Tag: Copenhagen Denmark

New Video: Acclaimed Scandinavian Soul Artist Jonas Releases a Strutting Ode to Self-Care

Copenhagen-based singer/songwriter and multi-instrumentalist Jonas (born Jonas Rendbo) has been hailed by international press as the Godfather of Scandinavian Soul throughout the course of his 20+ year music career. Renbo has managed to be remarkably prolific, releasing a ton fo his own original music, which he has supported with tours sharing stages with the likes of internationally applauded artists like Omar, John Legend, Joss Stone, Lynden David Hall and Bilal among a lengthy and growing list of others. Adding to his accolades, Rendbo won Artist of the Year and Best Video at the 2016 Scandinavian Soul Music Awards.

Since 2004, Rendbo has split time between Copenhagen and London, where he met his wife and started a family. And while in London, he started collaborating with London-based multi-instrumentalist and producer The Scratch Professor, who coincidentally is Omar’s brother. Rendbo and The Scratch Professor had an instant musical simpatico and a couple of songs they wrote together wound up on Jonas’ sophomore album 2009’s W.A.I.T.T.

Their collaboration also managed to produce a handful of songs that the Copenhagen-based singer/songwriter had kept in his vault over the past decade or so— until he released them as the four song EP EP 4ward Fast To Future. Recorded, produced, mixed and mastered during COVID-19 quarantine lockdown during April, the EP is return to the warm, neo-soul sounds of his earliest work. Earlier this year, I wrote about “Pick Me Up,” a warm, 90s neo-soul track, centered around shimmering Rhodes, boom bap-like beats, a sinuous bass line, a strutting horn line, an infectious hook and Rendbo’s sultry and plaintive falsetto. And while being a joyous, two step-inducing, radio friendly jam, the song’s narrator talks about desiring — and then having — the sort of love (and lover) that most of us dream of: that ride or die person, who’s with you and supports you through thick and thin, joy and heartbreak, sickness and health.

The EP was released to widespread praise across the blogosphere including SoulBounce.com, ScandinavianSoul.com and was a featured album on SoulTracks.com. Additionally, the EP’s material received airplay on soul music ration station across the globe. Building upon that momentum, the Danish-born singer/songwriter released teh 4ward Fast to Future (Remixes) which features remixes of some of the EP’s material by friends and musical collaborators, done inc completely different styles. But in the meantime, Renbo released the EP’s latest single, the slow-burning “What’s Cooking.” Much like it’s predecessor, the track is centered by twinkling Rhodes arpeggios, a sinuous bass line, strutting horns and Renbo’s plaintive vocals; however, the song finds its narrator wanting to simply his life and find himself in his own terms while living in a chaotic world.

Featuring video graphics and editing by Jacob Vinjegaard, the recently released video for “What’s Cooking” is shot with a grainy Instagram-like filter and follows Renbo in some intimate and trippy footage.

With the release of 2018’s sophomore album Nowadays, the Copenhagen, Denmark-based pop duo and JOVM mainstays  Palace Winter — Australian-born, Copenhagen-based singer/songwriter Carl Coleman and Danish-born, Copenhagen-based producer and classically trained pianist Caspar Hesselager — built upon a rapidly growing profile regionally and internationally, with the album’s material finding the duo expanding upon the sound and songwriting approach that won them praise: breezy and melodic, radio friendly pop with heavy thematic concerns. The album’s material touched upon adulthood and the loss of innocence; the accompanying tough and sobering lessons of life as you get older; the freedom and power that comes as one takes control of their life and destiny and so on. But it was also unpinned by profound grief of loss. Life, after all is about recognizing that immense heartbreak and devastating loss are part of the price of admission, and that somehow you have to figure out a way to move forward.

Palace Winter’s highly anticipated, third album . . . Keep Dreaming, Buddy is slated for an October 23, 2020 release through Tambourhinoceros Records, and unlike their previously released material, . . .Keep Dreaming, Buddy‘s material was written through a long distance correspondence as the band’s Coleman was residing in Tenerife, Canary Islands, Spain. “Caspar was sending me these synth hooks and drum loops from Denmark, so I started coming up with melodies and lyrical ideas to record into my phone,” Coleman says of the writing sessions. While Coleman’s lyrics were inspired by Tenerife’s unique landscape, they also draw metaphorical parallels between Mt. Teide, a dormant volcano, which also is one of Spain’s tallest peaks, and the looming fear of a relationship disintegrating, Hesselager’s instrumental parts were inspired by Copenhagen’s landscape. And as a result, the album’s material is literally a tale of two cities and two completely different emotional states.

