Tag: indie soul

Video by William Ruben Helms

New Video: The Furious Funky and Punk Rock-Inspired Soul Sounds of Omaha’s High Up

Featuring sibling and founding duo Christine Fink (vocals) and renowned singer/songwriter Orenda Fink, arguably be known for her stint in Azure Ray and for a solo career, along with Greg Elasser, Josh Soto and Eric Ohlsson, the Omaha, NE-based punk/soul/funk collective High Up can trace its origins to when its frontwoman Christine Fink would perform at local karaoke bars across Muscle Shoals, AL. As the story goes the first time that Orenda Fink caught her sister sing at nearby Sheffield, AL’s Old Town Tavern, Orenda was blown away by how Christine brought the entire house down. Several years later, Christine moved to Omaha to be closer to her sister Orenda — and Orenda began to see that no matter where her sister performed, the crowd turned into putty in her hands — with people lining up to buy her drinks, shake her hand or make requests of their favorite soul songs.

However, after a while Christine began to feel depressed and aimless as her life became an increasingly dreary shuffle between uninspiring minimum wage jobs and the thrill of her weekend performances wore off. One night, the siblings had a conversation about the future– particularly Christine’s future — and Orenda insisted that her sister should try to pursue a career in music, as performing for people was what made her the happiest.

After several discussions the Fink Sisters decided to start their own band with the premise that sonically speaking the project would draw from a variety of influences including Janis Joplin, Sam Cooke and the Muscle Shoals sound, Screamin’ Jay Hawkins, The Velvet Underground — and doing so in a way that would showcase Christine’s soulful pop belter vocals and Orenda’s carefully crafted songwriting. The Finks then recruited Elasser, Soto and Ohlsson to further flesh out the project’s sound. And to my ears at least, the band’s sound as you’ll hear on their latest single “Two Weeks” off their soon-to-be released self-titled EP manages to sound like Iggy Pop’s “Lust for Life” but filtered through furious Muscle Shoals-meets James Brown funk, and a bit of ska for good measure. Adding to the fury behind the song, the song’s narrator speaks of a specific situation that should feel familiar to anyone, who has slaved at a miserable job — the ecstatic joy of telling your employer “Fuck you! I quit!”

And although the narrator admits that being broke and not knowing when you’ll see money sucks, being reminded of your dignity and self respect is a powerful thing — and that going out there without a safety net and risking everything to achieve your dreams is an admirable thing. Interestingly, the recently released music video follows a protagonist, who quits a miserable job to pursue a music career but in her own way, following her own vision.

Video by William Ruben Helms

New Video: The Sultry and Classic Soul Sound of Bristol’s Hannah Williams and The Affirmations

Produced by The Heliocentrics’ Malcolm Catto, who has produced Mulatu Astatke, Orlando Julius and the iconoclastic author/auteur/film producer/actor/musician Melvin van Peebles, and collaborated with Floating Points, Quantic, DJ Shadow and Madlib, Williams’ much-anticipated sophomore effort was recorded, mixed and mastered to tape at London’s Quatermass Studios, Williams’s highly-anticipated sophomore full-lenth effort Late Nights and Heartbreak will be released Stateside and elsewhere on Friday through Record Kicks Records. Interestingly enough the effort not only marks the first time Williams has worked with Catto, it also marks the first recorded effort with her new backing band, the Bristol, UK-based The Affirmations — and from the material I’ve heard off the album, the band comprised of James Graham (organ, piano and Wurlitzer), Adam Holgate (guitar), Adam Newton (bass), Jai Widdowson-Jones (drums), Nicholas Malcolm (trumper), Liam Treasure (trombone), Victoria Klewin (baritone saxophone) and Hannah Nicholson (backing vocals) are not just an incredibly tight unit, but they can give the world-famous Daptone Records bands a run for their money.

