Los Angeles-based psych pop act Amo Amo can trace their origins to mid-2017 when a group of dear friends — Lovelle Femme, Omar Velasco, Justin Flint, Shane Mckillop and Alex Siegel — got together for an impromptu jam session in Los Angeles with My Morning Jacket‘s Jim James. As the story goes, the individual members of the quintet had premonitions that they all shared a deep psychic bond, which would lead to a revelation creatively and through sound. Five months later, the band emerged with their Jim James-produced, self-titled, full-length debut, an effort that featured their viral hit “Closer To You,” a track that has amassed over 3 million streams, appeared in an Apple ad campaign and has received airplay on KCRW and KCSN.
Earlier this year, the members of Amo Amo signed to Poolside’s Pacific Standard Records. Last month, the band released “Canta,” a mesmerizing and breezy track that sonically seemed indebted to JOVM mainstays Pavo Pavo with a healthy dash of Tropicalia and trip hop, complete with a sinuous bass line, shimmering guitars, stuttering beats, ethereal vocals and a rousing hook. Centered around shimmering and atmospheric synths, shuffling beats, reverb-tinged guitars, a sinuous bass line, ethereal vocals and an infectious hook, the band’s latest single “Missed Connections” continues on a similar path as its predecessor — and while the song seems to nod at early 80s Stevie Nicks, it expresses a longing that feels all too familiar.
“‘Missed Connection’ explores themes of isolation and the absence of human connection within our technology-obsessed culture — a message which feels especially resonant in the current climate of pandemic and social distancing,” the members of Amo Amo explain. “The song expresses a deeply felt yearning for reconnection, not only with one another but with all forms of life and with Earth itself.
Canta EP, which will feature “Canta” and “Missed Connection” is slated for a June 19, 2020 release and its scheduled to coincide with the Summer Solstice.
Los Angeles-based psych pop act Amo Amo can trace their origins to mid 2017 when a group of dear friends — Lovelle Femme, Omar Velasco, Justin Flint, Shane Mckillop and Alex Siegel — got together for an impromptu jam session in Los Angeles with My Morning Jacket‘s Jim James. As the story goes, the quintet’s individual members had a premonition that they shared a deep psychic bond that would lead to a revelation in sound. Five months later, after a month-long recording retreat in the California vineyards, the band emerged with their Jim James-produced, self-titled, full-length debut, which featured their viral hit “Closer To You,” a track that has amassed over 3 million streams, appeared in an Apple ad campaign and has received airplay on KCRW and KCSN.
Earlier this year, the members of Amo Amo signed to Poolside’s Pacific Standard Records. Continuing the massive momentum they’ve received over the past couple of years, the band’s first single on Poolside Records, the mesmerizing and breezy “Canta” is centered around a sinuous bass line, shimmering guitars, stuttering beats, ethereal vocals and a rousing hook. And while evoking an ecstatic swoon, the track sonically will draw comparisons to JOVM mainstays Pavo Pavo with a healthy dash of Tropicalia and trip hop.
Specifically released on Earth Day, the track as the band explains advocates for communities living symbiotically in the world: “The beauty, cooperation & abundance found in nature embodies the earth’s deep love for us all. Each part of life sings its existence and contributes to this great love song! Bees pollinating flowers, whales singing to one another, even when one being dies to nourish another we see the cycles & interconnectedness of life. ‘Canta,’ meaning ‘Sing’ in Spanish, asks us to think deeply about what it truly means ‘to love’ & implores us to do our part to care for all life, all earth, with our actions.”
