film score writing. Thielen, was the next member to join, and she had recently returned from a year abroad studying in Paris. Williams had been a member of Richmond, VA-based band Prabir and The Substitutes, but after Russell sent him a demo of “Down In The Valley,” Williams quickly relocated to Seattle to join the new band. The last member of the original line, Zasche was a bartender at the Conor Byrne and was member of Seattle-based bands The Maldives and Grand Hallway. Interestingly enough, as Johnson explained the band’s name came from an relatable situation in which “Your head is telling you to be stable and find a good job, you know in your heart that this [the band] is what you’re supposed to do, even if it’s crazy.” 

Since their formation the band has released three full-length albums — 2010’s self-titled and initially self-released debut (which later caught the attention of Sub Pop Records, who re-issued it), 2013’s Let’s Be Still and 2016’s major label debut, Signs of Light with each record seeing greater attention and the band building a growing profile; they’ve opened for Vampire Weekend, The Walkmen, Dr. Dog, Dave Matthews, The Decemberists, Iron & Wine, My Morning Jacket, Death Cab for Cutie and Tom Petty and Heartbreakers among a lengthening list of acclaimed acts. Along with that, the band has seen quite a bit of critical and commercial success — their self-tiled debut reached #110 on the Billboard 200 and stayed on the chart for 10 weeks with  Let’s Be Still landed at #10 on the Billboard 200 and each album has been well received to boot. 

2017 may be arguably be one of the bigger years in the band’s history as they’ve played the historic Newport Folk Festival and Coachella, and are in the middle of an extensive tour that includes stops at the Red Rocks Amphitheater, Lollapalooza and a bunch of other stops. (Check out the tour dates below.)  In the meantime, the band’s latest single “City of Angels” will further cement the band’s growing reputation for a sound that  simultaneously nods at 70s era Fleetwood Mac, 60s psych folk and pop, arena rock and contemporary indie rock, but with a swooning earnestness; after all, their latest single like all of the preceding singles is written from a sincere place; in this case, a bittersweet longing for a home you’ve left some time ago — but underneath there’s a growing sense that you may never be able to come home again. 

The recently released video was directed by Claire Marie Vogel, and its an charming and  intimate, fly-on-the-wall like portrait of the band that captures them in a variety of moments both big and small. As the director says in press notes, “When The Head And The Heart asked me to join them on the road to make a video for ‘City of Angels,’ there were many moments, big and small, that made it a trip of a lifetime. Record store shopping in a thunderstorm, backstage birthday parties, a summer ski lift through Catskills mountains, all night bonfires on a California beach, surprise songs in a Charlottesville bar, mini golf beside a river. It was a thrill to be a welcomed fly on the wall and treated as one of the gang. I knew ending the trip at the Monterey Pop Festival would be special, but when we found ourselves in a charmingly odd practice room – the band rehearsing with Michelle Phillips of The Mamas & the Papas, and Lou Adler, a founder of the festival throwing his two cents in on their arrangement — it felt utterly surreal.”

 

With the release of her mixtape Eleven Roses and her breakout 2012 full-length debut Til the Casket Drops, which featured collaborations with Kendrick Lamar and Freddie Gibbs, singer/songwriter multi-instrumentalist ZZ Ward quickly received praise from major media outlets like Rolling StoneGuitar WorldElle and Interview Magazine for pop anthems that meshed the blues and hip hop. Adding to a growing profile, Ward made national television appearances on Jimmy Kimmel Live!ConanGood Morning AmericaThe Tonight ShowThe View and others. Along with that, she’s toured with Eric Clapton, Gary Clark, Jr., and Fitz and The Tantrums, as well as played sets at Coachella, Bonnaroo, Firefly, Made in America and others. I also should add that “Put The Gun Down,” which has received more than 7.4 million streams was featured in the major motion picture We’re The Millers.

Now, it’s been a while since I’ve written about Ward, but as it turns out, along with a busy touring schedule, the renowned multi-instrumentalist and singer/songwriter had been busy writing the material that would eventually comprise her forthcoming (and long-awaited) sophomore effort The Storm, which is slated for a June 30, 2017 release. The album’s latest single “Help Me Mama” is a strutting and swaggering track that pairs Ward’s powerhouse and soulful vocals with stomping and bluesy production consisting of strummed acoustic guitar, tweeter and woofer rocking low end, twinkling piano, whirring synths and electronics, and an rousingly anthemic hook in a song that’s rooted around viscerally candid personal revelations. Naturally, the single will further cement Ward’s reputation for crafting deeply personal, sultry and anthemic pop with a blues meets hip-hop swagger in a way that nods at Amy Winehouse, Hannah Williams and others — and perhaps more important for that impressive voice. Simply put, girl can sang.

Ward will be on tour throughout June and it includes a June 14, 2017 stop at Le Poisson Rouge. And then during the fall, Ward will join Icelandic rock at Kaleo for a series of Stateside dates. Check out the tour dates below.