The album’s first single “Tame in the Water” has Williams and The Affirmations pairing her incredibly soulful vocals with a tight and funky groove, shuffling drumming, twinkling keys, shimmering guitar chords and a bold horn line to create a sultry, mid-tempo torch song with a narrator, who has had enough of her lover’s shit and wants out, knowing that she deserved and still deserves much better — all while sounding as though it could have been released in 1964 or so. And in some way, the song nods a bit at Dusty Springfield’s “Son of a Preacher Man” but with a visceral sense of heartbreak that’s devastating.

The charmingly goofy music video follows the relationship between Williams and a anthropomorphic rabbit, who she discovers is a no-good, cheating, irresponsible lout, which follows the song’s narrative. And towards the end we see an extremely pissed Williams packing her stuff and calling a friend to give her a ride while her former lover gets sloshed — and then kicked out of a bar.

The album’s second single is an amazing, mind-blowing psychedelic soul rendition of “Dazed and Confused” that draws equally from the original version written by Jake Holmes, Led Zeppelin’s legendary cover and The Temptations’ “Papa Was A Rolling Stone” — but with a swaggering, self-assuredness. And from both singles a few things are apparent: Hannah Williams can fucking sing her heart out — and I can guarantee that you will be hearing about her and the Affirmations for quite some time; the chemistry and simpatico between Williams and the Affirmations is undeniable, as they’ve created some of the tightest and funkiest music of their young careers.

New Audio by William Ruben Helms

 

Comprised of Connecticut-born and Brooklyn-based founding trio Julia Zivic (vocals), her brother Jason Zivic (drums) and Itamar Gov-Ari (keys, guitar vocals), along with Mike Roninson (bass) and Chris Stelluti, Brooklyn-based neo-soul/indie soul/progressive soul quintet Vinegar Mother can actually trace its origins to when its founding trio started performing together under the moniker Julia Zivic and The Brothers. And as Julia Zivic and The Brothers, the trio a level of attention as they played the 2014 Greenwich Town Party Festival on a bill that included the likes of George Clinton, Santana, Buddy Guy and Dr. Dog — and they finished second in that year’s International TalentHouse Jimi Hendrix Competition for their rendition of “Red House.”

As the trio began to increasingly expand upon their sound, the founding trio decided to start anew and recruited bassist Zack Slaughter and Stelluti to record their debut EP as Vinegar Mother; however, shortly after the band formed, the band went through a lineup change that included Roninson replacing Slaughter, who joined the Marines. As Vinegar Mother, the band has developed a reputation locally as they’ve played a number of shows across this fair city — including The Knitting Factory and The Studio at Webster Hall — and along with a CMJ appearance last year, the band has opened for the likes of The Lonely Biscuits, Kat Wright and The Indomitable Soul Band, Joanna Teters and Mad Satta. Now, if you were frequenting this site last month, you may have come across the easy-going, 90s neo-soul leaning “Sunny Seat,” a song inspired by and written about a deeply personal experience in which Julia Zivic had a bitter falling out with a friend.

“Slow,” the band’s latest single off their soon-to-be released debut EP Sunny Seat is a sultry and sensual that captures the wounded psyche of its narrator — a narrator, who’s desperate for love to cure her aching loneliness paired with a slightly more straightforward song structure and arrangement than its predecessor. Interestingly, the song captures the perspective and thinking of an emotionally conflicted woman with an uncanny nuance and a novelist’s attention to psychological detail — all while being a subtle yet very modern take on classic soul and blues.

The members of the band are starting an increasing tour schedule, check out tour dates below, which includes a set tonight at SoFar Sounds.

Live Shows

November 8 –  SoFar Sounds – Brooklyn, NY

November 18 – Radio Bean – Burlington, VT

November 30 – Piano’s – New York, NY

Single Review by William Ruben Helms

Comprised of Derek Barber (guitar) Geneva Harrison (drums, percussion, keys) Sandra Lawson-Ndu (vocals, percussion, keys) and Doug Stuart (bass, vocals, keys), the Oakland, CA-based soul pop quintet Bells Atlas specialize in a sound that’s been kaleidoscopic, lushly layered and yet difficult to pigeonhole sound as it incorporates elements of indie rock, Afro pop, jazz, electro pop as you’ll hear on the Bay Area’s trippy, shimmering and atmospheric new single “Spec and Bubbles.” Structurally speaking, the song twists and morphs into several distinct segments held together by stuttering drumming, a sinuous bass line and Lawson-Ndu’s sultry cooing — and in some way it channels renowned soul pop act, Hiatus Kaiyote but with a deliberate and painterly act, as though each chord and each bar were a brushstroke, and each brushstroke added color and texture to the larger whole.

