Tag: Drake

New Video: Jenn Champion’s Whimsical Rival Crew Dance Off

Born Jennifer Hays, the Seattle, WA-based multi-instrumentalist, singer/songwriter and producer Jenn Champion grew up in Tucson, AZ, where in the mid 90s, she worked at a local pizza shop with future bandmates Ben Bridwell and Mat Brooke. In 1997 the trio moved to Olympia, WA for about a year, before settling in Seattle and forming Hays’ first band Carissa’s Wierd. Although they only released three albums before splitting up in 2003, the band had a cult following that has resulted in the release of three compilation albums of their work, including 2010’s They’ll Only Miss You When You’re Gone: Songs 1996-2003, all of which have ben released through Hardly Art Records.

Since the breakup of Carissa’s Wierd, Champion has focused on several acclaimed solo projects including, the sparse, guitar and vocals-based pop project S. And with S she has released four albums, including 2010’s I’m Not As Good At It As You and 2014’s Chris Walla-produced Cool Choices. Critics and fans have applauded her open-hearted lyrics, technical skill and willingness to eschew conventions — and perhaps more important for writing sad songs meant to be cried to (or should I say be cried with?).  Interestingly, the B side of Champion’s last S album found her moving towards a more electronic-based sound; however, her single “No One” found Champion fully embracing electronics.  “I feel like a door got opened in my mind with electronic and digital music. There was a room I hadn’t explored before and I stepped in,” Champion says in press notes. While she’d initially intended to follow Cool Choices with “a rock record – guitar, a lot of pedals, heavy riffs,” plans changed. “I couldn’t pull myself away from the synthesizers and I realized the record I really wanted to make was more of a cross between Drake and Billy Joel than Blue Oyster Cult.”

After the release of “No One,” Champion’s publishers partnered her with Brian Fennell, an electronic music artist, songwriter and producer best known as SYML and the pair co-wrote “Leave Like That,” which was featured on SYML‘s Hurt For Me EP. Champion and Fennell hit it off so well that after Champion had written the demos for her recently released full-length Single Rider, she enlisted Fennell as a producer. Fennell agreed and they spent the next five months working on and refining the material on Single Rider. As Champion recalls, “In the studio with Brian, I was more open than I had ever been,” and as a result the material evolved into a slickly produced, anthemic dance floor friendly album; however, the new album reportedly finds Champion maintaining the earnest emotionality and vulnerability that has won her attention but this time, the album’s material finds the acclaimed Seattle-based singer/songwriter imploring the listener to dance, dance, dance, dance, dance heartache, outrage and disappointment away, for a little bit at least. And goddamn it, sometimes strobe light, thumping bass and shimmering synths are so absolutely necessary to your basic survival.

Single Rider‘s latest single “Time To Regulate” is a slickly produced, sultry and propulsive bit of dance pop centered around layers of shimmering, arpeggiated synths, cowbell-led percussion, thumping beats and an anthemic hook that reminds me of Soft Metals‘ Lenses, Cut Copy‘s In Ghost Colours, of 80s synth soul and Giorgio Moroder; but underneath the slick production, thumping beats and razor sharp hooks, there’s a desperate person trying to put on a brave face on a daily basis — with the acknowledgment that sometimes just being can be difficult in itself, and that adds a triumphant, “well, fuck man, keep it going  as best as you can” vibe to the shimmering proceedings.

Directed by  Rhea Bozzacchi, the recently released video for “Time to Regulate” is a whimsical and joyous back alley dance off battle royal between two rival crews, one headed by Jenn Champion of course — with the end result being that the two rivals dance together as one fun-loving unit. Underneath the whimsy though is a series of imagery in which a marginalized group bands together for camaraderie and empowerment. 

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Born Jennifer Hays, the Seattle, WA-based multi-instrumentalist, singer/songwriter and producer Jenn Champion grew up in Tucson, AZ, where in the mid 90s, she worked at a local pizza shop with future bandmates Ben Bridwell and Mat Brooke. In 1997 the trio moved to Olympia, WA for about a  year, before settling in Seattle and forming Hays’ first band Carissa’s Wierd. Although they only released three albums before splitting up in 2003, the band had a cult following that has resulted in the release of three compilation albums of their work, including 2010’s They’ll Only Miss You When You’re Gone: Songs 1996-2003, which was released through Hardly Art Records.

