Towards the second half of 2015, the Brazilian indie psych rock quartet Boogarins quickly became a JOVM mainstay, and if you had been frequenting this site over that period dog time, I had written about a couple […]
Tag: London UK
Nigerian-born, Montreal-based producer Teck-Zilla emerged as an up-and-coming producer with the release of Son of Sade: An Ode, an 18 minute instrumental mixtape that was intended as a tribute to both the renowned British-Nigerian vocalist Sade and the producer’s mother, who coincidentally is also named Sade. Now, if you’ve been frequenting JOVM over the past two years or so, you might remember that I wrote about the Nigerian-Canadian producer’s Afro Bootleg EP, an EP that had the producer revisiting his birthplace, as he remixed some of Nigeria’s biggest hits with a populist, globe-spanning, crowd-rocking sound that would get asses moving in clubs across New York, Montreal, Lagos, London, Ibiza an others.
Although it’s been a little while since we’ve heard from Teck-Zilla, the Nigerian-born and Montreal, QC-based producer has been prolific, as he’s released a number of mixtapes, including the aforementioned Son of Sade and Afro Bootleg EP, as well as Souled Off: A Dedication to Molly Molls. His third and latest instrumental mixtape Joe Jackson Kids has the producer paying homage to Michael Jackson — mostly Jackson 5-era Michael Jackson as the mixtape features snippets of interviews with Michael Jackson and his family, as he was becoming increasingly uncomfortable and uncertain about his fame, and a variety of chopped up samples of Jackson 5 songs and Michael’s solo work. While reminding the listener that Michael Jackson’s ghost looms large in contemporary pop — hell, contemporary music in general — the mixtape also manages to create nuanced and empathetic portrait and interpretation of the young Michael Jackson. But ironically, the EP’s title comes from a playful, inside joke that the Nigerian-born, Montreal-based producer had with his brother. As Teck-Zilla explains in press notes “I got the title from one of my favourite Jeru the Damaja records, ‘Whatever,’ off his Wrath of the Math LP. That line always cracked me and my brother up every time, so it was kinda like an inside joke for both of us. Just remember to say ‘check it out’ after the title.”
Probably the biggest highlight on the mixtape is “Human Nature (Jackson Jones Flip)” which not only turns the original song on its head, but also reminds the listener of how influential the song has been to hip-hop and to R&B as Teck-Zilla weaves bits of Nas‘ classic Illmatic including “It Ain’t Hard to Tell,” “The World Is Yours” and others songs while subtly nodding at Off the Wall. “Letter to Michael” is a headbanging take on Michael’s work that sounds as though it were indebted to J. Dilla while “Goodbye (Last Call)” is a sensual closer that features twinkling percussion, handclaps and chopped up bits of Michael singing in a way that creates an entirely different song. “JJ Kids” features the sample that inspired the title before quickly turning into the warm, twinkling soul instrumental that’s nods to J. Dilla and Pete Rock. But perhaps most important, the entire mixtape reveals Teck-Zilla to be a remarkably playful yet thoughtful producer, whose sound has become increasingly warm and soulful.
The last few days have been insanely busy in the JOVM world — and as a result I haven’t been able to post as much as I would have liked; however, it’s been a fun weekend of a lot of live music from all over the world and time spent with some very dear friends. Naturally, there are a lot of photos and stuff but expect a ton of stuff over the next couple of weeks . . .
In any case, as you all know, I receive quite a bit of emails from an incredibly diverse array of artists, labels, publicity firms, band managers and other folks from all over the world. I recently received an email from London-based quintet Blank Bibles. The British quintet’s latest single “Abigail West” sounds as though it draws heavily from The Smiths as shimmering guitar chords, propulsive drumming, soaring strings and anthemic hooks are paired with plaintive and lovelorn vocals. Unsurprisingly, the Abigail West at the heart of the song seems to be one of the loveliest women in the entire world — the sort of woman that you’d happily sing and dance in the street without a care in the world.