Over the past handful of months, I’ve written about three of the album’s previously released singles:

  • Top of the Hill,” was a great example of the album’s overall tale of two cities and two completely different emotional states. Featuring shimmering and icy synths, thumping beats and an enormous, arena rock friendly hook paired with Coleman’s volcanic imagery-based lyrics, the song captures the bubbling dissatisfaction, boredom, frustration and distrust of a relationship about to boil over and explode.
  • Won’t Be Long,” . . . .Keep Dreaming Buddy‘s second single was an expansive song that featured elements of arena rock, glam rock and synth pop, complete with a rousingly anthemic hook, a crunchy power chord-driven riff, shimmering synth arpeggios and strummed guitar. But interestingly enough, the song is actually deceptively and ironically upbeat as it tackles the anxiety of anticipatory grief, as it focuses on a narrator, who is preparing for the inevitable loss of a dear, loved one. Loss and despair are always around the corner, indeed.
  • Deeper End,” the album’s third single was a decidedly genre-defying affair that found the duo pushing their sound in a new direction without changing the essentially elements of the sound that has won them attention internationally. Featuring an infectious hook, shimmering synth arpeggios and strummed guitar, the breezy song is one part synth pop. one part 70s AM rock, one part country — but while centered around an unusual juxtaposition: the song as the band’s Carl Coleman explains is “a story about a bad trip at a weird house party I went to with my sister.” Granddaddy’Jason Lytle contributes a guest verse to the song, a verse in which his character dispenses harsh yet very trippy truths to the song’s hallucinating and anxious narrator.

“Richard (Says Yes)” . . . .Keep Dreaming Buddy‘s fourth and latest single is a bit of a playful, thematic left turn that finds the duo simply wanting to write a big, upbeat, party anthem centered around an expansive song structure, featuring alternating breakneck loud sections and quieter, completive section. While continuing a run of singles that find the band pushing their sound in a new direction — in this case, a sort of proggy take on their breezy yet melancholy pop — the new single further cements their unerring knack for crafting rousingly anthemic hooks. Much like the album’s previously released singles, “Richard (Says Yes) finds the members of Palace Winter collaborating with Penny Police‘s Marie Fjeldsted and saxophonist Ned Ferm.

Interestingly, the song was inspired by a documentary on Jimi Hendrix, which featured the equally legendary and outrageous Little Richard (whom Hendrix, once played for in the early days of his career). “Little Richard came on and we were both just floored by how f***in’ alive and funny and inspiring he was. So, he kind of became this little team mascot for us. Like, just do it ALL! ‘Put some sugar on it, man! MORE!’ So this song is exactly that. Richard says yes to f***in’ EVERYTHING!” Palace Winter’s Carl Coleman says. It’s a “big colourful banger to fill the canvas.”

Richard (Says Yes)’ has this really extroverted, larger-than-life feeling about it. You can’t bring it down. It’s just a machine that runs over everything. I get these almost synesthesia-like moments when listening to it,” adds the band’s Caspar Hesselager.

New Video: Copenhagen’s why sun Releases a Murky and Insistent New Single Paired with Creepy Visuals

why sun is a rising Copenhagen, Denmark-based noise rock act — Rasmus Kjærsgaard Velling, Lasse Skydsgaard Knigge and Julius Emil Brinck — that initial received attention across both their native Denmark and across Scandinavia for a dark and melancholic sound they’ve dubbed “sleepy noise,” which referenced and drew from the likes of Suicide, The National and The Jesus and Mary Chain.

Last year, the band released their Frugte EP (“frugte” is Danish for fruit), and the EP featured two critically applauded, attention-grabbing singles “Eastern Love” and the slow-burning dirge “Traffic,” which found the act meshing elements of shoegazer and industrial clang and clatter. The band continued the momentum of last year with a Eurosonic 2020 set earlier this year.

Building upon a growing profile across both Scandinavia and Northern Europe, the rising Danish act released the “Streetlight”/”White Sleep” double single last month. “Streetlight,” the first single finds the band moving towards an even darker, more forceful sound centered around droning guitars and feedback, driving rhythms, industrial clang and clatter paired with vocals that alternate between a sultry croon and wild shouts. While evoking a desperate howl into an indifferent — and often cruel — universe, the song finds the act seemingly meshing Joy Division, Sisters of Mercy, and Suicide into a unified and brutally forceful sound.

