Tag: Escort

New Video: JOVM Mainstay Adeline Returns with a Sultry, Feel Good, Disco Banger

Initially making a name for herself as the frontwoman of the equally acclaimed dance music/nu-disco outfit Escort, the New York-based singer/songwriter, bassist and producer and JOVM mainstay Adeline has developed a reputation as a solo artist of note, releasing her self-titled, full-length debut to critical praise from the likes of Vogue, NPR, Refinery 29, Rolling Stone, The Fader and many others.

Adeline has opened for Anderson .Paak, Lee Fields, Chromeo, Big Freedia and Natalie Prass among others, which has helped to further cement her reputation for dazzling artists with her captivating live show and energetic presence. Adding to a growing profile as a solo artist, the JOVM mainstay has made appearances at a number of stops across the national festival circuit, including Afropunk, Funk on the Rocks and Winter Jazz Fest. And along with that, the New York-based artist has been one of the hardest working women in contemporary music, as she’s also a member of CeeLo Green’s touring band.

Intérimes EP, the highly-anticipated follow-up to her full-length debut is slated for a June 12, 2020 release and the EP will feature “Middle,” which she performed on CBS This Morning and the sultry Quiet Storm-like “Twilight,” which detailed the moment that both parties in a relationship realize that it’s over and that there’s nothing left to give, and nothing left to say. 

The Adeline and Morgan Wiley co-produced and Jonathan Singletary cowritten “After Midnight,” is the EP’s third and latest single. Featuring guest spots from Jaleel Bunton (guitar) and Jim Oroso (drums), “After Midnight” is an upbeat, feeling yourself and feeling good anthem, centered around twinkling and arpeggiated keys, propulsive drumming, a shuffling Nile Rodgers-like guitar line, a sinuous disco-influenced bass line, and a two-step inducing hook with the JOVM mainstay’s soulful, come-hither vocals. “After Midnight is a feel good song for anytime, day or night” says Adeline, noting that we can all use some feel good vibes right now. “The track was all about creating an undeniable groove. Something that’s fresh and fun yet classic and soulful at the same time.”

Shot at home, the recently release video for “After Midnight” follows the JOVM mainstay as she tries on different outfits and vamps for the camera. So we see Adeline serving up looks and fierceness — although she could easily be like the average person, gearing themselves up for a Friday or Saturday night on the town. 

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New Video: JOVM Mainstay Adeline’s Elegant and Sensual Visual for “Twilight”

Over the course of this site’s nearly ten year history, I’ve spilled quite a bit of virtual ink covering the critically applauded, New York-based singer/songwriter, bassist, producer  Adeline. Since leaving her post as frontwoman of the equally acclaimed electronic dance music/neo-disco JOVM mainstay outfit Escort, the New York-based singer/songwriter, bassist and producer released her self-titled, full-length debut to critical praise from the likes of Vogue, NPR, Refinery 29, Rolling Stone, The Fader and many others.

Building upon a rapidly growing profile as a solo artist, Adeline has opened for the likes of Anderson .Paak, Lee Fields, Chromeo, Big Freedia and Natalie Prass among others, further cementing her long-held reputation for dazzling audiences with her captivating live show and energetic presence. She’s also made appearances at a number of stops across the national festival circuit, including Afropunk, Funk on the Rocks and Winter Jazz Fest. Further proving to the world in general that she may arguably be one of the hardest working women in contemporary music, Adeline is also a member of CeeLo Green’s touring band. 

Now, it’s been a while since I’ve personally written about the JOVM mainstay — but interestingly, she’ll be releasing the highly-anticipated follow up to her critically applauded debut, Intérimes EP. Slated for a June 12 release, the EP will feature the EP’s first single ‘Middle,” which she performed on CBS This Morning earlier this month, a funky psych soul cover of Black Sabbath’s “Planet Caravan” and the EP’s latest single, the sultry, “Twilight.” Centered around shimmering synths, twinkling keys, a sinuous bass line and Adeline’s gorgeous pop superstar-like vocals, stuttering beats “Twilight” the track is indebted to Erykah Badu neo-soul and Quiet Storm soul. “Twilight is about a relationship that’s ending,” says Adeline. “It’s that particularly painful moment when you realize that it’s over. You have nothing left to give and there’s nothing left to say. The twilight is the period from dawn to sunrise or sunset to dusk. It’s the moment of realization that there is a transition coming. It’s saying goodbye to something while saying hello to the next.”