Since the breakup of Carissa’s Wierd, Champion has focused on several acclaimed solo projects including, the sparse, guitar and vocals-based pop project S, and with S she has released four albums, including 2010’s I’m Not As Good At It As You and 2014’s Chris Walla-produced Cool Choices. Critics and fans have applauded her open-hearted lyrics, technical skill and willingness to eschew conventions — and perhaps more important for writing sad songs meant to be cried to (or should I say be cried with?).  Interestingly, the B side of Champion’s last S album found her moving towards a more electronic-based sound; however, her single “No One” found Champion fully embracing electronics.  “I feel like a door got opened in my mind with electronic and digital music. There was a room I hadn’t explored before and I stepped in,” Champion says in press notes. While she’d initially intended to follow Cool Choices with “a rock record – guitar, a lot of pedals, heavy riffs,” plans changed. “I couldn’t pull myself away from the synthesizers and I realized the record I really wanted to make was more of a cross between Drake and Billy Joel than Blue Oyster Cult.”

After the release of “No One,” Champion’s publishers partnered her with Brian Fennell, an electronic music artist, songwriter and producer best known as SYML and the pair co-wrote “Leave Like That,” which was featured on SYML‘s Hurt For Me EP. Champion and Fennell hit it off so well that after Champion had written the demos for her forthcoming full-length Single Rider, she enlisted Fennell as a producer. Fennell agreed and they spent the next five months working on and refining the material on Single Rider. As Champion recalls, “In the studio with Brian, I was more open than I had ever been,” and as a result the material evolved into a slickly produced, anthemic dance floor friendly album; however, the new album reportedly finds Champion maintaining the earnest emotionality and vulnerability that has won her attention — but this time, the album’s material finds the acclaimed Seattle-based singer/songwriter imploring the listener to dance, dance, dance, dance, dance heartache, outrage and disappointment away, for a little bit at least. And goddamn it, sometimes strobe light, thumping bass and shimmering synths are so absolutely necessary to your basic survival.

Single Rider‘s latest single “Time To Regulate” is a slickly produced, sultry and propulsive bit of dance music centered around layers of shimmering, arpeggiated synths, cowbell-led percussion, thumping beats and an anthemic hook that reminds me of Soft Metals‘ Lenses, Cut Copy‘s In Ghost Colours, of 80s synth soul and Giorgio Moroder; but underneath the slick production, thumping beats and razor sharp hooks, there’s a desperate person trying to put on a brave face on a daily basis — with the acknowledgment that sometimes just being can be difficult in itself, and that adds a triumphant, “well, fuck man,” vibe to the shimmering proceedings.

 

 

 

 

 

 

 

TOUR DATES

08.09.18 – Seattle, WA – Chop Suey
08.10.18 – Portland, OR – Mississippi Studios
08.16.18 – Los Angeles, CA – Bootleg T

New Audio: Sampha Shimmering, Dance Floor Friendly Remix of Legendary Malian Vocalist Oumou Sangare’s “Minata Waraba”

Oumou Sangare is a Bamako, Mail-born and-based, Grammy Award-winning,  singer/songwriter and musician, who comes from a deeply musical family, as her mother, Aminata Diakite was a renowned singer. When Sangare was young, her father had abandoned the family, and she helped her mother feed the family by singing; in fact, by the time she had turned five, Sangare had been well known as a highly gifted singer. After making it to the finals of a nursery school talent show, a very young Sangare performed in front of a crowd of 6,000 at Omnisport Stadium — and by the time she was 16, she had gone on tour with a nationally known percussion act, Djoliba.

Sangare’s 1989 debut effort, Moussoulou (which translates into English as “Women”) was recorded with renowned Malian music master Amadou Ba Guindo, and was a commercial success across Africa, as it sold over 200,000 copies. With the help of the world renowned Malian singer/songwriter and multi-instrumentalist Ali Farka Toure, the father of Vieux Farka Toure, Sangare signed with English record label World Circuit — and by the time she turned 21, she had received an internationally known profile. Interestingly, Sangare is considered both an ambassador of Mali and the Wassoulou region of the country, just south of the Niger River, lovingly referred to as “The Songbird of Wassoulou,” as her music draws from the music and traditional dances of the region while lyrically her work has been full of social criticism, focusing on the low status of women within Malian society and elsewhere, and the desire to have freedom of choice in all matters of one’s life, from who they can marry to being financially independent.