The recently release video by Frederik Sonne is an equally murky and creepy visual featuring home videos recorded at various points in 1993 including some footage which seems to have been shot in a senior home, brief segments of 90s TV shows.

Copenhagen, Denmark-based pop duo and JOVM mainstays  Palace Winter — Australian-born, Copenhagen-based singer/songwriter Carl Coleman and Danish-born, Copenhagen-based producer and classically trained pianist Caspar Hesselager — can trace their origins to the duo’s mutual familiarity and appreciation for each other’s work throughout a number of different projects over the years. Naturally, that mutual familiarity and appreciation for each other’s work led to the duo deciding to work together.

Building upon a rapidly growing profile, Palace Winter’s sophomore album, 2018’s Nowaways found the duo expanding upon the sound and songwriting approach that won them praise, as they paired breezy and melodic, radio friendly pop with heavy thematic concerns — with the album material’s touching upon the loss of innocence of adulthood, the accompanying tough and sobering lessons as you get older, the freedom and power that comes as one takes control of their life and destiny and the like. But it’s all underpinned by the profound grief of inconsolable loss. Life, after all is about recognizing that immense heartbreak and devastating loss are part of the price of admission, and that somehow you have to figure out a way to move forward.

Palace Winter’s highly anticipated, third album . . . Keep Dreaming, Buddy is slated for an October 23, 2020 release through Tambourhinoceros Records, and unlike their preceding albums, . . .Keep Dreaming, Buddy‘s material was written through a long distance correspondence as the band’s Coleman was residing in Tenerife, Canary Islands, Spain. “Caspar was sending me these synth hooks and drum loops from Denmark, so I started coming up with melodies and lyrical ideas to record into my phone,” Coleman says of the writing sessions. While Coleman’s lyrics were inspired by Tenerife’s unique landscape, drawing metaphorical parallels between Mt. Teide, a dormant volcano, which also is one of Spain’s tallest peaks and the looming fear of a relationship disintegrating, Hesselager’s instrumental parts were inspired by Copenhagen’s landscape. And as a result, the album’s material is literally a tale of two cities and two completely different emotional states.

So far I’ve written about two of the album’s previously released singles: The album’s first single “Top of the Hill,” was a great example of the album’s overall tale of two cities and two completely different emotional states. Featuring shimmering and icy synths, thumping beats and an enormous, arena rock friendly hook paired with Coleman’s volcanic imagery-based lyrics, the song captures the bubbling dissatisfaction, boredom, frustration and distrust of a relationship about to boil over and explode. “Won’t Be Long,. . . .Keep Dreaming Buddy‘s second single may arguably be the album’s most ambitious and expansive songs. Featuring elements of arena rock, glam rock and synth pop, the track which was centered around a rousingly anthemic hook, a crunchy power chord-driven riff, shimmering synth arpeggios and strummed acoustic guitar, the song is actually deceptively (and perhaps, even ironically) upbeat, as it tackles the anxiety of anticipatory loss of a loved one. Loss and despair are always around the corner, indeed.

“Deeper End,” the album’s third single is a decidedly genre-defying affair — and it finds the duo pushing their sound in a new direction but without changing the elements of their sound and approach that has won them attention internationally. Featuring an infectious hook, shimmering synth arpeggios and strummed guitar, the breezy song is one part synth pop. one part 70s AM rock, one part country — but while centered around an unusual juxtaposition: the song as the band’s Carl Coleman explains is “a story about a bad trip at a weird house party I went to with my sister.” Coleman adds “Think Kraftwerk playing a classic country song.” In either case, the song is full of slow-burning, creeping dread and anxiety, the fear of skeleton stuffed closets being exposed.

Granddaddy’s Jason Lytle contributes a guest verse to the song, a verse in which his character dispenses harsh yet very trippy truths to the song’s hallucinating and anxious narrator. Interestingly, the collaboration can trace its origins back to when the members of Palace Winter discovered that Lytle was a fan, after he added a Palace Winter song to one of his playlists. Coleman, who’s been a longtime fan of Lytle’s work with Granddaddy reached out to Lytle with what he thought was an unlikely proposition to work together. Obviously, Lytle said yes. “It’s wild to think that back in the early naughties I was wandering around Europe with Grandaddy in my headphones, and now here I am trading lines with Jason. It’s a real honour and a proud moment for our band” Coleman says.