Interestingly, the release of single immediately came on the heels of their upcoming run as the house band for WNYC/NPR’s Snap Judgement, later this year and through 2017.

Video by William Ruben Helms

New Video: Check out Allen Stone Performing a Soulful and Aching Cover of Goyte’s Mega-hit “Somebody That I Used To Know”

With the release of his latest album Radius, Seattle, WA-based soul singer/songwriter Allen Stone has firmly cemented a burgeoning reputation for crafting uncompromising music that defies pop music conventions — and as a result, not only has the Seattle-based singer/songwriter received attention across the blogosphere, he’s recently been invited to play at Stevie Wonder’s British Summer Time show next week, which will most likely add to a growing international profile. And to celebrate a set of European shows and his addition to the Stevie Wonder show, Stone and his backing band released a video performing a slow-burning, Quiet Storm-soul cover of Goyte’s mega-hit “Somebody That I Used to Know” at Bear Creek Studio that actually possesses a deeper sense of the confusion, heartache, guilt, accusations and bitterness within the song than the original in mind; in fact, when Stone sings the line “you didn’t have to stoop so low,” I guarantee that you’ll feel punched the gut.

Single Review by William Ruben Helms

Primarily comprised of its creative masterminds and founding members Daniel and Jenna Watters, Austin, TX-based indie soul act The Watters can trace their origins to when the band’s founding members met as children. As the story goes, they first met while playing on the same pee wee football team in Sedona, AZ that Jenna’s father coached — although they did attend rival grade schools. The duo eventually went to high school together and at that point, began a collaboration that can trace its origins to when the duo performed together at their high school graduation and then fell in love; in fact, they’ve performed together for over 12 years, written together for over 8 and have recorded 6 albums together while in the Denver, CO then Nashville, TN-based nationally touring act The Oak Creek Band.

Now writing and performing together as The Watters, the duo’s forthcoming debut effort Great Unknown was influenced by Daniel and Jenna’s own personal experience. As Daniel Watters explains in press notes: “The concept of the Great Unknown came to us while we were in transition between Nashville and Austin. We were living in Sedona, AZ with my folks for three months having left Nashville and had no idea where we were moving to. Our bassist was going to move to California and so were we, but we happened to stop in Austin on our way back and fell in love. We were so torn on what to do, but we trusted our instincts and made the hard decision to leave our musical brother and start a new life in Austin. The Great Unknown is [about] the power of intuition and the beauty in uncertainty. Instead of finding fear in the unknown, I find it easier to see the beauty and opportunity in the unknown. Our move to Austin was a complete leap of faith, but a year later we are very happy here and feel an overwhelming support system here.”

Recorded at Cacophony Recorders, Great Unknown features some of the Austin, TX area’s best and most renowned musicians including Band of Heathens‘ Trevor Nealon, Golden Dawn Arkestra‘s Joe Woullard and Zumbi Richards and Erik Hokkanan and was recorded live to tape to best capture the band’s live sound.  Album title track and first single “Great Unknown” has the band pairing Muscle Shoals soul with 70s AM rock — a soulful horn arrangement and Jenna Watters’ effortlessly soulful vocals are paired with jangling guitars and gently propulsive drumming, along with a careful and deliberate attention to craft. Lyrically, the song focuses on two very different things -taking a big chance on your dreams with the hope that things will come out in your favor but also on something that people often forget, sometimes you can’t fight the tide; things will sort themselves out in their own time and in their own way even your own dreams.