Mad Hawkes is a Los Angeles, CA-based singer/songwriter, who dubs her sound and aesthetic as “babe rock,” citing Karen O. and Amy Winehouse as influences on her and her work. Interestingly, Hawkes can trace the origins of her music career to an internship at Parts + Labor Records: As the story goes, label head and producer Jimmy Messer, who has worked with AWOLNATION, Kygo, Kelly Clarkson and others encouraged Hawkes to write with an emotional honesty — and as a result. the music she has written since then touches upon angst, heartache, confusion and so on while paired with breezy and upbeat melodies; in fact, Hawkes latest single “Face Pinch” sounds as though it were influenced by JOVM mainstays Rubblebucket, Sylvan Esso and Dirty Ghosts but with a restless energy and thumping beats.
Now, if you’ve been frequenting this site off and on over the past two or three years or so, you may have come across a post or two featuring the Gothenburg, Sweden-based punk quartet LaDIDa, an act that over its time together had received attention both across Scandinavia and the European Union for their Dadist and manic take on punk rock, which frequently would include the use of singing saws, melodica and stylophone paired with the prototypical punk rock arrangement of guitar, bass, drums and vocals. Along with that, several blogs have compared the band’s frontperson Britta Persson to Yeah Yeah Yeahs‘ Karen O., and that shouldn’t be surprising as Perssson’s vocals manage to evoke a similar bratty and snotty in-your-face/don’t give a fuck attitude, an aware and confident sensuality and a feral urgency within a turn of a phrase.
After the release of “You Got It,” the band’s most straightforward, garage rock-leaning song, a song that reminded me quite a bit of the arena friendly sound of The Kills, The Black Keys and others, the quartet has decided to go on a hiatus. And as LaDIDa’s Rat Westlake explained in an email to me “Me and Bea [Britta Persson] often found ourselves sitting in my little studio room with ideas and no other band members around, so we started getting stuff down using our silvery computer pal to sort of the rhythm section (with a little help from me). It turned out pretty good! So we decided to kick off a duo — if we do not count the aforementioned little silvery chum. Et voila . . . The Cherokee Death Cats.” Persson’s and Westlake’s debut single as duo, “Read my lips” is a churning, scuzzy, propulsive, lo-fi leaning bit of garage rock reminiscent of Yeah Yeah Yeahs, The Raveonettes, The Cummies and others that subtly nods at New Wave and post punk, complete with a rousingly anthemic hook.
Now it’s been a while since we’ve heard from the Gothenburg-based quartet — and the band’s latest single “You Got It” is arguably the most straightforward yet scuzzy song they’ve released to date as the band’s sound and aesthetic manages to mesh garage rock blues-tinged rock and psych rock with a driving rhythm. Sonically speaking, the song seems as though it were drawing from The Kills, The Black Keys and others, thanks in part to power chords, played with layers of fuzz and abrasive distortion, propulsive drumming and Persson’s growled vocals paired with an arena rock-friendly hook.
The recently released music video features footage of the band rocking out in a junkyard with footage jumping from a cinematic black and white to brilliant color — and throughout the video it’s obvious that the band’s Persson is the superstar of the act, as you’ll spend more attention on her; in fact Persson seems absolutely possessed throughout the video.
Currently based in New Orleans, Kate Fagan is a ska, punk and new wave musician, who first emerged to local and regional attention as the founding member and frontwoman of Chicago-based ska act Heavy Manners, an act that once opened for the The Clash and The English Beat; but interestingly enough before that Fagan released a cult-favorited New Wave single “I Don’t Wanna Be Too Cool” through local imprint Disturbing Records that was immediately embraced by local club DJs, radio stations and taste-making record stores like Chicago’s Wax Trax, where it became the best-selling release by a local artist ever. The B-side single “Waiting for the Crisis” also received attention for its politically charged, Reagan-era lyrics, which manage to still resonate today.
