Tag: Geowulf Saltwater

Over the past couple of years, I’ve written quite a bit about the Noosa, Australia-born, London-based indie pop duo and JOVM mainstays Geowulf. The act, which is comprised of longtime friends Star Kendrick and Toma Benjamin have known each other since they were teenagers; however, their musical collaboration is a much more recent development that can be traced to when Kendrick enlisted the assistance of her old friend Benjamin, to flesh out some of her early demos.

The duo then released a string of highly successful, critically applauded singles that began with “Saltwater,” which received over 1 million Spotify streams and reached Hype Machine‘s Top Ten and landed at #4 on Spotify’s US Viral Charts, continued with the Mazzy Star meets Fleetwood Mac-like “Don’t Talk About You,” the  Phil Spector meets Still Corners “Drink Too Much” and  the jangling, 60s girls group pop-inspired single “Hideaway,;” and The Smiths-like “Sunday,” before the release of their Duncan Mills-produced full-length debut, last year’s Great Big Blue.

Building upon their rapidly growing international profile. the duo’s highly-anticipated sophomore album My Resignation is slated for an October 25, 2019 release through [PIAS] Recordings. The album reportedly finds Geowulf’s Kendrick writing arguably some of the most brutally honest lyrics of the band’s growing catalog to date. Written from the perspective and lens of a 20-something women trying to maneuver the weight of expectations put upon by others and herself, the album touches upon heartbreak and loneliness — in particular, leaning how to accept and love the space and much-needed self-awareness it can provide. As a result, the album and its material finds the duo maturing and attempting to maneuver the complexities and uncertainties of adulthood with their dignity and sanity intact. And if that feels familiar to you, it should. We’ve all been there at some point or another, and we’re still struggling through it all.

My Resignation‘s fifth and latest single, album title track, the deliberately crafted pop confection “My Resignation” is centered around a Phil Spector Wall of Sound-like production consisting of shimmering guitars, atmospheric synths, a propulsive rhythm section, a soaring hook and Kendrick’s gorgeous vocals expressing regret, weariness and hope for a new start simultaneously. “‘My Resignation’ inspired the name and the theme of the album,” the band’s Star Kendrick explains in press notes. It summed up a lot of the years before — resigning from old habits and relationships. Creating space for new things and learning to let go. Toma and I feel proud of the song and had a lot of fun writing and finessing it. I originally wrote the demo on holiday in Sweden, so it came back to London with me, where Toma and I worked on it some more.”

Geowulf will be returning to North America to embark on a handful of tour dates throughout November. The tour will include a November 11, 2019 stop at Mercury Lounge. Check out the rest of the tour dates below.

 

NORTH AMERICAN DATES:
11/7/2019 – Chicago, IL – Schubas
11/8/2019 – Toronto, ON – Drake
11/11/2019 – New York, NY – Mercury Lounge
11/13/2019 – Los Angeles, CA -Moroccan Lounge
11/14/2019 – San Francisco, CA – Rickshaw Stop
11/15/2019 – Seattle, WA – Barboza

New Video: JOVM Mainstays Geowulf Releases a Shimmering and Self-Assured Pop Gem

I’ve written quite a bit about Geowulf over the past few years. Comprised of Noosa, Australia-born friends and collaborators, Star Kendrick and Toma Benjamin, have known each other since they were teenagers; however, their musical collaboration is a relatively recent development that can be traced to when Kendrick enlisted the assistance of her old friend to flesh out some of her early demos. 

The duo released a string of highly successful, critically applaud singles that included “Saltwater,” which received over 1 million Spotify streams and reached Hype Machine‘s Top Ten and landed at #4 on Spotify’s US Viral Charts; the Mazzy Star meets  Fleetwood Mac-like “Don’t Talk About You;” the  Phil Spector meets Still Corners “Drink Too Much;”  the jangling, 60s girls group pop-inspired single “Hideaway,;” and The Smiths-like “Sunday,” the JOVM mainstays released their Duncan Mills-produced, full-length debut, Great Big Blue last year.