 

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Single Review by William Ruben Helms

 

With the release of his debut single “Color Decay,” Westman Islands, Iceland-based singer/songwriter Júniús Meyvant quickly received attention across Iceland, Scandinavia and elsewhere for an old-school soul, funk, pop-inspired sound. “Color Decay” hit number 1 on the Icelandic charts and as a result of the single’s success, Meyvant dominated that year’s Icelandic Music Awards as he was nominated for Best Newcomer, Best Song and Best Male Singer — and he wound up winning the Best Newcomer and Best Song awards. Building on that buzz he was receiving across Scandinavia, Meyvant had a relentless touring schedule playing a number of sold out shows across the European Union. And naturally, the attention lead to airplay on Radio X, BBC Radio London, Amazing Radio — and the song being chosen by KEXP’s Program Director Kevin Cole as his Song of The Year.

“Neon Experience” Meyvant’s latest single will further cement the Icelandic singer/songwriter’s growing reputation for a sound that possesses elements of old-school soul, pop and funk as Meyvant’s silky falsetto is paired with a mid-tempo arrangement of warm blasts of horn, a gorgeous and dramatic string arrangement, twinkling keys, soul guitar and bass chords, infectiously anthemic hooks and a slow-burning and sultry bridge. Then add an uplifting and resilient message that will likely push you through the doldrums and the song sounds as though it’s indebted to the work of the Daptone Records roster — while subtly nodding at the work of Simply Red and Chet Faker as Meyvant and company pair a tight and funky groove with carefully crafted, introspective and thoughtful lyrics.

Meyvant’s highly-anticipated full-length debut Floating Harmonies is slated for a July 8, 2016 release through Record Records, and the Icelandic singer/songwriter will be supporting the album with a live at London’s Bushstock Festival on June 18 and a tour across the European Union during the fall.

 

 

Video by William Ruben Helms

New Video: Introducing the Minimalist Electro Pop of London’s Native Dancer

Comprised of Sam Crowe (keyboards), a member of The Cinematic Orchestra and the backing bands of Matthew Herbert and Rosie Lowe; Jonathan Harvey (bass), a bandmate of Crowe’s in The Cinematic Orchestra and a member […]

Single Review by William Ruben Helms

If you had been frequenting this site during the end of 2015 and the beginning of this year, you may recall coming across a couple of posts on Chicago-based R&B vocalist and singer/songwriter The Elle and her collaborations with Minnesota-based singer/songwriter and emcee Blaccout Garrison, Hungry Soulful EP — in particular, “Strawberry Cheesecake Dessert.” which was produced by Dthr33 and featured Jackson, WY-based emcee Abstract, had Abstract and Garrison trading charmingly old-school-inspired lyrics about the ladies they loved over, while The Elle sang the song’s soulful and sensual hook over the soulful and jazzy sample that comprises A Tribe Called Quest‘s “Bonita Applebum.” Hungry Soulful‘s second single was the  P-Soul-produced “Wishing On A Star,” which paired a subtly chopped up old-timey, twinkling piano sample and boom-bap drum programming with Garrison rhyming about focusing on one’s dreams and overcoming life’s frustrations and obstacles. The Elle contributes the song’s introductory verses and the soulful and thoughtful hook.

 

Slated for release next month, Soul Art Music is the Chicago-based vocalist’s forthcoming full-length effort and the album’s latest single “Your Love” was produced by South African producer Keith Virgo. The track begins with an introductory sample of Eartha Kitt, setting up the song’s theme as the legendary actress and singer candidly shares her thoughts about love — and in her mind, real love is essentially a process of learning how to share yourself with yourself and others. The song pairs Virgo’s subtly cosmic and trippy production consisting of layers of twinkling and shimmering synths, tumbling percussion, boom bap drums,  electronic bleeps, bloops and beeps with The Elle’s sultry vocals about a love that has made her narrator feel as though she had found her truest self. Within the turn of a phrase The Elle reveals a narrator who is strong yet unafraid to be vulnerable and open, and absolutely appreciative of stumbling about this person at this juncture. Lucky and rare are those who experience such a love.