As the story goes, Fagan wrote the title track after moving from New York to Chicago in the late 70s. “I pretty much came to visit Chicago and fell in love with the scene and never left,” Fagan recalled in press notes. “At the time I’d been working at New York magazine and was getting dismayed watching the CBGB scene give way to the whole Studio 54/velvet rope thing. So I spontaneously moved to Chicago, which was much more inclusive and everyone wasn’t standing around peering at each other from behind their shades. But eventually I saw that same kind of divisive hipster culture start to creep in. ‘Too Cool’ was my reaction to that.” Along with “Too Cool,” Fagan wrote many of her earliest songs as a solo artist and with Heavy Manners in an intuitive fashion, recording them at Chicago’s Acme Studios, where she’d meet the fellow artists with whom she’d form Disturbing Records.
Although the “Too Cool” single was a cult favorite back in the early 80s, sadly it was thought to be long lost, as the second printing of the album was lost in a house fire that destroyed almost everything Fagan had owned at the time — that is until Manufactured Recordings stumbled upon the original single, along with two unreleased bonus tracks that Fagan recorded with members of My Life With The Thrill Kill Kult and Scarlet Architect. Interestingly, when you listen to the four tracks off the re-issued 7 inch, the songs manage to sound both of its time and incredibly contemporary — in some way you can imagine acts like Colleen Green, Courtney Barnett, Karen O. and several others citing Fagan as an influence, as Fagan’s lyrics possess a wry irony at at their core, as you’ll hear on the aforementioned “Too Cool,” a song that’s reminiscent of both The B52s and Go-Gos. “Waiting for the Crisis” sounds as though it were influenced by Sandinista! and Combat Rock-era The Clash. However, “Master of Passion” and “Come Over” are the most dance floor-friendly, New Order-like songs of the re-issue, featuring shimmering undulating synths, propulsive drum programming paired with Fagan’s sultry and coquettish delivery.
Of course, each track reveals a songwriter, who had an uncanny knack at writing an infectiously catchy hook that you could imagine kids bouncing up and down to in a sweaty club — and does so with a cool, swaggering self-assuredness.
Matte Projects is a creative production company that focuses on the conception, production and promotion of music-related events, perhaps more famously known here in New York for creating the Full Moon Festival six years ago, a carefully curated festival and dance party, largely inspired by Thailand’s world-renowned full moon parties. And although it’s been a couple of years since JOVM has covered the Full Moon Festival, its sixth year marks a return to Governor’s Island for two days of partying, art installations, and dancing from early afternoon to late in the night with one of the most enviably gorgeous views of Lower Manhattan and the Statue of Liberty around – and under this month’s blue moon, no less.
Although I’m a music blogger and journalist first and foremost, I fucking love food – I mean, who doesn’t right? – and when I covered the festival back in 2014, one of the best food highlights was The Brooklyn Star’s fried chicken waffle cone. Picture a waffle cone stuffed with popcorn fried chicken on top, mashed potatoes and coleslaw and topped with your choice of honey sriracha sauce (which was frankly the best thing I’ve ever had) or a ranch-based sauce.
Two years later and I’m still talking about it; that’s how fucking good it was – and I might kill someone to have another one.
(Photo Caption: Brooklyn’s fried chicken waffle cone may be the reason the terrorists hate us. And the person who came up with it is a genius.)
This year will continue the festival’s reputation for culinary delight as Matcha Bar, Mile End, Best Pizza, Pokito, Pig and Khao, Clean Shave Ice and Chalk Point Kitchen will all host pop-up stands throughout the festival. I’m starting to salivate over the possibility of some pork belly Adobo, pastrami sandwiches, pizza – well, all the food, really. And whatever weight you put on, you can sweat it off dancing all night.
Full Moon Festival’s sixth edition may arguably have one of the most musically diverse lineups in its history and some of the must see sets will include the following:
Day 1, August 20, 2016
Led by its creative mastermind, producer and electronic music artist Aaron Jerome, SBTRKT(pronounced as “Subtract”) has developed an internationally renowned reputation for remixing the work of M.I.A., Radiohead, Modeselektor, Basement Jaxx, Mark Ronson and Underworld, and for releasing two critically applauded full-length albums, a few EPs and a number of singles – all of which have either received airplay or have been playlisted by BBC Radio 1 and BBC Radio 6. Interestingly, throughout his recording and performing career Jerome has preferred to be as anonymous as humanly possible and during live shows he’s been known to perform wearing modern interpretations of native and indigenous society ceremonial masks designed by A Hidden Place, as well as performing with frequent collaborator Sampha.