Building on the growing profile, the duo’s highly anticipated sophomore album My Resignation is slated for an October 25, 2019 release through [PIAS] Recordings, and the album finds the Aussie JOVM mainstays collaborating with acclaimed songwriter and producer Justin Parker on a number of tracks. Reportedly, the album finds Kendrick writing arguably some of the most brutally honest lyrics of the duo’s growing catalog to date. In fact, the material thematically focuses on loneliness — in particular, learning how to accept it and love the space and self-awareness it can provide. But naturally, the material is written through the lens of a 20-something woman trying to maneuver the weight of the expectations put upon by others and herself. Along with that, the album also deals with heartbreak. Of course that all should sound familiar and it should because all of us have been there at some point or another. In other words, the album finds the duo maturing and attempting to maneuver the complexities and uncertainties of adulthood with their sanity and dignity intact. 

My Resignation’s fourth and latest single “Lonely” is an incredibly self-assured bit of radio friendly and sugary pop, centered around jangling guitars, atmospheric synths, thumping drumming and Kendrick’s sultry crooning, but the song finds its narrator coming to a profound realization — that it’s better to be lonely and find yourself than to be lost and lonely with someone else. The song’s narrator also seems to be growing more confident within herself and within her own skin. It’s arguably one of the most mature and adult sentiments the duo have put to wax so far. 

“In a way, ‘Lonely’ epitomizes a lot of what this album means to me . . .” Geowulf’s Star Kendrick explains in press notes. “A bold and welcomed acceptance of myself and my own company. Feeling less and less like I need the approval of others. That’s one of the many nice things about getting a bit older.” 

The recently released video was shot on grainy Super 8mm film and it features Kendrick is a sparsely arranged room, wearing a gorgeous red, satin gown with matching veil. As she sings the song to herself, she takes off the gown and completes the song in just a plain bra and pair of panties. Essentially, the video finds Kendrick disposing of superficialities to get to the heart of the matter — her growing comfort with herself. 

New Audio: Aussie JOVM Mainstays Geowulf Release a Warmly Atmospheric and Deceptive Pop Confection

I’ve written quite a bit about JOVM mainstays Geowulf over the past couple of years, and as you may recall, the act which is comprised of Noosa, Australia-born friends and collaborators, Star Kendrick and Toma Benjamin have known each other since they were both teenagers. However, their musical collaboration began when Kendrick, who grew up in a rather musical home started to seriously pursue music a few years ago. Kendrick enlisted the help of her old friend to help flesh out some of her early demos.

After a string of successful, critically applauded singles that included “Saltwater,” which received over 1 million Spotify streams and reached Hype Machine‘s Top Ten and landed at #4 on Spotify’s US Viral Charts; the Mazzy Star meets  Fleetwood Mac-like “Don’t Talk About You;” the  Phil Spector meets Still Corners “Drink Too Much;”  the jangling, 60s girls group pop-inspired single “Hideaway,;” and The Smiths-like “Sunday,” the JOVM mainstays released their Duncan Mills-produced, full-length debut, Great Big Blue last year.

Building on the growing profile, the duo’s highly anticipated sophomore album My Resignation is slated for an October 25, 2019 release through [PIAS] Recordings, and the album finds the Aussie JOVM mainstays collaborating with acclaimed songwriter and producer Justin Parker on a number of tracks.Reportedly, the album finds Kendrick writing what may arguably be the most brutally honest to date with the album touching about loneliness — in particularly, learning to accept it and to love the space it provides; but viewed through the lens of a 20 something trying to maneuver the weight of the expectations put upon by others and upon themselves. The album also touches upon heartbreak, growth and self-actualization. In fact, in some way, the material finds the duo maturing and trying to maneuver the difficulties and complexities of adulthood.

“I See Red,” My Resignation‘s first single was a subtle expansion of the sound that first caught the attention of this site and elsewhere across the blogosphere. While employing the use of shimmering synths, the track is primarily centered around jangling guitar lines, a propulsive rhythm section, a soaring hook and Kendrick’s crooning — and while sounding incredibly self-assured, the song comes from a deeply personal and lived-in place. “‘I See Red’ was written after an argument with my sister,” the duo’s Star Kendrick explains in press notes. “The song was a realization that you are only ever your most raw, horrible self when you’re with the people you love to death and who love you.

I have been very proactive over many years in going to therapy, talking openly about mental health and have constantly taken steps to control emotions, moods and even my temper – having a family history of mental illness, this is something my siblings and I have had a lot of awareness about.This song is about that process and what I’ve learnt. The ebbs and flows of trying to be the best version of yourself.”

