Tag: instrumental

Single Review by William Ruben Helms

New Audio: VAAMP Shares a Cinematic and Minimalist Composition

VAAMP is the solo recording project of a mysterious composer, multi-instrumentalist and creative mastermind, who actively attempts to push limits of creativity and genre. Sonically, the project sees its mysterious mastermind employing multiple layers of synths, drums, bass, keys, guitar and experimental sounds to create a captivating musical experience.

VAAMP’s latest single “New Way of Being” is the first bit of new material since the release of his debut EP, Time Sensitive Material earlier this year. “New Way of Being” is a cinematic and minimalist composition featuring twinkling and reverb-soaked keys, fluttering synths and a supple bass line. The result is a song that seemingly channels a synthesis of Collapse Under The Empire and John Carpenter, complete with a retro-futuristic feel and vibe.

Video by William Ruben Helms

New Video: Los Bitchos Share Glittery Visual for Disco-Inspired Romp “La Bomba”

Acclaimed London-based instrumental outfit Los Bitchos — Australian-born, Serra Petale (guitar); Uruguayan-born Agustina Ruiz (keytar); Swedish-born, Josefine Jonsson (bass) and London-born Nic Crawshaw (drums) — can trace their origins to meeting at various late-night parties and through mutual friends. Inspired by their individual members’ different upbringings and backgrounds, the acclaimed British outfit have firmly established a genre-blurring and retro-futuristic sound that blends elements of Peruvian chica, Argentine cumbia, Turkish psych, surf rock, and the music each individual member grew up with: 

  • The Uruguayan-born Ruiz had a Latin-American music collection that the members of the band fell in love with

  • The Swedish-born Jonsson “brings a touch of out of control pop,” her bandmates often joke

  • Aussie-born Petale is deeply inspired by her mother’s 70s Anatolian rock records

  • And the London-born Crawshaw played in a number of local punk bands before joining Los Bitchos

“Coming from all these different places,” Los Bitchos’ Serra Petale says, “it means we’re not stuck in one genre and we can rip up the rulebook a bit when it comes to our influences.”

Los Bitchos’ Alex Kapranos-produced, critically applauded, full-length debut, 2022’s Let The Festivities Begin! was recorded at Gallery Studios, and saw the band cementing their reputation for crafting playful, lysergic yet party friendly grooves.

The London-based JOVM mainstays capped off a breakthrough year with two Serra Petale and Javier Weyler-co-produced singles “Tip Tapp” and “Los Chrismos,” their first Christmas-themed composition. Fittingly, “Los Chrismos” is a celebratory party-starting romp built around a psych rock-inspired, dexterous and looping guitar line, atmospheric synths, cumbia rhythms paired with holiday appropriate cheers and shouts. Simply put, the song is a much-needed hope and joy bomb in desperate, uneasy time.

The tracks were released digitally and physically on a flexi-disc, bundled with a red vinyl re-pressing of their debut — for that year’s holiday season..

Building upon a growing profile internationally, the London-based JOVM mainstays released 2023’s PAH! EP, a two-track effort that featured a mischievously, rowdy and downright boozy cover of The Champs‘ oft-covered “Tequila,” a song that has become a fan favorite during the band’s live shows. The EP also featured a reworking of King Gizzard and The Lizard Wizard‘s “Trapdoor.”

The British outfit’s latest single, the Oli Barton Wood-produced “La Bomba,” the first bit of new material from the band since last year’s PAH! EP. The track is an hook-driven 80s Turkish psych pop-inspired bop anchored around a shuffling dance floor rhythm, a twangy and looping guitar line, a disco-influenced bass line, some video game-like beats paired with glistening synths and ecstatic shouts.

“‘La Bomba’ is a burst of energy and power! It’s just such a fun song – we started playing it at festivals last summer and the energy felt so good!” The band says in press notes.

“The beginning stabs are what came to me (Serra) first as I was cooking in my kitchen. There’s something quite heroic and powerful about the opening guitar tone and the stabs underneath them. The twangy guitar tone cuts through the chaotic landscape of claps, pumping disco bassline and dreamy swirling synth sounds. The disco era influence is quite evident in this song, and I think the bassline sets the tone perfectly for this. Structurally the song delivers straight into a chorus (as Nile Rodgers said, ‘why wait?’). We wanted to keep this as close to a classic pop structure as possible, everything straight to the point. 