Palace Winter · Won’t Be Long

The Copenhagen, Denmark-based pop duo and JOVM mainstays  Palace Winter — Australian-born, Copenhagen-based singer/songwriter Carl Coleman and Danish-born, Copenhagen-based producer and classically trained pianist Caspar Hesselager — can trace their origins to the duo’s mutual familiarity and appreciation for each other’s work throughout a number of different projects over the years. Naturally, that mutual familiarity and appreciation for each other’s work led to the duo eventually deciding to work together.

Building upon a rapidly growing profile, Palace Winter’s sophomore album, 2018’s Nowaways found the duo expanding upon the sound and songwriting approach that won them praise, as they paired breezy and melodic, radio friendly pop with heavy thematic concerns — in particular, the album touched upon the loss of innocence of adulthood, the accompanying tough and sobering lessons as you get older, the freedom and power that comes as one takes control of their life and destiny and the like. But it’s all underpinned by the profound grief of inconsolable loss. Life, after all is about recognizing that immense heartbreak and devastating loss are part of the price of admission, and that somehow you have to figure out a way to move forward.

Palace Winter’s highly anticipated, third album . . . Keep Dreaming, Buddy is slated for an October 23, 2020 release through Tambourhinoceros Records — and unlike their preceding albums, . . .Keep Dreaming, Buddy‘s material was written through a long distance correspondence as the band’s Coleman was residing in Tenerife, Canary Islands, Spain. “Caspar was sending me these synth hooks and drum loops from Denmark, so I started coming up with melodies and lyrical ideas to record into my phone,” Coleman says of the writing sessions. While Coleman’s lyrics were inspired by Tenerife’s unique landscape, drawing metaphorical parallels between Mt. Teide, a dormant volcano, which also is one of Spain’s tallest peaks and the looming fear of a relationship disintegrating, Hesselager’s instrumental parts were inspired by Copenhagen’s landscape. And as a result, the album’s material is literally a tale of two cities and two different emotional states.

Last month, I wrote about the album’s first single “Top of the Hill,” a perfect example of the album’s literal tale of two cities: shimmering and icy synths, thumping beats and an enormous, arena rock hook were paired with Coleman’s lyrics, centered round volcanic imagery to describe the bubbling and broiling feels of dissatisfaction, boredom, frustration, deceit and distrust of a relationship on a brink. But with everything in our lives, there are difficult decisions to be made, and the song subtly hints that despite it all, there’s a dim chance that the central relationship could possible survive — even if both parties know, deep down that it shouldn’t.  Interestingly, “Won’t Be Long” is arguably one of the album’s most ambitious and expansive songs. Drawing from arena rock and glam rock and synth pop, the track is centered around a rousingly anthemic hook, a crunchy power chord-driven riff, hot, shimmering synth arpeggios, strummed acoustic guitar, the song is deceptively (and perhaps, ironically) upbeat.

Last year, Palace Winter’s Carl Coleman received a shock when he learned of a loved one’s urgent illness. And as a result, the song actually is centered around the reckoning of imminent loss, of anticipatory grief — and our attempts to escape the inevitable. But loss and despair are always just around the corner.

 

 

 

 

 

 

 

 

New Video: JOVM Mainstays Palace Winter Release a Lysergic Visual for Anthemic New Single “Top of the Hill”

I’ve written quite a bit about the  Copenhagen, Denmark-based pop duo Palace Winter — Australian-born, Copenhagen-based singer/songwriter Carl Coleman and Danish-born, Copenhagen-based producer and classically trained pianist Caspar Hesselager — over the past few years. The act can trace its origins to the duo’s mutual familiarity and appreciation for each other’s work throughout a number of different projects. Naturally, that mutual familiarity and appreciation for each other’s work, led to the duo working together. 

Coleman and Hesselager released their Palace Winter debut single in 2015 — but the following year was a breakthrough year for the Copenhagen-based duo: they released their EP Meditation and full-length debut Waiting for the World to Turn to critical praise from The Guardian, NME, The Line of Best Fit, and airplay from KCRW, KEXP, Norway’s P3, Denmark’s P6, as well as by BBC Radio personalities Guy Garvey, Lauren Laverne and Tom Ravenscroft. Adding to a growing profile, the duo have a Hype Machine #1 single under their belts, have opened for Noel Gallagher, and have made appearances across the European festival circuit, including sets at Guy Garvey’s curated Meltdown Festival, Roskilde Festival, Green Man Festival, Sziget Festival, Latitude Festival and Secret Garden Party among others.