My Resignation’s latest single “Round and Round” continues a run of sugary  pop confections, centered around warmly atmospheric synths, shimmering acoustic guitar, Kendrick’s imitable crooning and a soaring hook — and while bearing a resemblance to the material off their debut with a subtle nod to Slow Air-era Still Corners, the track was actually written in an extremely negative headspace and environment as it seethes with frustration over the narrator’s repetitive patterns. “I was frustrated with maybe a lack of self-control and an inability to break patterns in my life… In a few areas,” Geowulf’s Star Kendrick explains in press notes. “This song is my way to poking holes in how I handled that. The rest of the album follows a similar, emotional narrative, and is all about exploring those old things & how I’ve tried to leave them behind.”

New Audio: JOVM Mainstays Geowulf Expands Upon Their Blogosphere Winning Sound in New Single

Over the past couple of years, I’ve written quite a bit about JOVM mainstays Geowulf, and as you may recall, the act, which is comprised of Noosa, Australia-born friends and collaborators, Star Kendrick and Toma Benjamin. As the story goes, although the duo have known each other since they were both teenagers, their musical collaboration began when Kendrick, who grew up in a musical home started to seriously pursue music a few years ago — and Kendrick enlisted the help of her old friend to flesh out some of her early demos. 

After a string of successful, critically applauded singles including “Saltwater,” which received over 1 million Spotify streams and reached Hype Machine‘s top ten before landing at #4 on Spotify’s US Viral Charts; the Mazzy Star meets  Fleetwood Mac-like   “Don’t Talk About You;” the  Phil Spector meets Still Corners “Drink Too Much,” and the jangling, 60s girls group pop-inspired single “Hideaway,” and The Smiths-like “Sunday,” the JOVM mainstays released their Duncan Mills-produced, full-length debut, Great Big Blue last year. 

Slated for an October release, the duo’s highly-anticipated sophomore full-length album My Resignation finds the Aussie JOVM mainstays collaborating with songwriter and producer Justin Parker, who has worked with the likes of Lana Del Rey, Bat For Lashes and Cloves on a number of tracks. Reportedly, the album finds Kendrick writing what may arguably be the most brutally honest to date with the album touching about loneliness — in particularly, learning to accept it and to love the space it provides; but viewed through the lens of a 20 something trying to maneuver the weight of the expectations put upon by others and upon themselves. Naturally, the album also touches upon heartbreak, growth and self-actualization. Or in other words, the material finds the duo maturing and trying to figure out the difficulties of adulthood — although to be honest, at 40, I’m not entirely convinced that I’ve tackled that myself. 

“I See Red,” My Resignation’s first single is a subtle expansion of the sound that first caught the attention of this site and elsewhere across the blogosphere. While employing the use of shimmering synths, the track is primarily centered around jangling guitar lines, a propulsive rhythm section, a soaring hook and Kendrick’s crooning — and while sounding incredibly self-assured, the song comes from a deeply personal and lived-in place. “‘I See Red’ was written after an argument with my sister,” the duo’s Star Kendrick explains in press notes. “The song was a realization that you are only ever your most raw, horrible self when you’re with the people you love to death and who love you.

I have been very proactive over many years in going to therapy, talking openly about mental health and have constantly taken steps to control emotions, moods and even my temper – having a family history of mental illness, this is something my siblings and I have had a lot of awareness about.This song is about that process and what I’ve learnt. The ebbs and flows of trying to be the best version of yourself.”

New Video: JOVM Mainstays Geowulf Return with Moody and Cinematic Visuals for Shimmering Album Single “Sunday”

Throughout the course of the past 18-19 months months or so, I’ve written quite a bit about JOVM mainstays Geowulf, comprised of Noosa, Australia-born friends and collaborators, Star Kendrick and Toma Benjamin. And although the duo have known each other since they were teenagers, their musical collaboration began in earnest when Kendrick, who grew up in a musical home, started to pursue music seriously a few years ago, and enlisted the help of her old friend to flesh out her earliest demos.

After a string of successful, critically applauded singles including “Saltwater,” which received over 1 million Spotify streams and reached Hype Machine‘s top ten before landing at #4 on Spotify’s US Viral Charts; the Mazzy Star meets  Fleetwood Mac-like   “Don’t Talk About You;” the  Phil Spector meets Still Corners “Drink Too Much,” and the jangling, 60s girls group pop-inspired single “Hideaway,” the JOVM mainstays released their highly-anticipated Duncan Mills-produced, full-length debut, Great Big Blue last month.