Comprised of Emma Wigwam, Mark Jasper and Ed Shellard, Witching Waves emerged from the London, UK DIY scene with a tense sound consisting of angular guitar chords, propulsive drumming and anthemic hooks reminiscent of 90s alternative rock, as you’ll hear on “Twister,” the latest single off the band’s new album, Crystal Cafe. Sonically, the song sounds as though it draws equally from Wire, Gang of Four and Sleater -Kinney — while lyrically, focusing on the contemporary, modern condition. And as a result, the song evokes the sensation of constant tumult, uncertainty and danger, desperate alienation, stagnation and misdirected anger. It’s being pissed off and not always understanding why or how — and not knowing where to direct it because you’re so angry all the time over everything. If that doesn’t describe the life of a great deal of young people, nothing else really will.
Amanda Steckler is a New York-based electronic music artist and producer, who has received attention across the blogosphere over the past year for her solo recording project, Blonde Maze. Interestingly enough, JOVM was among the very first to write about Steckler and Blonde Maze — and if you’ve been frequenting this site over that same period, you may recall that I wrote about “Summer Rain,” the first single off her debut EP, Oceans, which was released earlier this year. “Summer Rain,” much like the material off Oceans focuses on and is informed by the pain, excitement and longing that comes from being an ocean away from someone — or something dear to you. Written between stints in New York and London, Oceans‘ first single was comprised of layers of slowly cascading synths, a glitchy vocal sample, swirling electronics and an aching yet ethereal vocals that float over an icy and bracing mix. And in some way, that single evoked the sensation of being haunted by the presence of a loved one, who you can’t possibly have at that moment, because of a great distance.
Steckler’s latest single is slow-burning and atmospheric rendition of a familiar holiday song, “Christmas (Baby, Please Come Home)”that possesses a chilly and melancholic longing as slowly cascading synths, swimrling electronics and chiming percussion and Steckler’s ethereal vocals — and much like “Summer Rain” and the Oceans EP, the single seems to evoke the idea that the love interest at the song is quite a distance away, and won’t come back any time soon.
New Video: The Slinky and Seductive Visuals and Sounds of London’s Formation
With the release of a now sold-out 12,” and their Young Ones EP, the London-based duo Formation, comprised of siblings Will and Matt Rinson quickly exploded into the UK electro pop scene; in fact, the duo’s […]
New Video: Introducing the Buoyant and Anthemic Sound of London’s Ten Fe
With the release of their critically praised single “Make Me Better,” the London-based duo Ten Fe, comprised of Ben Moorhouse and Leo Duncan took the blogosphere by storm for a sound that critics internationally have […]
As an unabashed child of the 80s, Depeche Mode holds as much of a place in my heart as New Order; after all, so much of their material has managed to be part of my life’s soundtrack. More than enough ink has been spilled throughout the act’s influential career, so delving into their biography is largely unnecessary. Interestingly, over the past 20 years, an in impressive and growing number of artists have covered, remixed and reworked Depeche Mode including Smashing Pumpkins, Deftones, A-ha, Monster Magnet, Scott Weiland, The Cure (yes, seriously, The Cure!), Tori Amos, Nada Surf, Linkin Park‘s Mike Shinoda, Breaking Benjamin, Royskopp, Placebo and more.
Comprised of Paris-born and London-based duo Axel Basquiat (composer, vocals, bass) and Vincent T. (production, sound engineering and keys), The Penelopes are an indie electro pop act, production and DJ duo who have developed a reputation for propulsive, Giorgio Moroder-like remixes of Lana Del Ray, Pet Shop Boys, We Have Band, Night Drive, The Ting Tings, Alt J and a growing list of others, and for their own original material — which critics internationally have compared to Daft Punk, M83 and Air, among others. The Parisian-born, London-based duo add their names to a growing list of artists, who have covered Depeche Mode with their rendition of “Never Let Me Down Again,” which turns the slow-burning and moody industrial/goth song into a shimmering and anthemic, club-banger with a sinuous bass line and propulsive drum programming with Basquiat’s breathy baritone. And although The Penelopes uptempo rendition is warmer and dance floor friendly, it retains the original’s sense of longing and desire.