Interestingly, since 1990 Sangare has performed at some of the world’s most important venues and festivals including the Melbourne Opera, Roskilde Festival, Gnaoua World Music Festival, WOMAD, Oslo World Music Festival and the Opera de la Monnaie, while releasing several albums including — 1993’s Ko Sira, 1996’s Worotan and 2004’s 2 CD compilation Oumou. Adding to a growing profile, Sangare has toured with Baaba Mal, Femi Kuti and Boukman Eksperyans, and she has been named a Commander of the Order of Arts and Letters in 1998, won the UNESCO Prize in 2001 and was named an ambassador of the FAO in 2003.

Mogoya which translates into English as “People Today,” was Sangare’s first full-length effort in over 22 years, and it was released to critical praise from the likes of Dazed, The Fader, The Guardian while making the Best of 2017 Lists of Mojo, the BBC, the aforementioned The Guardian as well as Gilles Peterson — and the album found the renowned Malian artist collaboration with the legendary Tony Allen and French production team A.L.B.E.R.T. and pushing her sound in a new, direction; in fact album single “Minata Waraba” features  Sangare’s gorgeous and expressive voice with shimmering African instrumentation paired with a slick and hyper modern production that emphasizes a sinuous, electric bass line and shuffling, complex polyrhythm that reminds me of a 2013 Fela Kuti tribute compilation, Red Hot + Fela, which featured contemporary artists re-imagining some of the Afrobeat creator’s signature tunes.

Sangare will be releasing the Mogoya Remixed album through Nø Førmat Records today, and the album features remixes of the album’s material by contemporary artists and producers, who have been high profile fans of her work; in fact the album’s latest single is from the British-born and based producer and artist Sampha. Sampha has split his time between solo and collaborative work, and has worked with the likes of SBTRKT, FKA Twigs, Jesse Ware, Drake, Beyonce, Kanye West, Solange and Frank Ocean. His full-length debut Process won the Mercury Music Prize last year, and earned him a 2018 BRIT Award nomination for Best British Breakthrough.

Sampha has publicly mentioned his love of Oumou Sangare’s music, explain in press notes, “My dad had a copy of Oumou’s album Worotan and no other album has spoken to me quite like that. Her music has been a huge inspiration ever since and it’s a real honour to have remixed some of her music.” Sampha’s remix retains Sangare’s crystalline vocals but pairs it with a thumping production, featuring tribal house like beats and shimmering arpeggiated synths that while modern, still keeps the song rooted to Africa. Interestingly, Sangare has mentioned being bowled over by Sampha’s remix, saying  “When I first heard Sampha’s remix, I was amazed at the beat. Our rhythmic patterns are not always easy for Western people. But, wow, Sampha’s beat is definitely African, definitely. Listening to it I can tell that Sampha has African blood in his veins. I am really excited by this version, I play it again and again.”

New Video: Catch a Glimpse of The Day-to-Day Life of Colombians in the Visuals for Gabriel Garzón-Montano’s “Bombo Fabrika”

Over the past couple of years of this site’s seven year history, I’ve written quite a bit about Gabriel Garzón-Montano, a critically applauded Brooklyn-born and-based singer/songwriter and multi-instrumentalist, who has seen a rapidly growing national and international profile for a genre-defying take on contemporary soul and pop, with his work drawing from Bach, cumbia, 70s funk and soul, hip-hop and the wildly adventurous multiculturalism most familiar to native New Yorkers and New Yorkers. Along with that, Garzón-Montano has publicly mentioned that his mother, who was a member of the Philip Glass Ensemble in the 1990s may arguably be one of the biggest influences on his work and his creative process as her rigorous, classical instruction and her painstaking attention to detail. 

Now, as you may recall, Garzón-Montano’s long-awaited full-length effort Jardín was released earlier this year and it comes on the heels of a three year period of rather intense touring, writing, revising and recording that began with his 2014 debut EP Bishouné: Alma del Hula, which caught the attention of Lenny Kravitz, who then invited the Brooklyn-born-and-based multi-instrumentalist and singer/songwriter to open for him during his European tour that year. Adding to the growing attention around him, Garzón-Montano’s “6 8” was sampled on Drake‘s If You’re Reading This, It’s Too Late, which led to tours with Glass Animals and with his renowned Stones Throw Records labelmate, JOVM mainstay and personal favorite, Mayer Hawthorne.