Single Review by William Ruben Helms

 

Initially starting her career as the frontwoman of Toronto, ON-based band The Wayo, Charlotte Day Wilson is a 23 year old classically trained singer, producer and multi-instrumentalist, who has since emerged out of her hometown’s  jazz, soul, and R&B as a solo artist of note, adding herself to a list of growing artists including friends and collaborators BADBADNOTGOOD and River Tiber. Wilson’s debut single “After All” is reportedly about re-socializing after spending some time inside cocooning while also suggesting the freedom of embarking towards new endeavors, and sonically the song pairs Wilson’s husky and effortlessly soulful vocals with an ethereal production — which consists of staccato stabs of organ, warm blasts of horn, skittering drum programming, gently swirling electronics. Interestingly, Wilson’s vocals and the song reminds me quite a bit of The Brand New Heavies “Never Stop” but breezier and moodier.

 

 

 

Single Review by William Ruben Helms

Blaccout Garrison is a Minnesota based singer/songwriter and emcee, who has started to receive attention on this site and across the blogosphere for his Hungry Soulful EP, which has the Minnesotan artist collaboration with the likes of Jackson, WY-based emcee Abstract and Chicago-based R&B vocalist and singer/songwriter The Elle. Now, if you’ve been frequenting this site over the past few months, you may recall that I wrote about “Strawberry Cheesecake Dessert.” Produced by Dthr33, the song featured the use of a familiar and beloved sample to real hip-hop heads — the soulful and jazzy sample that comprises A Tribe Called Quest‘s “Bonita Applebum paired with The Elle’s soulful and seductive hook, as Garrison and Abstract trade old-school inspired verses about the women they love. And fittingly, much like the old school hip-hop sample, the emcees rhyme about their loves in charmingly old school terms as they describe how strong, stunning and smart their loves are, and how they both want to treat their loves as the queens and goddesses that the emcees know their ladies are.

Certainly, in an age in which contemporary mainstream artists have openly referred to women in disparaging and ugly terms, hearing such old-school sentiment is not just much-needed it’s refreshingly sweet.

Produced by P-Soul, Garrison’s latest single “Wishing On A Star” pairs a subtly chopped up old-timey, twinkling piano sample, boom-bap drum programming with The Elle’s effortlessly soulful vocals singing the song’s introductory verses and hook as Garrison rhymes about overcoming life’s frustrations and obstacles while being focused on one’s dreams. It’s positive, thoughtful and deeply soulful music — and in an age of soulless, cynically calculated, prepackaged music such thoughtful and earnest music is needed now more than ever before.

 

 

 

Single Review by William Ruben Helms

 

Jonathan Hoard is a Columbus, OH-born, New York-based singer/songwriter, vocal arranger and teacher, who has had a lengthy history performing and recording with a number of Grammy Award-winning artists and producers including Regina Belle, Tracy Pierce, Richard Smallwood, Rashad McPherson and DivinePURPOSE and his father, Stellar Award– nominated artist Ronald Hoard as a background vocalist. And with as the frontman of his own act, J. Hoard and The Greenhouse People, Hoard and company has opened for Dwele; however, I’m actually most familiar with Hoard through his work with Gentei Kaijo, the backing band to the popular soul/funk/hip-hop residency The Lesson.

Here’s where things get interesting. Earlier this month, I was at the Women In Music Holiday Party at Le Poisson Rouge when I ran into Melany Watson and a producer/songwriter and guitarist Greg Seltzer. And while chatting with Seltzer, he told me that he recently produced a song by J. Hoard featuring Rabbi Darkside. “Tidal Wave” pairs subtle soul clap-percussion and skittering drum programming with icily swirling synths, guitar chords played through reverb and twinkling keyboards with Hoard’s soulful falsetto which express ache, desire, and joy within a turn of a phrase. Rabbi Darkside contributes a silky smooth 16 bars at the song’s bridge about being in a seemingly turbulent situation and at the mercy at something far larger than yourself in a song that metaphorically views a tidal wave as both destructive and as a cleansing force — all while possessing a a quiet, understated self-determination.