Check out how The Penelopes cover compares to Depeche Mode’s original below.
The up-and-coming Winnipeg, MB-based quartet Living Hour can trace their origins to basement jam sessions, writing dreamy songs inspired by the cinematic sky of their hometown. And as a result their sound, which possesses elements of shimmering guitar pop, swirling synths and ethereal vocals draws equally from classic shoegaze, dream pop and chillwave is both stunningly gorgeous and dramatic, as you’ll hear on their latest single “Seagull,” a single that sounds as though it could have been released during 120 Minutes-era MTV — in particular think of Mazzy Star‘s “Fade Into You” and you’ll see exactly what I’m getting at. (In other words, it’s the sort of song that would have been the soundtrack of an intense and fervent make out session — or would have been the soundtrack of a teenaged breakup.)
It’s been a busy year or so for the Canadian quartet. They contributed two songs to Family Portrait II, a vinyl compilation released by the London/Bristol-based label Art is Hard Records back in April and released a limited run cassette tape of their self titled debut effort through Bloomington, IN-based Tree Machine Records. But 2016 looks to be a breakout year for the band as they signed with Lefse Records, and will be releasing their full-length debut on February 19, 2016, which will be followed by a tour to support the effort. Check out some of the early tour dates below.
TOUR DATES:
March 3 Winnipeg, MB The Good Will Social Club
March 4 Fargo, ND The Aquarium
March 6 Des Moines, IA Des Moines Social Club
March 7 Rock Island, IL Rozz Tox
March 9 St Louis, MO Foam
March 11 Denver, CO Lion’s Lair
March 13 Phoenix, AZ Trunk Space
March 18 Santa Barbara CA FUNZONE
March 19 Fresno CA Peeves Pub
March 22 Santa Cruz CA Bocci’s Cellar
March 25 Davis CA Third Art Space Collective
March 29 Portland OR The Analog Cafe
March 31 Bellingham WA Loudhouse
April 2 Rossland BC The Flying Steamshovel
April 3 Kamloops BC Zacks Coffee
March 4 Fargo, ND The Aquarium
March 6 Des Moines, IA Des Moines Social Club
March 7 Rock Island, IL Rozz Tox
March 9 St Louis, MO Foam
March 11 Denver, CO Lion’s Lair
March 13 Phoenix, AZ Trunk Space
March 18 Santa Barbara CA FUNZONE
March 19 Fresno CA Peeves Pub
March 22 Santa Cruz CA Bocci’s Cellar
March 25 Davis CA Third Art Space Collective
March 29 Portland OR The Analog Cafe
March 31 Bellingham WA Loudhouse
April 2 Rossland BC The Flying Steamshovel
April 3 Kamloops BC Zacks Coffee
New Video: The Trippy and Stylistic New Video for Chet Faker and Marcus Marr’s “The Trouble With Us”
London-based DJ, producer, electronic music artist and multi-instrumentalist Marcus Marr is an internationally recognized artist, who has released a number of critically acclaimed singles through renowned electro pop/dance music/dance punk label DFA Records. His two best known […]
Adelaide, Australia-born and Palm Springs, CA-based singer/songwriter Sia has had quite a career, as she can trace her career’s origins to when she was the vocalist in Adelaide-based acid jazz act Crisp in the mid 1990s. After the band’s breakup in 1997, Sia released her debut effort, OnlySee through Flavoured Records and relocated to London, where she provided vocals for British duo Zero 7.