Directed by Adeline herself, and shot in a hazy, Super 8mm-like graininess, during the golden hour of twilight, the video features the JOVM in a number of different locations in New York, while capturing her with a brooding and seductive, movie star-like elegance. 

New Audio: DJ Moar Teams Up with Sadat X and El Da Sensei on a Boom Bap-Inspired Banger

DJ Moar is an acclaimed Nantes, France-based co-founder of Trad Vibe Records, host of the Free Your Mind Radio Show on Radio Meuh and a DJ, producer and remixer, who has released material as DJ Moar, Jay Airiness — and is one-half of of the indie dance project Venice Beach. As a producer, the Nantes-based DJ and producer has remixed the work of artists like DJ Cam, Cortex, Lord Funk, La Cliqua’s Kohndo, Sarsha Simone, Anais, Goodka, Raashan Ahmad, Dee Nasty, DJ Apt One, Marie & Les Garcons and Escort. 

“Destroying the Track,” the acclaimed French DJ, producer and remixer’s latest single is an old-school inspired bit of tweeter and woofer rocker boom-bap with a distorted and looped horn sample and twinkling keys that features verses from the legendary and Sadat X and El Da Sensei. Individually, each artist has been in the game for several decades as members of beloved groups and as solo artists an as a result, the track finds the grizzled vets, still showing the young cats that they’ve not only got it — but that’s a there’s a reason that they’ve had the longevity they’ve achieved: they ain’t with the bullshit and they spit fire. 

New Video: JOVM Mainstay Beverly Girl Returns with a 80s Synth Pop Inspired Banger

With a series of critically applauded and commercially successful singles, the Helsinki, Finland-based synth pop/synth soul trio and long-term JOVM mainstays Beverly Girl have developed a reputation for being at the forefront of Scandinavia’s highly-regarded and rapidly growing nu-disco, synth pop and synth soul scenes while establishing a sound that will remind listeners of I Feel For You-era Chaka Khan, Cherrelle, The Gap Band, Cameo, Atlantic Starr  and fellow JOVM mainstays Escort. The Finnish pop trio have received attention from a number of blogs across the world (including this only one), regular airplay on Finnish radio, as well as placement on a number of Spotify playlists. 

Adding to a growing international profile, they’ve also built up a profile for an energetic live show led by their charismatic frontwoman Yohannna that has resulted in playing shows across the States, France, Norway, Sweden and Estonia, including headlining slots at Los Angeles’ Modern Funk Fest, Flow Festival and Pride Festivals across Scandinavia.

The Helsinki-based JOVM mainstays are currently putting the finishing touches on a long-awaited album, slated for release in early 2020, and the album’s latest single “I’m Your Girl” continues the act’s incredible run of self-assured,  80s inspired synth pop and funk, centered around enormous radio friendly hooks — but in this case, the slickly produced “I’m Your Girl” manages to bear an uncanny resemblance to Deneice Williams’ “Let’s Hear It For the Boy” and Cherelle’s “Saturday Love.”

Shot in an incredibly cinematic fashion, the recently released video for “I’m Your Girl” is rooted around live footage of the act performing the song in front of a rapturous crowd.   

New Video: JOVM Mainstays Ibibio Sound Machine Releases Vividly Colored Visuals for Funky Album Single “Wanna Come Down”

I’ve written quite a bit about this site’s newest mainstay, the London-based act Ibibio Sound Machine over the past few months, and the act, which is fronted by Nigerian-born vocalist Eno Williams and features Alfred Kari Bannerman (guitar), Anselmo Netto (percussion), Jose Joyette (drums), Derrick McIntyre (bass), Tony Hayden (trombone, synth), Scott Baylis (trumpet, synth) and Max Grunhard (sax, synth) over the course of their first two albums — 2014’s self-titled debut and 2017’s Uyai — have received attention both nationally and internationally for a sound that’s influenced by golden era West African funk and disco and contemporary post-punk and electro pop.