Building upon a rapidly growing profile, Coleman and Hesselager released their sophomore album, 2018’s Nowadays. Arguably one of my favorite albums of the year, the album’s material found the duo expanding upon the sound and songwriting approach that won them praise, as they paired breezy, melodic, radio friendly pop with dark thematic concerns — in particular, the loss of innocence as one becomes an adult, with its accompanying tough and sobering lessons; the freedom and power that comes as one takes control of their live and destiny. But this was all underpinned by the inconsolable grief of profound loss. The album suggests a couple of things that I’ve learned about life in my 41 years : Life is ultimately about accepting immense, inconsolable loss as part of the price of admission, and somehow you have to figure out some way to move forwards, even its in fits and starts. And that a significant portion of our lives will be spent maneuvering the confusing push and pull between love and lust, with the prerequisite remote, anxiety, bitterness and loathing. Life is never easy and there’s never easy solutions. 

Palace Winter’s highly anticipated, third album . . . Keep Dreaming, Buddy is slated for an October 23, 2020 release through Tambourhinoceros Records — and unlike their preceding albums, . . .Keep Dreaming, Buddy’s material was written through a long distance correspondence as the band’s Coleman was residing in Tenerife, Canary Islands, Spain:“Caspar was sending me these synth hooks and drum loops from Denmark, so I started coming up with melodies and lyrical ideas to record into my phone,” Coleman says of the writing sessions. While Coleman’s lyrics were inspired by Tenerife’s unique landscape, drawing parallels between Mt. Teide, a dormant volcano, which also is one of Spain’s tallest peaks and the looming fear of a relationship disintegrating, Hesselager’s instrumental parts were inspired by Copenhagen’s landscape. And as a result, the album’s material is literally a tale of two cities.

“Top of the Hill,” which features a guest spot from Lowly is a perfect example of the album’s literal tale of two cities: shimmering and icy synths and thumping beats and an enormous, arena rock hook are paired with Coleman’s lyrics, which feature volcanic imagery to describe the broiling and bubbling feelings of dissatisfaction, frustration, deceit and distrust that come up in a failing relationship. And yet, throughout there’s the dim chance it could survive — even if it shouldn’t. 

Starring Carla Viola Thurøe, the recently released video follows the actor on a lysergic-tinged walk around Copenhagen’s parks and streets — and we see Thurøe’s attentive gaze shift from crystal balls to flowers, with the Danish actor carefully examining them and their texture. In many ways, the video mirrors Hesselager and Coleman’s writing process with Hesselager walking around Copenhagen figuring out the unfinished instrumentation and beats ins head and how they fit with Coleman’s phone recordings. 

Her Songs · Lost a Little (feat. Dani Murcia, Emily C. Browning, Emmavie, Marie Dahlstrom & The Naked Eye)

During the course of this year, I’ve written a bit about Her Songs, a multi-national collective of women artists that features:

  • Dani Murcia (vocals, piano, guitar, production), a Colombian-American, Miami-born, New York-based R&B/pop/soul singer/songwriter, whose lush harmonies and haunting melodies has been influenced by the likes of JOVM mainstay Nick Hakim, Kimbra and Matt Corby. Her latest EP Breaking Light consists of stories focusing on grieving her father’s suicide and searching for beauty in pain.
  • Emily C. Browning (vocals, guitar), a Christchurch, New Zealand-based indie soul artist influenced by the likes of Emily King, Lianne La Havas and Nai Palm. Her work features conversational-style lyrics, that offer a deep perspective and insight into the human experience.
  • Francesca Hole, a French-born, London-based singer/songwriter and guitarist, known as The Naked Eye (vocals, guitar). Influenced by Nai Palm, Lianne La Havas, Maya Angelou, Joni Mitchell, D’Angelo, Bruno Major and others, Hole’s work as she describes it, are autobiographical songs about life experiences, relationships and overcoming hardships that meshes elements of jazz, soul, folk and R&B. Her latest EP Love’s Grave was released last April.
  • JOVM mainstay, Marie Dahlstrom (vocals, piano, percussion and production), a Rosklide, Denmark-born, London-based singer/songwriter, who has been largely influenced by the R&B and soul she heard in her home as a child — in particular Edwyn Collins, Womack & Womack and Gloria Gaynor were on regular rotation. Dahlstrom discovered Dwele, Dire Straits, Erykah Badu, Kirk Franklin and Fleetwood Mac in her teenage years.Dahlstrom first gained attention as a solo artist in her native Denmark, eventually becoming a three-time Scandinavian Soul Award winner. Since relocating to London, the Danish-born singer/songwriter she has become an internationally recognized sensation, best known for crafting a warm and ethereal synthesis of jazz, classic soul and R&B. Interestingly, after successful collaborations with Tom Misch and Alfa Mist, the Roskilde-born, London-based singer/songwriter has been busy writing the material, which would eventually comprised her long-awaited full-length debut. Slated for release latest this year, the album was recorded in Los Angeles, Copenhagen, and London and features collaborations with James Vickery, Jeremy Passion, Elijah Fox, Beau Diako and a list of others.
  • Emmavie (vocals production), a London-based singer/songwriter and producer, whose work is an amalgamation of 90s R&B and her love for digital audio experimentation. She has built up a reputation for being a highly sought-after collaborator, working with IAMNOBODI, Buddy, ROMderful, Jarreau Vandal, Alfa Mist, Nick Grant and Jay Prince. Emmavie has had her work featured on the Oprah Winfrey Network-produced series Queen Sugar. And adding to a growing profile, the London-based singer/songwriter and producer was scouted by  DJ Jazzy Jeff, who flew her out to his house in Delaware to write and record music with Mac Ayres, Robert Glasper and Redman as part of the Playlist Retreat.