“The cherries on top are the little ping pong drum sounds (think Ring My Bell, Anita Ward) – they just make the track go off and totally emulate the feelings of euphoria and pure energy running through it.”

Directed by the band’s long-term artistic collaborator Tom Mitchell, the accompanying video, features some high-energy, glittery visuals that at points playfully nods at Queen’s “Bohemian Rhapsody.”

The band says of the video “As it’s a high energy, pumping song, we needed to have really dynamic visuals to go with that and bring the song to life. The video has lots of shiny, glitterball moments and moves between performance and surreal segments. We had so much fun with make-up and styling for this video. Josefine saw this thing on Tik Tok where you film in a way which gives the illusion you’re riding a horse, so obviously we had a go and put that in the video last minute on set.”

Single Review by William Ruben Helms

New Audio: Ohnarp Janson Shares Sleek and Funky “I Remember”

Ohnarp Janson is a French jazz musician and composer, who over the past 30 years has specialized in a genre and convention-defying jazz fusion sound that blends elements of jazz, funk and electronic music. In that time, Janson has played at renowned festivals and clubs across the world, while releasing albums that showcase material that’s innovative and dynamic.

Janson’s latest single “I Remember” is a sleek and funky composition that seemingly channels Bob James, Herbie Hancock, Return to Forever and Jaco Pastorius that features glistening Rhodes, a propulsive and funky drum pattern, a brooding yet soulful horn line, and a supple yet chugging bass line within an expansive arrangement that showcases musicians, who know how to really swing when it counts — and when to allow room for some dexterous and impressive soloing.

Single Review by William Ruben Helms

New Audio: AC Grüns Shares Woozy and Hypnotic “Cosmic WiFi (Radio Free Babble On Mix)”

AC Grüns is a Pacific Northwest-based electronic music artist and producer, who has quickly established a unique sound that’s simultaneously ethereal and immersive and sees him blending house, techno and downtempo paired with crisp beats and deep bass.

His latest single, the sparse and minimalist “Cosmic WiFi (Radio Free Babble On Mix)” is a woozy and hypnotic track anchored around looping and arpeggiated bursts of analog synths and twinkling keys paired with skittering beats. Sonically seeming to channel The Chemical Brothers‘ “Star Guitar” and Kraftwerk, is a mind-bending yet accessible bit of playful experimentation with a cosmic sheen.

Single Review by William Ruben Helms

New Audio: Lemons Always Zest Shares Euphoric Banger

Lemons Always Zest is a mysterious and emerging, 24 year-old New York-based bedroom producer. Inspired by the city’s queer rave scene, the mysterious and emerging New York based producer creates dance music as part of a ritual of processing difficult emotions on the dance floor.

Last August, Lemons Always Zest released “Can’t be the End,” as well as an unofficial remix to Britney Spears’ 2007 hit “Break the Ice.” Building upon a growing profile, the New York-based producer released the five-track EP L.A.Z 1, which featured lead single “don’t lie to me” earlier this month.

The EP’s latest single “i need more” is a euphoric, deep house-like, instrumental club banger anchored by skittering beats and glistening synth arpeggios that seems to subtly channel Larry Levan and Octo Octa.

“This song grapples with being entranced in euphoria while realizing that this feeling is fleeting,” the New York- based producer explains. “Inspired by long disco instrumentals that felt relentless in their pursuit of pleasure, it starts & ends abruptly to entice the listener before pulling the rug out from under. The ending was inspired by Tinashe’s ‘Gravity,’ with the beat switch further digging the listener into a hole they can’t escape from.”

Single Review by William Ruben Helms

Moscow-based instrumental funk outfit The Diasonics — Anton Moskvin (drums), Maxim Brusov (bass guitar), Anton Katyrin (percussions), Daniil Lutsenko (guitar) and Kamil Gzizov (keys) — formed back in 2019 and quickly developed a sound that they’ve dubbed “hussar funk,” a blend of elements of hip-hop rhythms, 60s and 70s psychedelia and Eastern European flavor paired with cinematic-leaning arrangements. And with their unique sound and approach, the Russian funk quartet have managed amass a cult following within the international funk and soul scenes.

Since 2019, The Diasonics have been remarkably prolific: They’ve released ten highly-celebrated singles and various in-demand 45s through indie funk labels like Funk Night Records and Mocambo Records. Their full-length debut, 2022’s Origins of Forms was released through acclaimed Italian funk and soul purveyors, Record Kicks. 