Jardín was recorded withGarzón-Montano’s mentor, analog recording guru Henry Hirsch at Waterfront Studios in Hudson, NY last year and during the recording sessions Garzón-Montano tracked drums, bass, guitar, piano and synths directly to 2-inch tape, and then added percussion, digital programming and several layers of his own vocals to create the album’s overall lush sound — a sound that reportedly nods at Stevie Wonder’s Journey Through the Secret Life of Plants. “I wanted to make music that would remind people how beautiful life is – how delicate their hearts are. A garden is full of life, and growth, and beauty. I named the album Jardín hoping for it to create a space for healing when people put it on. I’ve always wanted to make music that is healing, comforting, and funky,” Garzón-Montano explained in press notes. Naturally,  our current sociopolitical climate has influenced a great deal of the material on the album, as thematically it focuses on the struggles and uncertainties of living in America but it’s balanced our by its equal focus on the complications and joys of love.

Of course, unsurprisingly, I’ve written about several singles off the album, including “Crawl,” a single which effortlessly meshed hip-hop, 90s neo-soul and contemporary pop with a slick production featuring ambient synths, twinkling keys, a wobbling bass line, tweeter and woofer rattling beats and a sharp, swaggering hook; “My Balloon,” a single that continued on a similar vein while tinged with the aching regret of a confusing and uncertain relationship with someone who isn’t quite on the same emotional or mental space as you are; and “Sour Mango,” a slow-burning and soulful track, which features Garzón-Montano’s sultry vocals over a jagged production featuring shuffling beats, twinkling keys, wobbling synths, but underneath the surface, there’s an visceral ache over a love that seems completely unlikely. 

The album’s latest single “Bombo Fabrinka” features a lush and soulful production consisting of shuffling boom-bap-like beats, twinkling keys, and layers of Garzón-Montano’s sultry vocals — and while building upon the overall sound of the album, the song reveals an up-and-coming singer/songwriter, who has an uncanny talent for writing a sharp, infectious hook paired with introspective lyrics, based on deeply personal and revealing experiences with love and loss; but interestingly enough as Garzón-Montano explains “‘Bombo Fabrika’ is about the place I go to when I write music. The music is not mine, it flows through me from a source much older and wiser than my body.”

Directed and filmed by Santiago Carrasquilla in San Basilio de Palenque, Colombia, the recently released music video for “Bombo Fabrinka” is a revealing and cinematically shot glimpse into the day-to-day life of San Basilio de Palenque, Colombia. And although, the people of the village may be poor, they express a pure joie de vivre that’s absolutely infectious. Garzón-Montano says of the video “Palenque is a magical place — people blasting music and playing drums and singing everywhere — expressing more joy than I’ve seen or felt in my whole life. . . Palenque is famous for originating some styles of Cumbia music. Filming this video in such an energetically potent musical birthplace was an incredible and humbling experience.” 

Over the past couple of years, I’ve written quite a bit about Gabriel Garzón-Montano, a critically applauded Brooklyn-born and-based singer/songwriter and multi-instrumentalist, who has seen a rapidly growing national and international profile for a genre-defying take on contemporary soul and pop, as his work draws from Bach, cumbia, 70s funk and soul and the wildly, adventurous sort of multiculturalism familiar to native New Yorkers. And as Garzón-Montano has publicly mentioned, his mother, who was a member of the Philip Glass Ensemble in the 1990s may arguably be one of the biggest influences on his work and his creative process as her rigorous, classical instruction and her painstaking attention to detail, have greatly influenced him and his own creative endeavors.

Now, as you may recall, Garzón-Montano’s long-awaited full-length effort Jardín was released earlier this year and it comes on the heels of a three year period of rather intense touring, writing, revising and recording that interestingly enough began with his 2014 debut EP Bishouné: Alma del Hula, which caught the attention of Lenny Kravitz, who then invited the Brooklyn-born-and-based multi-instrumentalist and singer/songwriter to open for him during his European tour that year. Adding to the growing attention around him, Garzón-Montano’s “6 8” was sampled on Drake‘s If You’re Reading This, It’s Too Late, which led to tours with Glass Animals and with his renowned Stones Throw Records labelmate JOVM mainstay and personal favorite, Mayer Hawthorne.