The collective can trace their origins to a conversation the five women shared on social media. Their debut 2018’s Los Angeles EP found the quintet crafting material that meshed elements of 90s R&B with contemporary electronic production. The collective’s highly-anticipated sophomore EP Toronto, Vol 1. is slated for an August 14, 2020 release. And if you’ve been frequenting this site throughout this year, you may recall that I’ve written about Toronto Vol. 1‘s first two singles: the Emmavie and Marie Dahlstrom co-written “If We Try,”  a sultry 90s neo-soul-like track that manages to sound like a synthesis of Teddy Riley-like New Jack Swing, SWV, and Erykah Badu-like neo soul — and “I Wonder,” an atmospheric and contemplative song in which the collective’s five women envision worrying about what the world would look for their future grandchildren.

“Lost A Little” the EP’s third and latest track is a soulful and uplifting R&B influenced bit of pop that is simultaneously nostalgic and hopeful for the future, as the song’s narrators reflect on their individual pasts while excitedly traveling around the world to reunite with their dear friends — in this case, the collective’s overall excitement to head to Toronto to write and record music together.  The end result is an ode to wanderlust and the excitement of what you’ll learn about yourself in a new place, and of being able to experience that new place with your best pals. “After finally reuniting together in Toronto, we felt so reflective on the entire year since the previous Her Songs retreat in LA and ‘Lost A Little’ turned into a summery, feel-good wanderlust tune about traveling the world just to meet up again,” the collective’s Emily C. Browning says in press notes. The Naked Eye adds, “‘Lost A Little’ was the 1st song written on day 1 of the Toronto week. Exploring themes of creativity and travel, the lyrics describe how we meet once a year, in a new city to create with new eyes and fresh perspectives.”

 

 

 

New Video: Acclaimed Scandinavian Soul Artist Jonas Releases a Joyful and Warm New Single

Throughout his 20 plus year music career, the Copenhagen-based singer/songwriter  and multi-instrumentalist Jonas (born Jonas Rendbo) has been hailed by international press as the Godfather of Scandinavian Soul. During that period, the Copenhagen-based singer/songwriter has released a ton of music. which he has supported with tours across the world, sharing stages with Omar, John Legend, Joss Stone, Lynden David Hall and Bilal among a lengthy and growing list of others. Adding to his accolades, Rendbo won Artist of the Year and Best Video at the 2016 Scandinavian Soul Music Awards. 

Since 2004, Rendbo has split time between Copenhagen and London, where he met his wife and started a family. And while in London, he started collaborating with London-based multi-instrumentalist and producer The Scratch Professor, who coincidentally is Omar’s brother. Rendbo and The Scratch Professor had an instant musical simpatico and a couple of songs they wrote together wound up on Jonas’ sophomore album 2009’s W.A.I.T.T. 

Interestingly, their collaboration also managed to produce a handful of songs that the Copenhagen-based singer/songwriter had kept in his vault over the past decade — and have finally been released last month as the four song EP 4ward Fast To Future. Recorded, produced, mixed and mastered during COVID-19 quarantine lockdown during April, the EP is return to the warm, neo-soul sounds of his earliest work. 