After the release of Healing Is Difficult, an album inspired and informed by the death of her-then boyfriend Dan Pontifex and Colour the Small One, the Australian-born singer/songwriter, who was deeply displeased with the fact that her work was struggling to connect with a mainstream audience, relocated to NYC and began touring the US. During a two year break in which she “retired” as a pop performer and focused on being a pop songwriter, Sia developed a reputation as go-to co-songwriter and songwriter as she’s credited with writing or co-writing songs for and by an incredibly diverse and impressive list of mega-hit artists. A short list of her writing credits include Ne-Yo‘s “Let Me Love You (Until You Learn to Love Yourself),” Rihanna‘s “Diamonds,” Kylie Minogue‘s “Sexercize,” Beyonce‘s “Standing On The Sun,” Katy Perry‘s “Double Rainbow,” Britney Spears‘ “Perfume,” Beyonce’s “Pretty Hurts,” Christina Aguilera‘s “You Lost Me,” Lea Michele‘s “Cannonball,” Pitbull, Jennifer Lopez and Claudia Leitte‘s “We Are One (Ole Ola),” and countless others. (This shouldn’t be terribly surprising as Sia’s sound and aesthetic draws from hip-hop, funk, soul and pop while managing to sound unlike any of her contemporaries.)
Interestingly, Sia’s first taste of international stardom came in a rather unexpected fashion. She initially wrote “Titanium,” for Alicia Keys but the song wound up being sent to EDM superstar David Guetta, who included Sia’s demo vocals on the song and released it as single in 2011. The song was a massive commercial success as it peaked on the top of record charts across the US, Australia and Europe. But it was “Chandelier,” the breakout hit off her sixth, full-length effort, 1000 Forms of Fear was a commercial and critical success. The single was nominated for four Grammys last year — Record of the Year, Song of the Year, Best Pop Solo Performance and Best Music Video; and she nabbed several ARIA Awards and MTV Music Awards, which established the Australian-born singer/songwriter as an internationally-recognized star, in the same lines of the artists she had written for during her “retirement.”
Sia’s seventh, full-length album This Is Acting is slated for a January 29, 2016 release, and in an interview with NME, she has mentioned that the forthcoming album is much more pop-orientated than its predecessor. And interestingly enough, the album’s third and latest single “Alive” was co-written by Adele and was intended to be on Adele’s latest album 25. When you hear the song, you can actually hear Adele’s influence on the song — the piano-led introduction and the song’s soaringly anthemic hooks; however, as gorgeous as Adele’s voice is, the song just feels and sounds as though it just had to be Sia’s. Not to say that Adele hasn’t had profound experiences at a young age but lyrically, the song conveys a sense of wisdom, pride and triumph over life’s fucked up circumstances — deprivation (financial and emotional), heartache, despair, loneliness and worse. And when you hear Sia’s voice crack ever so slightly when she sings “I’m still breathing/I’m still breathing/I’m alive,” during the song’s anthemic hook, it feels like a punch right in the ribs or in the solar plexus. Of course similarly to Gloria Gaynor‘s “I Will Survive,” the song possess an infectious “you can and will get through anything/you go-girl” optimism. It’s honestly the sort of song that the women of your life will lustily yell along to while driving to or from the club.
Recently Sia announced a remix package of “Alive” that features remixes and reworks from Maya Jane Coles, AFSHeeN, Boehm, Cahill and fellow Australian, Plastic Plates. In a recent interview with The Fader, the Australian producer was asked how the “Alive” remix came about, and as he explained to the publication, “Sia and I first met in Sydney 2001. Sam Dixon and I shared an apartment in Bondi and Sia crashed at our place. Until 2010, I played drums on Sia’s albums and toured around the world in her band. This is my 3rd remix for Sia, “Cloud” in 2010, “Chandelier” in 2014 and now “Alive.”Given our musical history, reinterpreting Sia’s vocals is effortless and pure joy for me.”
Plastic Plates’ rework turns the torch burning pop song into a slickly produced synth-based club-banger as his production includes stuttering drum programming, cascading synths, wobbling and tumbling low-end, sirens and other assorted bleeps and bloops while retaining the song’s anthemic hooks and Sia’s achingly heartfelt vocals.