Now, as you may recall, the London-based act’s third, full-length album Doko Mien is slated for a March 22, 2019 release through Merge Records, and the album which derives its name from the Ibibio phase that translates into English as “tell me,” reportedly finds the act crafting a sonic world of entrancing specificity and comforting universality, essentially blurring the lines separating cultures, between nature and technology, between joy and pain, between tradition and the future. Album title track  and first official single, “Doko Mien,” was centered around a glimmering, hook-driven club banger  featuring 80s synth funk meets disco-like beats, arpeggiated synths, African polyrhythm, a sinuous bass line and pizzicato guitar and an explosive horn arrangement. Sonically, the song strikes me as a wild, genre-bending amalgamation of I Feel For You-era Chaka Khan, Prince, Michael Jackson‘s “Wanna Be Startin’ Somethin‘,” Chicago house and Fela Kuti — and adding to the globalist vibes, Williams soulfully sings lyrics in both English and Ibibio, the Nigerian dialect from which the London-based act derives its name.

Doko Mien‘s second and latest single “Wanna Come Down” continues in a similar, club-banging vein as its predecessor as its centered around a rubbery, Bootsy Collins meets Flea bass line, an explosive horn line, arpeggiated synths and propulsive beats and Williams powerhouse vocals singing lyrics in her native Ibibio and English. Sonically, the song is a wild and seamless synthesis of 80s synth funk, Afrobeat and JOVM mainstays Escort — all while feeling like a sultry come on. In line with the track’s beckoning title, the band’s frontwoman Eno Williams says, “The Ibibio lyrics of the track are about the healing power of the river and the chorus. ‘Wanna come down, get ready ‘coz we’re gonna go’ is inviting people to come, dance and get involved with what’s going on.”

The recently released video employs the use of a bold and vivid color palette that includes reds, blues, white, yellows, purples and an array of other pastels, as well as split screens that feature each of the band’s musicians performing the funky club banger; but the heart of the song and the video is the band’s commanding frontowman. 

Over the past few years, I’ve written quite a bit about the Brampton, ON-born, Toronto, ON-based DJ, violinist, singer/songwriter, sync pop artist and JOVM mainstay Maya Killtron. Now, as you may recall, Killtron received national and international attention with the release of her debut EP, 2012’s Hipster/Gangstaand as a result of the surrounding buzz around the EP, Killtron made appearances across the North American festival circuit, including appearances at Miami’s Winter Music ConferencePride TorontoThe Halifax Jazz Festival and CMJ. Adding to a growing profile,  “Back For More,” her collaboration with New York-based production duo Love Taps received praise from Stereogum and Huffington Post for a sound that possessed elements of moomba and R&B. The equally attention-grabbing video showcased a sadly bygone New York. “Back For More” also received the remix treatment from  Smalltown DJs, The Slow WavesEyes Everywhere, Brothers In Arms and City Kid Soul — with the City Kid Soul remix being named in the Top 5 at Toronto’s Bestival.

Killtron’s latest full-length effort, Never Dance Alone is slated for a March 22, 2019 release, and the album reportedly was made specifically for dancing through your problems. The album’s latest single “Red Dress” continues a strong run of 80s synth funk/80s R&B-inspired club bangers as it’s centered around layers of arpeggiated synths, thumping, tweeter and woofer rocking beats, an anthemic hook and Killtron’s sultry pop belter vocals  — and while much like its predecessors, the track will bring I Feel for You-era Chaka Khan to mind, the track features a disco-inspired string arrangement that hints at JOVM mainstays Escort. Interestingly, the song is an uplifting, feminist anthem, complete with a much-needed “go out and get it, girl,” vibe.

 

 

 

 

 

 

 

 

New Audio: Ibibio Sound Machine Releases a Slow-Burning, Quiet Storm-Inspired New Single

Throughout the first few months of this year, I’ve written a bit about the London-based act Ibibio Sound Machine and as you may recall, the act, which is fronted by Nigerian-born vocalist Eno Williams and features Alfred Kari Bannerman (guitar), Anselmo Netto (percussion), Jose Joyette (drums), Derrick McIntyre (bass), Tony Hayden (trombone, synth), Scott Baylis (trumpet, synth) and Max Grunhard (sax, synth) over the course of their first two albums — 2014’s self-titled debut and 2017’s Uyai — have received attention both nationally and internationally for a sound that’s influenced by golden era West African funk and disco and contemporary post-punk and electro pop.