Jardín was recorded with his mentor, analog recording guru Henry Hirsch at Waterfront Studios in Hudson, NY last year and during the recording sessions Garzón-Montano tracked drums, bass, guitar, piano and synths directly to 2-inch tape, and then added percussion, digital programming and several layers of his own vocals to create the album’s overall lush sound — a sound that reportedly nods at Stevie Wonder’Journey Through the Secret Life of Plants. “I wanted to make music that would remind people how beautiful life is – how delicate their hearts are. A garden is full of life, and growth, and beauty. I named the album Jardín hoping for it to create a space for healing when people put it on. I’ve always wanted to make music that is healing, comforting, and funky,” Garzón-Montano explained in press notes. Naturally,  our current sociopolitical climate has influenced a great deal of the material on the album, as thematically it focuses on the struggles and uncertainties of living in America but it’s balanced our by its equal focus on the complications and joys of love.

Of course, I’ve written about a couple of singles off the album, including “Crawl,” a single which effortlessly meshed hip-hop, 90s neo-soul and contemporary pop with a slick production featuring ambient synths, twinkling keys, a wobbling bass line, tweeter and woofer rattling beats and a sharp, swaggering hook; and “My Balloon,” a single that continued on a similar vein while tinged with the aching regret of a confusing and uncertain relationship with someone who isn’t quite on the same emotional or mental space as you are. And although the song’s narrator seems to proudly suggest that he’ll be glad to move on his with life, there’s a sense that it’s nothing more than wounded pride, and underneath that, he’s aware of the fact that he’ll have to live with the lingering ghosts of what could have been and what should have been with this particular person.

“Sour Mango,” Jardin‘s latest single is slow-burning, swaggering and soulful track which features Garzón-Montano’s sultry vocals over a jagged production featuring shuffling beats, twinkling keys, wobbling synths; but just underneath the surface, there’s a vulnerability and ache over a love that would be unlikely; love after all, doesn’t make much sense and it frequently hurts more time than anyone would care to admit.  Recently Seven Davis, Jr. remixed “Sour Mango” and while retaining some elements of the jagged production, there’s a greater emphasis on hot bursts of keys,  some reverb on Garzón-Montano’s vocals and a subtle atmospheric vibe. And while still being a swaggering yet slow-burning song, Seven Days, Jr.’s remix is a subtle yet noticeable take on the song that purposely retains the song’s nuanced emotion.

New Video: The Gorgeous and Mournful Visuals for Gabriel Garzón-Montano’s “My Balloon”

Gabriel Garzón-Montano is a critically applauded, Brooklyn-born and-based singer/songwriter and multi-instrumentalist who has received attention for a genre-defying take on contemporary soul and pop, as his work draws from his French-Columbian-American heritage, Bach, cumbia, funk and soul, and the wild, adventurous multiculturalism familiar to a native New Yorker; but arguably one of the biggest influences on his work and his career was his mother, who was a member of the Philip Glass Ensemble in the 1990s. And as Garzón-Montano has publicly mentioned, his mother is the main reason he loves music, and her rigorous, classical instruction along with her painstaking attention to detail, managed to influence his own creative process.

Garzón-Montano’s long-awaited full-length effort Jardín was released earlier this year and it comes on the heels of a three year period of rather intense touring, writing, revising and recording that interestingly enough began his 2014 debut EP Bishouné: Alma del Hula, which caught the attention of Lenny Kravitz, who invited the Brooklyn-born-and-based multi-instrumentalist and singer/songwriter to open for him during his European tour that year. Adding to a rapidly growing profile, Garzón-Montano’s “6 8” was sampled on Drake‘s If You’re Reading This, It’s Too Late, which led to tours with Glass Animals and his renowned Stones Throw Records labelmate Mayer Hawthorne.

Jardín was recorded with his mentor, analog recording guru Henry Hirsch at Waterfront Studios in Hudson, NY last year and during the recording sessions Garzón-Montano tracked drums, bass, guitar, piano and synths directly to 2-inch tape, and then added percussion, digital programming and several layers of his own vocals to create the album’s overall lush sound — a sound that reportedly nods at Stevie Wonder‘s Journey Through the Secret Life of Plants. “I wanted to make music that would remind people how beautiful life is – how delicate their hearts are. A garden is full of life, and growth, and beauty. I named the album Jardín hoping for it to create a space for healing when people put it on. I’ve always wanted to make music that is healing, comforting, and funky,” Garzón-Montano explained in press notes. Naturally, our current sociopolitical climate has influenced a great deal of the material on the album, as thematically it focuses on the struggles and uncertainties of living in America but it’s balanced our by its equal focus on the complications and joys of love.

