JOVM’s William Ruben Helms celebrates the 102nd anniversary of Charles Mingus’ birth.
Tag: instrumental
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.
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.
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.”
Throwback: Happy 99th Birthday, Roy Haynes!
JOVM’s William Ruben Helms celebrates Roy Haynes’ 99th birthday.
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.
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.
Founded by Tomas Garrido, Matías Tangerina and Oliveras, Madrid-based krautrock outfit TUTUPATU has managed to fuse each individual member’s diverse and eclectic backgrounds in classical music, jazz, rock, electronic music, experimental noise, drone and even ethnic music. After spending over a year of dedicated rehearsals, the Spanish quartet has meticulously crafted a unique sound that defies categorization and invites exploration.
The group’s collective aim is to shape an auditory landscape that defies convention, drawing inspiration from trance-inducing repetition that transcends genre while resonating with the eclectic blend of their individual influences. Through their sonic explorations, they attempt to guide listeners on an introspective journey into uncharted realms.
The Spanish outfit’s full-length debut, IV is slated for a February 14, 2024 release through Broken Clover Records. Their desire to capture TUTUPATU’s essence led them to secure an underground location in their hometown, where they set up a private recording studio. Then they locked themselves in for a 72-hour recording session. For that session, the members of TUTUPATU aimed for unfiltered creativity: 32 tracks rolling at all times, doors locked, lights dimmed, and volume cranked. The result is reportedly a mesmerizing blend of motorik drums, throbbing baselines, howling guitars, wailing saxophones, ethereal synths and a myriad of flute and other folk instruments intricately woven together through the album’s five songs.
Clocking in at a little under four minutes, IV‘s lead single “Tangerina” is a meditative and droning composition built around a d supple and propulsive bass line, looping and strummed bursts of acoustic guitar, off kilter yet driving percussion and gently warbling feedback. “Tangerina” manages to simultaneously feel both completely improvised and crafted, rooted in the innate and uncanny simpatico between the band’s members in a way that’s seamlessly blends free jazz, jazz fusion and krautrock.
New Audio: rhythmspitter Shares A Mind-Bending New Bop
Known for playing bass in Red Thread Theory, San Francisco-based musician, composer and producer Michael Mosley is also the creative mastermind behind the emerging recording project rhythmspltter. With rhythmspitter, Mosley explores instrumental indie rock and lo-fi beat-driven material that’s influenced from an eclectic array of sources, including Bill Laswell’s Material and Jah Wobble‘s Invaders of the Heart.
Each rhythmspitter composition sees Mosley weaving together a rich tapestry of instruments and rhythms from across the world. Each composition is meticulously crafted to resonate with listeners while providing a chill and captivating vibe that’s entrancing. With rhythmspitter, Mosley seeks to break down barriers and introduce audiences to a world of sonic exploration that they may not have encountered before — but he also hopes to open minds to the beauty of different styles and instruments.
So far I’ve managed to write about two of Syncretism: Book of Transition‘s previously released singles:
- “First Movement” is minimalist composition built around glistening and looping guitars, atmospheric synths and a sinuous bass line paired with a motorik-like groove that reminded me of Minimal Compact — but much more laid back.
- “Juxtaposition,” a mind-bending synthesis of lo-fi hip-hop beats, Bhangra, Indian classical music that sounds perfect for the lounge — and for the dance floor.
Syncretism: Book of Transition‘s third and latest single “Assassin Knowledge of Arcane Rhythm” is a effortless mash-up of Bhangra, funk, breakbeats, and Middle Eastern music that’s mind-bending — and reminds me quite a bit of the sounds of hookah joints in Astoria, Queens and elsewhere.
New Audio: San Francisco’s rhythmspitter Shares Trippy “Juxtaposition”
Arguably better known for being playing bass in Red Thread Theory, San Francisco-based musician, composer and producer Michael Mosley is also the creative mastermind behind the emerging recording project rhythmspltter. With rhythmspitter, Mosley explores instrumental indie rock and lo-fi beat-driven material that’s influenced from an eclectic array of sources, including Bill Laswell’s Material and Jah Wobble‘s Invaders of the Heart.