The EP’s later single “Pick Me Up” is warm bit of 90s inspired soul, centered around shimmering Rhodes, boom bap-like beats, a sinuous bass line, a strutting horn line, an infectious hook and Rendbo’s sultry and plaintive falsetto. And while being a joyous, two step-inducing, radio friendly jam, the song’s narrator talks about desiring — and then having — the sort of love (and lover) that most of us dream of: that ride or die person, who’s with you and supports you through thick and thin, joy and heartbreak, sickness and health. Lucky and rare are those who find it. And if you’re one of those lucky ones,  I hope that you cherish it. Few things our morally bankrupt world live up to that. 

The recently released video features thermal imaging of Rendbo, The Scratch Professor, some of the track’s featured musicians as they perform the song — and we see Rendbo’s wife, dancing along the song with a enormous smile on her face. It may be DIY but it’s heartfelt.  
Throughout his 20 plus year music career, the Copenhagen-based singer/songwriter  and multi-instrumentalist Jonas (born Jonas Rendbo) has been hailed by international press as the Godfather of Scandinavian Soul. During that period, the Copenhagen-based singer/songwriter has released a ton of music. which he has supported with tours across the world, sharing stages with Omar, John Legend, Joss Stone, Lynden David Hall and Bilal among a lengthy and growing list of others. Adding to his accolades, Rendbo won Artist of the Year and Best Video at the 2016 Scandinavian Soul Music Awards. 

Since 2004, Rendbo has split time between Copenhagen and London, where he met his wife and started a family. And while in London, he started collaborating with London-based multi-instrumentalist and producer The Scratch Professor, who coincidentally is Omar’s brother. Rendbo and The Scratch Professor had an instant musical simpatico and a couple of songs they wrote together wound up on Jonas’ sophomore album 2009’s W.A.I.T.T. 

Interestingly, their collaboration also managed to produce a handful of songs that the Copenhagen-based singer/songwriter had kept in his vault over the past decade — and have finally been released last month as the four song EP 4ward Fast To Future. Recorded, produced, mixed and mastered during COVID-19 quarantine lockdown during April, the EP is return to the warm, neo-soul sounds of his earliest work. 

The EP’s later single “Pick Me Up” is warm bit of 90s inspired soul, centered around shimmering Rhodes, boom bap-like beats, a sinuous bass line, a strutting horn line, an infectious hook and Rendbo’s sultry and plaintive falsetto. And while being a joyous, two step-inducing, radio friendly jam, the song’s narrator talks about desiring — and then having — the sort of love (and lover) that most of us dream of: that ride or die person, who’s with you and supports you through thick and thin, joy and heartbreak, sickness and health. Lucky and rare are those who find it. And if you’re one of those lucky ones,  I hope that you cherish it. Few things our morally bankrupt world live up to that. 

The recently released video features thermal imaging of Rendbo, The Scratch Professor, some of the track’s featured musicians as they perform the song — and we see Rendbo’s wife, dancing along the song with a enormous smile on her face. It may be DIY but it’s heartfelt.  

Earlier this year, I wrote about Her Songs. And as you may recall, the act is a multi-national collective featuring:

  • Dani Murcia (vocals, piano, guitar, production), a Colombian-American, Miami-born, New York-based R&B/pop/soul singer/songwriter, whose lush harmonies and haunting melodies has been influenced by the likes of JOVM mainstay Nick Hakim, Kimbra and Matt Corby. Her latest EP Breaking Light consists of stories focusing on grieving her father’s suicide and searching for beauty in pain.
  • Emily C. Browning (vocals, guitar), a Christchurch, New Zealand-based indie soul artist influenced by the likes of Emily King, Lianne La Havas and Nai Palm. Her work features conversational-style lyrics, that offer a deep perspective and insight into the human experience.
  • Francesca Hole, a French-born, London-based singer/songwriter and guitarist, known as The Naked Eye (vocals, guitar). Influenced by Nai Palm, Lianne La Havas, Maya Angelou, Joni Mitchell, D’Angelo, Bruno Major and others, Hole’s work as she describes it, are autobiographical songs about life experiences, relationships and overcoming hardships that meshes elements of jazz, soul, folk and R&B. Her latest EP Love’s Grave was released last April.
  • JOVM mainstay, Marie Dahlstrom (vocals, piano, percussion and production), a Rosklide, Denmark-born, London-based singer/songwriter, who has been largely influenced by the R&B and soul she heard in her home as a child — in particular Edwyn Collins, Womack & Womack and Gloria Gaynor were on regular rotation. Dahlstrom discovered Dwele, Dire Straits, Erykah Badu, Kirk Franklin and Fleetwood Mac in her teenage years.Dahlstrom first gained attention as a solo artist in her native Denmark, eventually becoming a three-time Scandinavian Soul Award winner. Since relocating to London, the Danish-born singer/songwriter she has become an internationally recognized sensation, best known for crafting a warm and ethereal synthesis of jazz, classic soul and R&B. Interestingly, after successful collaborations with Tom Misch and Alfa Mist, the Roskilde-born, London-based singer/songwriter has been busy writing the material, which would eventually comprised her long-awaited full-length debut. Slated for release latest this year, the album was recorded in Los Angeles, Copenhagen, and London and features collaborations with James Vickery, Jeremy Passion, Elijah Fox, Beau Diako and a list of others.
  • Emmavie (vocals production), a London-based singer/songwriter and producer, whose work is an amalgamation of 90s R&B and her love for digital audio experimentation. She has built up a reputation for being a highly sought-after collaborator, working with IAMNOBODI, Buddy, ROMderful, Jarreau Vandal, Alfa Mist, Nick Grant and Jay Prince. Emmavie has had her work featured on the Oprah Winfrey Network-produced series Queen Sugar. And adding to a growing profile, the London-based singer/songwriter and producer was scouted by  DJ Jazzy Jeff, who flew her out to his house in Delaware to write and record music with Mac Ayres, Robert Glasper and Redman as part of the Playlist Retreat.