Earlier this year, I wrote about Jardín’s first single “Crawl,” a single that effortlessly meshed hip-hop, 90s neo-soul and contemporary pop with a slick production consisting of ambient synths, twinkling keys, a wobbling bass line, tweeter and woofer rattling beats, and a sharp and swaggering hook are paired with Garzón-Montano’s sultry vocals. The album’s second and latest single “My Balloon” continues in a similar vein as twinkling keys, shimmering guitar, a sinuous bass line, glitchy electronics and shuffling beats are paired with Garzón-Montano’s sultry vocals — tinged with the aching regret of a confusing relationship with someone who isn’t quite on the same emotional or mental space as you are. And while the song’s narrator seems to proudly suggest that he’ll move on with his life, there’s a sense that it’s nothing more than hurt pride — and that he knows the lingering possibility of what should have been and what could have been will be a part of his life for some time.

Directed by Santiago Carrasquailla, the recently released music video for “My Balloon” was filmed with a painterly quality on location in Cartagena and Las Islas del Rosario, Colombia. As Garzón-Montano says of the video’s concept, “It’s a series of portraits of a heartbroken couple who are in beautiful places at the wrong time.” And as a result, the video possesses a similar wistful ache for something beautiful that should have been and could have been, if both people weren’t so fucked up.

Growing up listening to an eclectic variety of music including Patti Labelle, Jill Scott, Bob James, Stevie Wonder, D’Angelo, Bjork and The Black Crowes among others, up-and-coming, Edmonton, AB-born, Toronto, ON-based soul artist Tanika Charles quickly developed a reputation locally as an emerging solo artist, whose puts a modern spin on the classic Motown soul sound — frequently meshing it with swaggering, hip-hop-like beats and deeply, confessional and honest lyrics, reminiscent of Mary J. Blige, Kelis and others. And as a result, within Canada’s soul scene, Charles has largely been considered her country’s next big thing; in fact, interestingly enough, over the past couple of years Charles transformed from being an emerging solo artist to being a commanding performer and bandleader, as well as one of the scene’s staples. Adding to a growing national profile, Charles has collaborated with Estelle, Lauryn Hill and Macy Gray, and has made regular appearances on CTV, Global and CBC Radio.

Produced by Slakah the Beatchild, best known for collaborating with Drake, Charles’ latest single “Soul Run” is the first single off her self-titled, full-length album, slated for an April 7, 2017 release through Italian soul label, Record Kicks, and the single will further cement the Edmonton-born, Toronto-based singer/songwriter’s burgeoning reputation for crafting confessional lyrics based around her own personal experiences with “Soul Run” based around Charles’ experience of feeling trapped in an emotionally abusive relationship in rural Canada — until she decided to “borrow” her then fiancée’s car and left for Toronto to start her music career, never looking back. Considering the personal nature of the song, Charles as the song’s narrator expresses regret over her own foolishness that wound up with her being hopelessly trapped in an abusive and fucked up relationship and desperate desire to get away and start over. You can almost picture Charles, jumping into the car with whatever possessions she could manage and hitting the road without an idea of where she was going or what would happen — and yet feeling true freedom to do whatever she wanted.

 

 

 

New Video: The Bright and Playful Visuals for Gabriel Garzón-Montano’s “Crawl”

Garzón-Montano’s long-awaited full-length effort Jardín comes on the heels of a three year period of intense touring, writing and recording. The 2014 release of his debut EP Bishouné: Alma del Hula caught the attention of Lenny Kravitz, who invited the Brooklyn-born-and-based multi-instrumentalist and singer/songwriter to open for him during that year’s European tour. After playing Wembley Arena, Garzón-Montano received a call notifying him that his song “6 8” would be sampled on Drake‘s If You’re Reading This, It’s Too Late — and as a result, Garzón-Montano quickly found himself with a rapidly growing international profile, which resulted in tours opening for Glass Animals and his renowned Stones Throw Records labelmate Mayer Hawthorne.