Each rhythmspitter composition sees Mosley weaving together a rich tapestry of instruments and rhythms from across the world. Each composition is meticulously crafted to resonate with listeners while providing a chill and captivating vibe that’s entrancing. With rhythmspitter, Mosley seeks to break down barriers and introduce audiences to a world of sonic exploration that they may not have encountered before — but he also hopes to open minds to the beauty of different styles and instrtuments.
Mosley’s latest rhythmsplitter single “Juxtaposition” off his forthcoming album Syncretism: Book of Transition is a mind-bending synthesis of lo-fi hip-hop beats, Bhangra, Indian classical music that sounds perfect for the lounge — and for the dance floor.
New Audio: Tilburg Shares Cinematic “The Whale”
Dutch prog rock duo Tilburg — Timo Janse (guitar), Whisper of the Dragons’ M Hopkins (keys) — released their full-length debut, Tales of the Spanish Kings last year. The album is a concept album influenced by 70s prog rock movement — but with harder, more modern metal-like guitar and electronic sounds. As the duo explain, “The goal of the album was to bring a new progressive rock sound along with honoring the greats who came before us.”
The album can be traced back to recording sessions that began in late 2009 with a band named Kinder Voss that featured M. Hopkins, along with Kiwi guitarist Brendon Wright and German vocalist Gabby Koss, who had stints with Haggard, Nota Profana and Equilibrium. Because of Koss’ scheduling conflicts, recording sessions were faulted and the album was eventually shelved.
Hopkins went on to do soundtrack work but he decided to revisit the album. eventually recruiting Janse to complete the material. By last Spring, the duo had finally finished the album and decided to call their project Tilburg, after a town known for being a populate site of rock shows in The Netherlands.
“The Whale” is an expansive and cinematic composition that meshes elements of prog rock, progressive metal and post rock in a way that recalls German post rock outfit Collapse Under the Empire while sounding as though it would be part of the soundtrack of a post apocalyptic sci fi or action film.
New Video: Beach Ready Shares Dreamy and Meditative “Gili”
Christopher Cordoba is a London-based instrumental solo artist, composer and session musician, whose career started in earnest as a member of Jack Adaptor, a band formed with The Family Cat’s Paul Frederick. As an instrumental solo artist, Cordoba has released a series of critically acclaimed, eclectic efforts that has seen him collaborating with a an equally eclectic array of artists and producers including Robert Wyatt David Watson, The Associates’ Billy Mackenzie, Phil Vinall, Propaganda’s Claudia Brucken, Robyn Hitchcock, Pascal Gabriel, PJ Harvey’s Terry Edwards, Audrey Riley, Alex Thomas, Charlie Winston and a list of others.
Cordoba released his sophomore Beach Ready Archipelago was released earlier this year through Snow in Water Records. The album’s material is darker in texture and more extreme than Cordoba’s self-titled Beach Ready debut while still being centered around Cordoba’s guitar work and penchant for atmospheric soundscapes. The album also sees Cordoba incorporating drone, glitch, Frippertronics, industrial, New Wave and New age to create a unique sound collage that imparts an urgent ambience. Fittingly, the album thematically focuses on destruction — an all too present theme in our seemingly pre-apocalyptic moment.
The album’s latest single, the meditative “Gili” is a shimmering and slow-burning dream built around glistening, reverb-soaked guitars, gently glitchy electronics paired with jazz-like percussion. It’s a dreamy bit of nostalgia, heartache and peaceful longing that seems like a bit of a respite in a mad, mad, mad, mad world.
Cordoba explains that “Gili” “is a shimmering and romantic call to keep the Archipelago (the Gili Islands in Indonesia) above water so that its beauty can be treasured for generations to come.”
The accompanying video is time-lapse footage shot in Lower Manhattan and edited by Jon Sadlier. Fittingly, the video evokes the unending passing of time and cycling of the seasons.