Slated for a March 22, 2019 release through Merge Records, the London-based electro pop act’s third full-length album Doko Mien derives its title from an Ibibio phrase that translates into English as “tell me,” and the album reportedly finds the collective crafting a sonic world of entrancing specificity and comforting universality, essentially blurring the lines separating cultures, between nature and technology, between joy and pain, between tradition and the future. The album’s first single, album title track“Doko Mien,” was centered around a glimmering, hook-driven club banger  featuring 80s synth funk meets disco-like beats, arpeggiated synths, African polyrhythm, a sinuous bass line and pizzicato guitar and an explosive horn arrangement. Sonically, the song is a wild, genre-bending amalgamation of I Feel For You-era Chaka Khan, Prince, Michael Jackson‘s “Wanna Be Startin’ Somethin‘,” Chicago house and Fela Kuti — and adding to the globalist vibes, Williams soulfully sings lyrics in both English and Ibibio, the Nigerian dialect from which the London-based act derives its name. Doko Mien’s second single “Wanna Come Down” is a club-banger centered around a rubbery, Bootsy Collins meets Flea bass line, an explosive horn line, arpeggiated synths and propulsive beats and Williams powerhouse vocals singing lyrics in her native Ibibio and English. Sonically, the song is a wild and seamless synthesis of 80s synth funk, Afrobeat and JOVM mainstays Escort — all while feeling like a sultry come on.

“Guess We Found A Way,” Doko Mien’s third and latest single is a slow-burning ballad featuring shimmering guitars, a simple yet propulsive back beat, a funky bass line and Williams’ sultry vocals that immediately brings Quiet Storm-era soul to mind. “It’s a song about trying to speak to people in words that no-one understands, conveying your feeling with just the music which is what we try to do in many of our songs,” the band’s Eno Williams says in press notes. 

New Video: JOVM Mainstays ESCORT Team Up with NYC Disco Legend Fonda Rae on a Glittering and Joyous Club Anthem

Throughout this site’s almost nine-year history, I’ve written a lot about the New York-based electro pop/dance music act and longtime JOVM mainstays ESCORT. Initially founded by production team Eugune Cho and Dan Balls and featuring powerhouse vocalist and bassist Adeline Michele as a core members of an act that routinely expanded from anywhere from 5 to 17 members, the acclaimed pop act have received attention across the blogosphere and elsewhere for a sound that draws from classic disco, house music, soul and funk. Adding to a still-growing profile, the members of ESCORT have played across North America’s festival circuit, including sets at Sasquatch Festival, Okeechobee Festival Montreal Jazz Festival, Full Moon Festival and others — and have shared stages with The Internet, Charles Bradley, Digable Planets, De La Soul and Cody ChesnuTT.

Since the release of the longtime JOVM mainstays last single “Josephine,” the group has gone through a major lineup change with the act’s longtime vocalist Adeline leaving to pursue a solo career, and eventually being replaced with new vocalist Nicki B, who contributes both lead and backing vocals. Unsurprisingly, ESCORT’s long-awaited album City Life, which is slated for an April 12, 2019 finds the acclaimed electro pop act may arguably be their most expansive and collaborative album they’ve worked on and released to date, as the album features guest spots from longtime Gil Scott-Heron collaborator Brian Jackson; NYC disco and soul legend Fonda Rae, best known for her classic single “Over Like a Fat Rat;” renowned dub producer Lone Ranger; and their long-time vocalist Adeline, who appears on several tracks. Sonically speaking, the album reportedly finds the band attempting to evoke the kinetic and frenzied energy of New York — with the album’s material drawing from dub, house music, Brazilian pop and disco made for turning up with your headphones while commuting or while burning up the club. 

City Life’s first single, album title track “City Life” features the legendary Fonda Rae teaming up with the act’s new vocalist Nicki B on the glittering disco banger. Centered around glistening and shimmering arpeggiated synths, a sinuous bass line, Nile Rodgers-like guitar, stuttering drum programming and a motorik-like groove, the track sonically may remind some listeners of a seamless synthesis of Fonda Rae’s classic tunes, Chaka Khan and Rufus’ “Ain’t Nobody,” 80s synth funk and classic house music — with a hedonistic thump. “We tried to put something together evoking the feeling of Fonda’s records,” Eugene Cho says in press notes, about collaborating with Fonda Rae. “We were nervous to send it to her—here’s something that’s inspired by you!—but she was totally into it. It was great.”