Jardín was recorded with his mentor, analog recording guru Henry Hirsch at Waterfront Studios in Hudson, NY last year and during the recording sessions Garzón-Montano tracked drums, bass, guitar, piano and synths directly to 2-inch tape, and then added percussion, digital programming and several layers of his own vocals to create the album’s overall lush sound — a sound that reportedly nods at Stevie Wonder‘s Journey Through the Secret Life of Plants. As Garzón-Montano explains in press notes “I wanted to make music that would remind people how beautiful life is – how delicate their hearts are. A garden is full of life, and growth, and beauty. I named the album Jardín hoping for it to create a space for healing when people put it on. I’ve always wanted to make music that is healing, comforting, and funky.” But just underneath the surface may arguably be some of the Brooklyn-born-and-based singer/songwriter and multi-instruemtalist’s most politically charged material he’s written to date, as the songs on the album reportedly focus on the struggles and uncertainties of living in America today, the complications and joys of love, and so on.

Jardín’s first single “Crawl” reveals a sound that effortlessly meshes hip-hop, 90s neo-soul and contemporary pop as ambient synths, tweeter and woofer rattling beats, twinkling keys, a wobbling bass line and Garzón-Montano’s sultry vocals are wrapped around an infectious, swaggering and carefully crafted hook and slick production.

Directed by Santiago Carrasquilla and Pablo Delcan employs a relatively simple concept — the first half features Garzón-Montano singing and dancing about as neon bright geometric shapes dance and dart about him in a psychedelic fashion and the second half features the Brooklyn-based singer/songwriter and a drummer performing the last section of the song.

Gabriel Garzón-Montano is a Brooklyn-born-and-based singer/songwriter and multi-instrumentalist, whose aesthetic and influence reflect not just his French-Colombian heritage and the wild, multiculturalism that’s familiar to a native New Yorker, as his own music draws from Bach sonatas, cumbia, funk, soul, but also the influence of his mother, who was a member of the Philip Glass Ensemble in the 1990s. As Garzón-Montano explains in press notes his mother is the reason he loves music, and her rigorous classical instruction along with her painstaking attention to detail, which influenced his creative process.

Garzón-Montano’s long-awaited full-length effort Jardín comes on the heels of a three year period of intense touring, writing and recording. The 2014 release of his debut EP Bishouné: Alma del Hula caught the attention of Lenny Kravitz, who invited the Brooklyn-born-and-based multi-instrumentalist and singer/songwriter to open for him during that year’s European tour. After playing Wembley Arena, Garzón-Montano received a call notifying him that his song “6 8” would be sampled on Drake‘s If You’re Reading This, It’s Too Late — and as a result, Garzón-Montano quickly found himself with a rapidly growing international profile, which resulted in tours opening for Glass Animals and his renowned Stones Throw Records labelmate Mayer Hawthorne.

Jardín was recorded with his mentor, analog recording guru Henry Hirsch at Waterfront Studios in Hudson, NY last year and during the recording sessions Garzón-Montano tracked drums, bass, guitar, piano and synths directly to 2-inch tape, and then added percussion, digital programming and several layers of his own vocals to create the album’s overall lush sound — a sound that reportedly nods at Stevie Wonder‘s Journey Through the Secret Life of Plants. As Garzón-Montano explains in press notes “I wanted to make music that would remind people how beautiful life is – how delicate their hearts are. A garden is full of life, and growth, and beauty. I named the album Jardín hoping for it to create a space for healing when people put it on. I’ve always wanted to make music that is healing, comforting, and funky.” But just underneath the surface may arguably be some of the Brooklyn-born-and-based singer/songwriter and multi-instruemtalist’s most politically charged material he’s written to date, as the songs on the album reportedly focus on the struggles and uncertainties of living in America today, the complications and joys of love, and so on.

Jardín’s first single “Crawl” reveals a sound that effortlessly meshes hip-hop, 90s neo-soul and contemporary pop as ambient synths, tweeter and woofer rattling beats, twinkling keys, a wobbling bass line and Garzón-Montano’s sultry vocals are wrapped around an infectious, swaggering and carefully crafted hook and slick production.

 

 

Elijah Hook is a Berlin-based soul/pop artist, whose sound meshes elements of old-school soul, contemporary electronic production and R&B as you’ll hear on his latest Sugaboy-produced single “Lights 47” which pairs Hook’s ethereal crooning and Drake-like flow with hyper modern and atmospheric production featuring stuttering drum programming and malevolently swirling electronics in a song that reminds me quite a bit of Steven A. Clark‘s Fornication Under Consent of the King complete with a self-assured swagger.