Comprised of Susie Wedderburn, Rick David, Jana Tyrrell, and Hannah Ashman, the London-based alternative electro pop quartet Liskka have developed a reputation across the UK for a sound that draws from electro pop, contemporary R&B, glitch, dub step and other electronic music genres while managing to sound nothing like any of them. The British quartet’s latest single “Keep Me Awake” pairs warm blasts of horn, oboe and piano with glitchy synth stabs, stuttering kick drum and drum programming, swirling electronics, layers of vocals fed through vocoder and other effects with soulful vocals in a song that sounds inspired by Timbaland‘s influential production work with Missy Elliott think of a song like “The Rain (Supa Dupa Fly),” Aaliyah‘s “Try Again,” Justin Timberlake’s “Rock Your Body” and others — but somehow even more futuristic, as though the song was produced in the year 2321.
The song manages to possess an eerie and otherworldly quality that stems from an overall sound that’s dense and yet incredibly delicate. To my ears, the instrumentation and the vocals sound as though they could snap if you were to put gentle pressure on them.
Mark Dobson, the creative mastermind behind the British electronic music sensation Ambassadeurs has developed a reputation as a producer and electronic music artist for a sound that employs the use of samples that have been processed beyond recognition and that’s informed by dub, hip-hop, jazz, and drum ‘n’ bass. And as result of his signature sound and production style, Dobson has also become a go-to producer as he’s done work for a number of renowned labels including Tru Thoughts, Ninja Tune, Moshi Moshi, Fat Cat, Wah Wah 45s, Universal, and Rough Trade — all while heading his own label, Lost Tribe Records and releasing a number of free singles for his rapidly growing fanbase. (He currently has 35,000 followers and his singles on SoundCloud have exceeded over 7 million plays.)
Dobson has received airplay from several BBC Radio 1 personalities, as well as praise from the likes of The Fader, Mixmag, Vice, i-D, Clash, XLR8R and others, and as a result he has opened for the likes of renowned artists such as ODESZA, Machinedrum, The Gas Lamp Killer, Danny Brown, Gold Panda, Daedelus and Kelpe, had a 15 date co-headline tour across North America with Daktyl and played at festivals such as Hard Day Of The Dead, Brooklyn Electronic Music Festival, and The Sound You Need Festival.
2015 has been a rather busy and prolific year for the London-based electronic music artist and producer as his debut effort Patterns was released to critical praise earlier this year, along with a number of EPs. Building up on the increasing buzz and serving as a teaser for his forthcoming 2016 efforts, Dobson recently released his latest single “Halos,” which was written and recorded during a vacation in the country — and in some way that vacation has influenced the single’s sound as it is reportedly much more organic than his previously released work as layers of staccato synths are paired with skittering drum programming, swirling electronics and soulful vocal samples with warm bursts of strings and twinkling keys. Sonically, the song seems to be equally influenced by Peter Gabriel (think of “Shock the Monkey” and “Biko“) as it is by house music; as I listened to the song I was reminded of Octo Octa‘s Between Two Selves. In other words, the material manages to be atmospheric and melodic, while possessing a cinematic quality.
Much ink has been spilled on the London-based quartet The Psychedelic Furs of the course of their almost 40 year recording career. And if you were a child of the 80s as I was, the band will likely hold a dear place in your heard — especially if you loved Pretty in Pink. “Love My Way” is one my favorite Psychedelic Furs songs — and interestingly, Grace Vonderkuhn, a Wilmington, DE-based singer/songwriter and guitarist, developing a reputation for a sound that meshes psych rock, garage rock and pop recently covered “Love My Way.”
Vonderkuhn’s cover retains the song’s familiar melody and anthemic hooks but slows the song’s tempo down to a slow-burning, trippy shuffle consisting of layers of feedback, blistering guitar work and thundering drum, turning the song into a broodingly bluesy wail.