Directed by Bridget Barkan, the recently released video captures a night out with Escort’s Nicki B that includes meeting up with a buddy, goofing off as you ride the subway to meet the rest of the crew and heading to your favorite club to shake your ass all night to some dope DJs, followed by a stop at the diner (inevitably in this case, Kellogg’s Diner in Williamsburg) and a sleepy yet satisfied subway ride back home. It captures a wild night on the town, full of fun and possibility. 

New Audio: Ibibio Sound Machine Releases a Shimmering and Funky Club Banger

Earlier this year, I wrote about the London-based act Ibibio Sound Machine, and the act, which is fronted by Nigerian-born vocalist Eno Williams and features Alfred Kari Bannerman (guitar), Anselmo Netto (percussion), Jose Joyette (drums), Derrick McIntyre (bass), Tony Hayden (trombone, synth), Scott Baylis (trumpet, synth) and Max Grunhard (sax, synth) over the course of their first two albums — 2014’s self-titled debut and 2017’s Uyai — have received attention both nationally and internationally for a sound that’s influenced by golden era West African funk and disco and contemporary post-punk and electro pop. 

Now, as you may recall, the London-based act’s third, full-length album Doko Mien is slated for a March 22, 2019 release through Merge Records, and the album which derives its name from the Ibibio phase that translates into English as “tell me,” reportedly finds the act crafting a sonic world of entrancing specificity and comforting universality, essentially blurring the lines separating cultures, between nature and technology, between joy and pain, between tradition and the future. Album title track  and first official single, “Doko Mien,” was centered around a glimmering, hook-driven club banger  featuring 80s synth funk meets disco-like beats, arpeggiated synths, African polyrhythm, a sinuous bass line and pizzicato guitar and an explosive horn arrangement. Sonically, the song strikes me as a wild, genre-bending amalgamation of I Feel For You-era Chaka Khan, Prince, Michael Jackson‘s “Wanna Be Startin’ Somethin‘,” Chicago house and Fela Kuti — and adding to the globalist vibes, Williams soulfully sings lyrics in both English and Ibibio, the Nigerian dialect from which the London-based act derives its name.

Doko Mien’s second and latest single “Wanna Come Down” continues in a similar, club-banging vein as its predecessor as its centered around a rubbery, Bootsy Collins meets Flea bass line, an explosive horn line, arpeggiated synths and propulsive beats and Williams powerhouse vocals singing lyrics in her native Ibibio and English. Sonically, the song is a wild and seamless synthesis of 80s synth funk, Afrobeat and JOVM mainstays Escort — all while feeling like a sultry come on. In line with the track’s beckoning title, the band’s frontwoman Eno Williams says, “The Ibibio lyrics of the track are about the healing power of the river and the chorus. ‘Wanna come down, get ready ‘coz we’re gonna go’ is inviting people to come, dance and get involved with what’s going on.”

Now, over the course of this site’s eight-plus year history, I’ve written quite a bit about the New York-based dance music collective ESCORT. And as you may recall, the act which features founding duo and production team Eugene Cho and Dan Balls and Adeline Michele as members of a core group of anywhere from five to 17 has received attention for a sound that’s indebted to disco, house music and soul — and for a live show that has made them a must-see act; in fact, the members of ESCORT have played some of North America’s biggest festivals, including Sasquatch Festival, Okeechobee Festival Montreal Jazz Festival, Full Moon Festival and others — and have shared stages with The Internet, Charles Bradley, Digable Planets, De La Soul and Cody ChesnuTT.

Now, as you may recall, things have been busy in the ESCORT universe: Adeline recently released her self-titled, full-length debut while her primary gig has released singles — and their last single “Slide,” which was co-written by denitia and sene‘s Denitia was centered around a buoyant bass line, shimmering synths, some Nile Rodgers-like guitar and Adeline Michele’s sultry vocals manages to recall Chaka Khan and Rufus“Ain’t Nobody,” making it a sort of 80s synth funk-inspired skating rink banger. The acclaimed act’s latest single “Josephine” finds them returning to their roots — a subtly modern take on classic 70s disco centered around an incredible vocalist; but in this case, the song is an anthemic, club-banging biography of the legendary Josephine Baker that manages to recalls Giorgio Moroder‘s legendary work with Donna Summer.