The collective can trace their origins to a conversation the five women shared on social media. Their debut 2018’s Los Angeles EP found the quintet crafting material that meshed elements of 90s R&B with contemporary electronic production. Building upon a growing profile, the collective’s forthcoming sophomore EP Toronto, Vol 1. is slated for release later this year — and the EP’s first single, the Emmavie and Marie Dahlstrom co-written “If We Try” is a sultry 90s neo-soul-like track centered around the quintet’s lush harmonies, shimmering keys, a sinuous bass line and a soaring hook. And in some way, the track will bring Teddy Riley-like New Jack Swing, Erykah Badu, SWV, Timbaland and others to mind.

”I Wonder,” Toronto, Vol. 1‘s second and latest single is an atmospheric and contemplative song centered around shimmering and strummed guitar, twinkling keys, soulful vocals, lush harmonies, and a soaring and infectious hook. While being the most straightforward R&B song the collective has released off the forthcoming EP, it’s a sobering contemplation of the act’s five women, thinking of their future grandchildren looking back at our current moment and wondering how the five women were like when they were young — and how their world was. “‘I Wonder,” the group says, “came about after a dinner table conversation on climate change, sharing our worries about what the future looks like for generations to come. It’s difficult to write political lyrics without preaching, so instead we focused on the perspective of youth and curiosity in 50 years’ time, looking back and wondering what it was like to fly in an aeroplane and see the ocean from the sky.”

 

 

 

Live Footage: Dublin’s The Murder Capital Performs “For Everything” at Tapetown Studios

Aarhus, Denmark-based recording studio Tapetown Studios teamed up with Sound of Aarhus to invite national, regional and internationally recognized touring bands to stop by Tapetown to do a live session, which is filmed and then distributed across the internet through all of your favorite social media and streaming sites. During the live series history, they’ve hosted British indie rockers Ulrika Spacek, Gothenburg, Sweden-based trio Pale Honey, the Bay Area-based JOVM mainstay Tim Cohen and his The Fresh & Onlys, renowned British psych rockers The Telescopes,  Malmo, Sweden-based punk rock act Sista Bossen, Copenhagen, Denmark-based indie rock quartet ONBC,  Los Angeles-based post punk rock act and JOVM mainstays Moaning, and Oslo, Norway-based punk trio  Dark Times

Tapetown Studios and Sound of Aarhus recently invited rising Dublin-based post-punk act The Murder Capital, who were in Denmark during the Scandinavian leg of their tour to support their critically applauded, Flood-produced full-length debut When I Have Fears. Since their formation back in 2015, the band — James McGovern (vocals), Damien Tuit (guitar), Cathal Roper (guitar). Gabriel Paschal Blake (bass) and Diarmuid Brennan (drums) —  have been compared favorably to the likes of Idles, Slaves, Shame, and Fontaines D.C. 

The band performed a blistering and furious take on album opening track “For Everything.” Interestingly, the live session is a great taste of the band’s live sound: raw, noisy, primal and uneasy. Sonically, the live version of “For Everything”  reminds me a bit of Joy Division and Disappears.