Building upon the buzz of their incredible run of buzz worthy singles, the duo’s latest single “Sunday” is a gorgeous, slow-burning and cinematic bit of guitar pop, with a soaring hook that should immediately bring comparisons like Mazzy Star, The Smiths and others — while continuing a string of songs that pair dark and moody lyrics with upbeat sounds.  As the duo says in press notes, “‘Sunday’ is a favorite of ours in the album. It’s a little cruiser of a song meant to make you feel all the good things. Lyrically, it’s about feeling like Sunday is a pretty lonely day sometimes.”

The recently released video continues a string of gorgeously shot, swooning yet surreal fever dream-like visuals, which further emphasizes the bitter loneliness at the core of the song.

Throughout the course of the past 18 months or so, I’ve written quite a bit about JOVM mainstays Geowulf, comprised of Noosa, Australia-born friends and collaborators, Star Kendrick and Toma Benjamin. And although the duo have known each other since they were teenagers, their musical collaboration began in earnest when Kendrick, who grew up in a musical home, started to pursue music seriously a few years ago, and enlisted the help of her old friend to flesh out her earliest demos.

After a string of successful, critically applauded singles including “Saltwater,” which received over 1 million Spotify streams and reached Hype Machine‘s top ten before landing at #4 on Spotify’s US Viral Charts; the Mazzy Star meets  Fleetwood Mac-like   “Don’t Talk About You;” and the  Phil Spector meets Still Corners “Drink Too Much,” the JOVM mainstays announced that their highly-anticipated Duncan Mills-produced, full-length debut, Great Big Blue is slated for a February 16, 2018 release through 37 Adventures Records. And along with the announcement of their debut, the duo then released, the shuffling and jangling, 60s girl group pop-inspired single “Hideaway,” which continues the dream pop duo’s growing reputation for material that possesses a careful and deliberate attention to craft but with subtly modern flourishes — all while focusing on the complications, frustrations and aches of romantic relationships.

The album’s latest single “Sunday” is a slow-burning, gorgeous and cinematic bit of guitar pop, with a soaring hook that should immediately bring comparisons like Mazzy Star, The Smiths and others — while continuing a string of songs that pair dark and moody lyrics with upbeat sounds.  As the duo says in press notes, “‘Sunday’ is a favorite of ours in the album. It’s a little cruiser of a song meant to make you feel all the good things. Lyrically, it’s about feeling like Sunday is a pretty lonely day sometimes.”

 

 

Throughout the course of the past year or so, I’ve written quite a bit about Geowulf, a dream pop duo, comprised of Noosa, Australia-born, longtime friends, Star Kendrick and Toma Benjamin. And although the duo currently split their time between London, UKGothenburg, Sweden, Berlin, Germany and Australia, the duo have known each other since the were teenagers; but their musical collaboration began in earnest when Kendrick, whose parents were also musicians, began to serious pursue music a few years ago and enlisted the help of Benjamin to flesh out her earliest demos.

After a string of successful, critically applauded singles including “Saltwater,” a track that received over 1 million Spotify streams and reached Hype Machine‘s top ten before breaking at #4 on Spotify’s US Viral Charts,  “Don’t Talk About You,” which seemed to channel Mazzy Star covering  Fleetwood Mac but with a lovelorn ache, and the Phil Spector meets Still Corners “Drink Too Much” among others, the critically applauded blogosphere darlings recently announced that their highly-anticipated Duncan Mills-produced full-length debut Great Big Blue is slated for a February 16, 2018 release through 37 Adventures Records. Along with that they released their latest single, the first official single from the forthcoming album, the shuffling, 60s girl group pop-like single “Hideaway,” which pairs Kendrick’s sultry cooing with a lushly layered production featuring jangling guitar chords, shimmering strings, a propulsive backbeat and soaring hooks. Unsurprisingly, there’s a careful and deliberate attention to craft that brings to mind the aforementioned Phil Spector but with subtle, modern flourishes.

Much like the duo’s previously released singles, the duo’s latest single focuses on the complications, frustrations and aches of romantic relationships — in this case, as the duo notes, “The song is about feeling like you’ve been completely transparent with someone only to realize they haven’t truly let you in.” And as a result, the song bristles with a bitter sense of betrayal and confusion underneath the gleaming and upbeat surface.