Earlier this year, Jerome announced a new project that he described as a “non album,” a collection of songs specifically designed to be an ongoing listening experience, while bringing new music to fans in a faster fashion than the traditional album cycle.
Born Terrence Thornton, Norfolk, VA-based emcee Pusha Tis perhaps best known as one-half of critically applauded and commercially successful hip-hop duo Clipse, with his brother Gene “No Malice” Thornton. And with the help of their friend, Norfolk, VA-born producer, multi-instrumentalist and eventual mega-hit artist Pharrell Williams, the duo quickly exploded into the national scene with the release of their 1997 full-length debut Exclusive Audio Footage. And as a result, Pusha T has made a number of guest spots over the years including on Kelis’ “Good Stuff,” Nivea’s “Run Away (I Wanna Be With You),” all while recording three more albums as a member of Clipse, including the duo’s critically applauded and commercially successful third album Hell Hath No Fury. After the duo’s fourth album, they announced that Clipse would be on hiatus while each individual member would pursue solo projects and other creative endeavors.
In 2010 Pusha T was signed to Kanye West’s GOOD Music and made guest appearances on a number of labelmates’ releases including “Runaway” off West’s My Beautiful Dark Twisted Fantasy and West’s GOOD Fridays singles series and as a solo artist Thornton has collaborated with an increasingly lengthy list of artists and producers including Swizz Beatz’s Monster Mondays series, Lloyd Banks’ H.F.M. 2 (Hunger For More 2), Future, Tyler the Creator, Jay Z and others. Interestingly, over the last few years Thornton has been incredibly prolific, releasing a handful of mixtapes and his solo debut, My Name Is My Name. Adding to a growing profile, last year Kanye West personally appointed Pusha T to take over the reins at GOOD Music. And we should be expecting a full-length in the near future.
Born Nkosinathi Maphumulo, the internationally acclaimed, eThekwini, South Africa-born and Johannesburg, South Africa-based producer and DJ Black Coffee can trace the origins of his recording and performing career to when he majored in Jazz Studies at Technikon Natal. While as a student there, he worked as a backup singer for Madale Kunene before forming an Afro-pop act S.H.A.N.A (short for Simply Hot and Naturally African) with classmates Mnqobi Mdabe (Shota) and Thandukwazi Sikhosana (Demor). The somewhat short lived act was signed to Melt 2000; however, his DJ and production career explored when he was selected as one of two South African participants during 2003’s Red Bull Music Academy – and with an increased buzz around him, he released “Happiness,” which was featured on the DJs at Work compilation; in fact, by the release of his sophomore effort, Have Another One, Black Coffee had become a household name in South African electronic circles for a propulsive, forceful tribal sound and for putting on locally-based artists and producers, all of whom have started to receive attention across Africa, Europe and elsewhere.
Adding to a rapidly growing international profile, Black Coffee has played at some of the world’s biggest and most renowned clubs and stages including Southport Weekender, Panorama Bar, Circo Loco and Boiler Room and has made appearnaces at a number of music festivals including SummerStage, ADE and Red Bull Music Academy in his hometown of Johannesburg, Coachella, Ultra Music Fesitval and others. I’ve seen the brother do his thing live and he’s arguably one of the best electronic music arists, producers and DJs in the entire world. And as much as I want to see some of the other acts on the bill – i.e., Marcus Marr, Santigold and others – I think that Black Coffee may well be worth the price of admission.