Recorded on an Otari MX-5050 MK III at Moscow’s Magnetone Studio and mixed by The Cactus Channel‘s and Karate Boogaloo‘s Henry Jenkins in Melbourne, Origins of Forms‘ saw the Russian outfit firmly cementing their overall sound and aesthetic.

 The Diasonics’ latest single, the Henry Jenkins produced and mixed “Beggin'” is an instrumental rendition of a Bob Gaudio and Peggy Farina penned tune that was recorded by Frankie Valli and The Four Seasons in 1967. “Beggin'” became a British, Northern Soul scene classic in the late 1970s — and since then has been covered numerous times over the years, including most recently by Italian rock group Måneskin. The Diasonics rendition retains the dance floor friendliness of the original but with a bit more of an emphasis on wah-wah guitar-driven, soaring and glistening keys and a ridiculously supple and funky bass line, making it a must-have for those looking for deep grooves.

“Beggin'” is available on all digital stream platforms, but it also will be releasing on a limited edition 45 vinyl on March 8. Pre-order here.

Single Review by William Ruben Helms

New Audio: Ghost Funk Orchestra Shares Cinematic and Trippy “To The Moon!”

Ghost Funk Orchestra founder, creative mastermind, composer, arranger, producer and multi-instrumentalist Seth Applebaum has always had a latent fascination with space and space travel, Midway through writing the arrangements, which would comprise the material of the band’s fifth album, On a Trip To The Moon, Applebaum became aware that Internet Archive had made the recordings of the Apollo to Mission Control transmissions accessible in the public domain. Once he started listening to those recordings, it gave the Ghost Funk Orchestra mastermind the idea of using the recordings as a narrative binder for the music, which he was working on at the time.

The process was painstaking. The recordings were frequently filled with long silences, punctuated by surprisingly casual commentary on the cosmos. Applebaum’s commitment to the voyage managed to draw him into a sort of historical tourism, in which he studied film, photos, and music from the era. And as he did so, he was struck by the gusto with which new technology was embraced in pop culture of the day, and he honors that tradition by skillfully blending digital recording techniques to cobble together arrangements incorporating 60s and 70s analog keys and guitar sounds that bring early surf bands from the 50s and 60s. The album’s material also nods to 90s surf punk band Man or Astro-man?, who used vintage sound bites in their music, tying together cosmologically themed concept albums together with clips from vintage sci-fi and B movies. This is also informed by Applebaum’s religious listening to Little Steven’s Underground Garage radio show, which also used soundbites from films and TV shows as a container for a body of music.

As the 15 compositions, which comprise the band’s forthcoming fifth album took shape, Applebaum brought the rest of the band, string arrangements from Will Marshal and a talented crew of collaborators including Megan Mancini (vocals), Romi Hanoch (vocals), Stephen Chen (saxophone), Billy Aukstik (trumpet), Mike Sarason (flute), James Kelly (trombone), Stuart Bogie (reeds) into the studio with a newfound confidence acquired by heavy touring to support 2022’s A New Kind of Love. Sonically, A Trip To The Moon is a departure from the clean production of their predecessors, as the the sessions players were allowed to let it rip, breathing life and their personal voices into the material.

A Trip To The Moon‘s first single, the cinematic instrumental track “To The Moon!” begins with the transmissions of the Apollo crew to Mission Control, remarking on the things they’re seeing as they’re orbiting the Earth, 21 minutes into their journey. A voice from Apollo informs Mission Control that they’re flying over The Canary Islands before dramatic drumming and a slithering bass line and quivering keys set a dreamy introduction. At the 45 second mark, a swaggering horn line and funk jazz guitar lines burst into the scene, creating the sense that the listener might be listening to the soundtrack to one of the greatest stories ever told, the creation and the eventual exploration of the cosmos by humankind or an episode of Star Trek. The composition ends with a mind-bending Dark Side of The Moon/Wish You Were Here guitar solo that gently fades out into the ether.

The composition seems to accurately capture a period specific sense of hope that science and technology could solve humanity’s most pressing problems, while doing some incredibly cool stuff. If only it were that easy, right?

A Trip To The Moon is slated for a February 23, 2024 release through Karma Chief Records. Click here to pre-order.