New Video: The Mischievously Surreal Visuals for Geowulf’s “Drink Too Much”

Now, if you had been frequenting this site over the past year, you’d recall that I’ve written quite a bit about Geowulf, a dream pop duo, comprised of Noosa, Australia-born Star Kendrick and Toma Benjamin and although currently the duo split their time between  London, UK, Gothenburg, Sweden and Berlin, Germany, their musical project can trace its origins to Benjamin’s and Kendrick’s long-time friendship, a friendship that they can trace to when they were both in their teams; however, their musical collaboration began in earnest when Kendrick, whose parents were also professional musicians, began to seriously pursue music a few years ago, and enlisted the help of her closest friend to flesh out her early demos.

With the release of their debut single “Saltwater” Kendrick and Benjamin quickly saw attention across the blogosphere and elsewhere as the single received over 1 million Spotify streams and reached Hype Machine‘s top ten before breaking at #4 on Spotify’s US Viral Charts. The Australian-born, European-based duo followed up on the buzz of their debut with the release of “Don’t Talk About You,” a single that channeled Fleetwood Mac and Mazzy Star as Kendrick’s gorgeously ethereal vocals were paired with lush, shimmering and jangling guitar chords, but underneath the self-assured, 70s AM Rock vibes was a lovelorn ache. As the duo’s Star Kendrick explained in press notes at the time, “This song went through a geographical and creative metamorphosis over almost two years. We originally wrote it in Copenhagen, demo’ed it in Stockholm and then revisited it recently when Toma and I were both in London. I guess the song speaks for itself but ultimately it falls in the good ol’ ‘wanting-something-that-ain’t-good-for-you’ vein …”

The duo’s latest single “Drink Too Much” is arguably one of the duo’s most playful and subversively upbeat songs they’ve released to date, as it features jangling guitars, twinkling keys, propulsive drumming and an anthemic, soaring hook to create a sound and aesthetic that nods at Phil Spector and Still Corners while nodding at something much darker; in fact, as the duo explain in press notes, the song is ultimately about “bulk red wine + tired relationships = bad news, baby” but below the surface is the sense that ghosts haunt and linger when we’re at our most vulnerable.

The recently released video for “Drink Too Much” is cinematic and feverish vision, featuring the duo at the pool of a resort — but instead of being surrounded by the expected young, lithe, buxom and beautiful, the duo is surrounded by a collection of middle-aged retirees with way too much time on their hands. And while initially suggesting a slowly creeping dread, the video turns mischievously surreal as the members of the duo lead a poolside dance party; but underneath there’s a wistfulness for the passing of yet another summer. 

Earlier this year, I wrote about Geowulf, a dream pop duo, comprised of Noosa, Australia-born Star Kendrick and Toma Benjamin and although currently the duo split their time between  London, UKGothenburg, Sweden and Berlin, Germany, their musical project can trace its origins to Benjamin’s and Kendrick’s long-time friendship, a friendship that they can trace to when they were both in their teams; however, their musical collaboration began in earnest when Kendrick, whose parents were also professional musicians, began to seriously pursue music a few years ago, and enlisted the help of her closest friend to flesh out her early demos.

Now, as you may recall, with the release of their debut single “Saltwater” Kendrick and Benjamin quickly saw attention across the blogosphere and elsewhere as the single received over 1 million Spotify streams and reached Hype Machine‘s top ten before breaking at #4 on Spotify’s US Viral Charts. The Australian-born, European-based duo followed up on the buzz of their debut with the release of “Don’t Talk About You,” a single that channeled Fleetwood Mac and Mazzy Star as Kendrick’s gorgeously ethereal vocals were paired with lush, shimmering and jangling guitar chords, but underneath the self-assured, 70s AM Rock vibes was a lovelorn ache. As the duo’s Star Kendrick explained in press notes at the time, “This song went through a geographical and creative metamorphosis over almost two years. We originally wrote it in Copenhagen, demo’ed it in Stockholm and then revisited it recently when Toma and I were both in London. I guess the song speaks for itself but ultimately it falls in the good ol’ ‘wanting-something-that-ain’t-good-for-you’ vein …”

The duo’s latest single “Drink Too Much” is arguably one of the duo’s most playful and subversively upbeat songs they’ve released to date, as it features jangling guitars, twinkling keys, propulsive drumming and an anthemic, soaring hook to create a sound and aesthetic that nods at Phil Spector and Still Corners while nodding at something much darker; in fact, as the duo explain in press notes, the song is ultimately about “bulk red wine + tired relationships = bad news, baby” but below the surface is the sense that ghosts haunt and linger when we’re at our most vulnerable.