Tour Dates
May 31, 2017 Chicago, IL Lincoln Hall
June 2, 2017 Minneapolis, MN Fine Line Music Cafe
June 3, 2017 Denver, CO Bluebird
June 8, 2017 San Francisco, CA The Independent
June 9, 2017 Los Angeles, CA The Roxy
June 11, 2017 San Diego, CA Belly Up
June 14, 2017 New York, NY Le Poisson Rouge
June 20, 2017 Austin, TX The Parish
June 21, 2017 Dallas, TX The Kessler
June 22, 2017 Nashville, TN 3rd and Lindsley
October 2, 2017 Houston, TX Revention Music Center **
October 4, 2017 Kansas City, MO The Mid **
October 7, 2017 Madison, WI Orpheum Theatre **
October 16, 2017 Boston, MA House of Blues **
October 20, 2017 Wallingford, CT The Dome at Oakdale Theatre **
**Dates supporting Kaleo

Live Footage: Chicano Batman Perform “Friendship (Is A Small Boat In A Storm)” on Conan

Comprised of Eduardo Arenas (bass, vocals), Carlos Arévalo (guitar), Bardo Martinez (vocals, organ, guitar) and Gabriel Villa (drums, percussion), the Los Angeles, CA-based quartet Chicano Batman have developed a reputation for specializing in a sound that draws from Brazilian tropicalia, psychedelia and classic soul — and for a growing national profile, as they’ve opened for Jack White, Alabama Shakes, The Claypool Lennon Delirium, Gogol Bordello and others. Adding to that, the band has played at several of the country’s biggest music festivals, including Coachella and Bonnaroo among others.

Interestingly, the band’s latest album Freedom Is Free finds the band leaning heavily towards a classic soul and classic R&B-leaning sound. And in order to achieve that goal, the band enlisted the assistance of Leon Michels, who is best known for specializing in that classic soul sound with his work with El Michels Affair, The Arcs, Sharon Jones and the Dap Kings, The Black Keys and The Menahan Street Band. Additionally, Michels has had his work sampled in songs by Jay-Z and Ghostface Killah.

“Friendship (Is A Small Boat In A Storm)” is the latest single off Freedom Is Free and as you’ll hear the song draws from slow-burning, classic soul and R&B while nodding at the sound of The Who Sings My Generation and A Quick One-era The Who and The Kinks — but if they added an organist and a handful of backing vocalist. And as a result, the song consists of a soulful, old-school, shuffling two step and a deceptively simple nature, as the song lyrically and thematically speaks of the complex and complicated nature of friendship. Throughout the song, the narrator openly recognizes that while human relationships are absolutely pleasurable and necessary if they forge a deep understanding and companionship; but they can also be frequently fraught with misunderstanding, bitterness, heartache and betrayal.

Recently, the members of Chicano Batman made their national television debut with an appearance on Conan, where they played a loose and fiery version of “Friendship (Is A Small Boat In A Storm) off their latest full-length effort.

So if you’ve been frequenting this site over the course of its history, you’ve likely come across a handful of posts featuring New York-based, JOVM mainstays and electronic music duo Beacon. Comprised of Thomas Mullarney III (vocals) and Jacob Gusset (production), the duo have received attention across the blogosphere for a sound that draws from R&B, house music and electro pop as Mullarney’s aching and yearning falsetto vocals are paired with generally spacious, minimalist productions consisting of chilly, arpeggio synths and wobbling low end.

Last year’s sophomore effort Escapements thematically was about time and the baggage it both creates and brings, and unsurprisingly, the album’s title was inspired by clock mechanics; in fact, escapements are timekeeping regulators specifically designed to transfer the kinetic energy of the clock’s parts at a constant and regular pace. As Mullarney explained in press notes at the time, “I was attracted to this concept because of the entropy it implies. Friction and changes in amplitude over time mean[s] every escapement, no matter how well crafted, will lose its accuracy and effectively slow down time via its own decay.”

Featuring drumming from Tycho‘s Rory O’Connor, the material on Escapements was written, revised, refined and recorded over the course of about nine months at Beacon’s Brooklyn-based home studio and Gary’s Electric and the album revealed that the duo restlessly experimented with their songwriting and production approaches, following wherever their muses and instincts took them, including trying out new studio techniques and recording techniques. And occasionally, they tried things on the fly, which meant that the recordings captured much more of the free-flowing feel and energy of the creative process — while at points being subtly cinematic.

On the heels of a Coachella appearance with Tycho, Mullarney and Gusset released their first single of 2017, “Marion.” At the core of the song is a hammered dulcimer, a percussive, stringed instrument in which the musician strikes the strings with small, hand-held hammers — coincidentally, the hammered dulcimer is an ancestor of the modern piano that sounds a bit like cross between a harp and a piano. The chiming, hammered dulcimer sample ebbs and flows, and occasionally recedes for Mullarney’s achingly tender falsetto vocals to float over the production, which also features stuttering boom-bap beats. And while being subtly warmer than some of their previously released material, their latest single will further cement the duo’s reputation for crafting minimalist yet pulling material that possesses a wistful and yearning ache.