Day 2, August 21, 2016
Largely influenced by James Brown, Aretha Franklin, Devo, reggae, Fela Kuti and a ton of Nigerian music, Philadelphia, PA-born singer/songwriter and producer Santi White is best known under the monikers Santogold (which she performed under between 2003-2009) and Santigold has throughout the course of three full-length albums Santogold, Master of My Make-Believe and her most recent effort, 99¢ has developed a reputation for a sound that has at times been compared favorably to the likes of M.I.A. as her work sonically manages to blur, mesh and completely destroy genre lines as you’ll hear elements of techno, house music, dub, reggae, alt rock and others while ironically commenting on our sociopolitical zeitgeist. Interesting, as the result of a growing national and international profile, White has collaborated with an equally impressive list of artists and producers including Diplo, Jonnie “Most” Davis, Yeah Yeah Yeahs’ Karen O., Switch, Q-Tip, TV on the Radio’s Dave Sitek, has opened for the likes of Jay Z and Kanye West during their co-headlining tour, Beastie Boys, Red Hot Chili Peppers, the aforementioned M.I.A., Bjork and has a number of singles make prominent appearances in ad campaigns, including a 2013 campaign for Honda Civic among others.
Comprised of Matthew Correia (drums), Spencer Dunham (bass), Miles Michaud (vocals, guitar) and Pedrum Siadatian (guitar), Los Angeles-based indie rock sensations Allah-Lascan trace their origins to when three of the four band members worked at renowned record store Amoeba Music. Formed back in 2008, the Southern California-based have received both local and national attention for a sound that draws entirely from the 60s and includes elements of folk rock, psych rock, surfer rock and garage rock – while firmly establishing themselves as part of a burgeoning retro/garage rock scene that includes The Mystery Lights, The Black Angels, Raccoon Fighter and others.
London, UK-based producer, electronic music artist, multi-instrumentalist and DJ Dhas received international attention over the last few years for a number of critically acclaimed singles released through renowned dance pop/electro pop label; in fact, “Brown Sauce” was mentioned in Pitchfork’s Tracks while “The Music,” appeared in the major motion picture Pusher and landed at number 3 on Spin Magazine’s Best Dance singles in 2013. And if you were frequenting this site over the course of 2015 you might recall that Marr collaborated with internationally acclaimed indie pop artist Chet Faker on an EP that featured the slickly produced Daft Punk and Off the Wall-era Michael Jackson leaning track “The Trouble With Us.”
Now if you’ve been frequenting this site over the course of its six-year history, you’d know that the New York-based neo-disco/electronic dance music/funk collective ESCORThave been mainstay artists. And over that same period of time, the collective founded by producers Eugene Cho and Dan Balls featuring frontperson Adeline Michele as members of a core group of five that frequently expands to 17 for live shows has received local and national attention for an incredible live show of funky, danceable tunes, their two full-length albums and for their frontperson’s incredible stage presence, cementing their reputation as a must-see live act.
Tickets are still available — and for a two day festival out on gorgeous Governor’s Island, the tickets are pretty affordable. [Purchase Tickets]
JOVM will be there to cover the festival. Expect some live tweeting, a lot of Instagram and more. And if you weren’t following me, here are the socials:
With a relocation to Los Angeles and the forthcoming Stateside release of her fifth full-length release this fall, Tayeb hopes to become an international superstar — and with the aptly titled first single “Superstar” Tayeb may well be the next big thing. Although some have said that the Israeli-born singer/songwriter and actress seems to take cues from Yeah Yeah Yeahs’ Karen O., The Kills’ Allison Mossheart, sonically her sound reminds me quite a bit of Garbage — namely the self-titled debut and Version 2.0 — as the song is comprised of buzzing power chords, propulsive and thundering drumming, rousingly anthemic hooks and a towering self-assuredness that simply says “I’m here and I ain’t fucking around.”
The recently released music video directed by Yoni Ronn features Tayeb in action movie-like music video that features the singer/songwriter as a vengeance-seeking assassin, following her enemy through the streets of New York.