Tag: Los Angeles

Single Review by William Ruben Helms

Comprised of Dana Hobson (vocals), Daniel Wolf (guitars, production) and Patrick Zenali (drums), Los Angeles-based electro pop trio The Danes specialize in what the band describes in an email to me as “dark electro pop in a similar style as BANKS, FKA Twigs and Lo-Fang” — although the trio’s latest single “Far From Love,” a slickly produced song about the dangers that came up with a long-term serious and committed couple experimented with an open relationship manages to be reminiscent of Los Angeles-based electro pop duo Pr0files as the trio pairs skittering drum programming, boom bap beats, wobbling synths, ambient electronics and an infectious hook with Hobson’s sultry, jazz-leaning vocals. What makes the song truly compelling and what also sets it apart from the tons of contemporary releases I come across is the fact that the song’s narrator expresses both an urgent sensuality, but just underneath the surface fear, confusion, regret and uncertainty are all evokes within the turn of a phrase.

 

 

 

 

 

 

Video by William Ruben Helms

New Video: The Hauntingly Introspective Video for Fernando’s “Save Me”

Born in Argentina, Fernando Viciconte, who now performs under the mononym Fernando, first made a name for himself with a stint as the frontman of the Los Angeles-based hard rock band Monkey Paw. Vicicconte relocated to Portland, to focus […]

Video by William Ruben Helms

New Video: The Gorgeously Swooning Sounds and Visuals of Lady Low’s Latest Single “You and I”

Comprised of founding member Jimmy Sweet (guitar, vocals), who as once a member of the San Francisco, CA-based punk band Richmond Sluts and a touring member of Hot Hot Heat, Rachel Maxann (vocals, synth and bass), Eden Lee (vocals, […]

Single Review by William Ruben Helms

With the release of “Ruins,” up-and-coming Los Angeles, CA-based indie pop artist Ryder received attention across the blogosphere for a slow-burning, atmospheric pop sound with soaring and anthemic hooks, skittering drum programming and Ryder’s expressive and sultry alto — all while comparing favorably to blogosphere darlings Phoebe Ryan, CAPPA, Chelsea Lankes and others.

Ryder’s latest single “Fade Away” will further cement her growing reputation for slow-burning, atmospheric and seductive pop as the song pairs Ryder’s expressive and sultry vocals with industrial clang and clatter, swirling and ambient electronics and a soaring, anthemic hook; however, unlike “Ruins,” “Fade Away,” is arguably the most sensual song she’s released to date, as the song’s narrator is urgently expressing her desire for a love object in a dysfunctional and confusing relationship.

Single Review by William Ruben Helms

With the release of “If We” and “What You Want,” the first two singles off his forthcoming full-length debut From Out of the Shadows, up-and-coming Brooklyn-based emcee Saga has begun to win the attention of the blogosphere for a thoughtful and sincerely emotional brand of hip-hop rooted in his belief that there’s no real division between commercial and underground hip-hop, only what’s real, and that his music and the ideas that he conveys through his music resonate with the listener, a complex human being; in other words, there’s the implicit recognition that although you might be out there grinding and hustling that you can simultaneously be a conscious, responsible and thoughtful person.

Just a few days before the Brooklyn-based emcee will be embarking on a European tour opening for Asher Roth, Saga released “Up,” the third and latest single off From Out of the Shadows and the single, which was produced by renowned French producer and turntablist 20syl, a four-time DMC World DJ Champion as a member of C2C. 20syl’s production is a warm, jazzy and soulful J. Dilla/Midnight Marauders-era A Tribe Called Quest channeling song that pairs shimming Rhodes keys, wobbling bass, electronic bleeps and bloops and enormous boom bap beats in a collaboration that features the Brooklyn-based emcee teaming up with Los Angeles-based emcee Blu. Lyrically, the song’s narrators are toasting the hard work and dedication that have put them on the path to enjoy the good life. And of course that means leaving lives of desperation and struggle behind, and leaving haters and others to jealously eat your dust.

It’s a breezily upbeat, feel-good anthem that I would expect to hear at someone’s barbecue  or rooftop party — but it has a profound and universal message that will resonate deeply with anyone, who’s out there hustling hard and trying to achieve their dreams.

 

Video by William Ruben Helms

Live Footage: Samiyam at Stones Throw’s Dungeon Sessions

Detroit-born, Los Angeles-based producer Sam Baker, best known under the moniker Samiyam can trace the moment his musical career truly started in earnest to when he was at a Detroit strip club Platinum, where he encountered a self-described […]

Single Review by William Ruben Helms

 

Zak Waters is a Los Angeles, CA-based singer/songwriter, DJ and producer, who has started to grab the attention of the blogosphere with his solo recording project Pretty Sister, a project that specializes in what Waters had dubbed Z Funk, a sound that is equally indebted to Parliament Funkadelic and 90s G-funk hip-hop; but with modern production techniques and a shamelessly frank lyrical sensibility that focuses on things like booty-call texting, long distance love and sexual frustration and so on. And with Waters’ latest single, the sensual come on “Come to L.A.,” you’ll quickly see why the Los Angeles-based singer/songwriter, producer and DJ has received praise from the likes of Vice Noisey, HillyDilly and others as the song consists of a sinuous bass line, silky and cascading organ and keyboard chords paired with Waters’ sultry and effortlessly soulful vocals. Sonically speaking, the song strikes me as being the oversexed lovechild of Rick James and Parliament Funkadelic while fitting in comfortably with the contemporary neo-soul and funk movements that have won over the blogosphere lately.

Lyrically, the song and its narrator is focusing on sexual frustration of his long-distance love not being near — and it’s full of naughty sexual innuendo, double entendres and outright sexual come-ons that will make the listener both blush and get incredibly horny, while being a two-step worthy, slickly produced jam.

 

Single Review by William Ruben Helms

If you’ve been frequenting this site over the past three or four months, you may have come across a couple of posts on Sophie Stern, the Los Angeles-based creative mastermind behind the (mostly) solo recording project Sophie and the Bom Boms — and in that period of time, Stern has quickly become one of my favorite, new artists.

Her debut EP’s first single “Big Girls” was a breezy and infectious pop confection that paired big boom-bap beats, cascading synths, anthemic hooks and Stern’s effortlessly soulful vocals in a way that was reminiscent of Nu Shooz‘s “I Can’t Wait” while sounding remarkably contemporary. Stern followed that up with “Appetite,” a single that began to cement a burgeoning reputation for crafting incredibly infectious, breezy and anthemic pop while sounding as though it drew influence from Australian-born Berlin-based indie pop artist Phia, Gwen Stefani‘s “Ain’t No Holla Back Girl,” and TLC‘s “No Scrubs” — with the a similar “girl, drop that loser/girl, drop that deadbeat friend/I’m done with that fool” air.

Stern’s third and latest single “Creme De La Creme” pairs a skittering and tweeter and woofer rocking percussive production featuring gently buzzing synths and an infectious, shout-worthy hook in a song that celebrates the beauty, strength and individuality of the modern women  — that says a couple of things: first, “let your freak flag fly and be fucking proud about it;” second, beauty is not just in the eye of the beholder but within and that should be celebrated instead of being mocked; and third, the ladies of the world need to team up and enact real change. It’s an empowered girl power anthem — with an infectiously playful sense of humor.

 

 

 

Single Review by William Ruben Helms

Comprised of Ellie English, Sade Sanchez and Irita Pai, Los Angeles, CA-based trio L.A. Witch have developed a reputation local for a garage rock-based sound that draws from the likes of The Pleasure Seekers, The Sonics, The Black Angels, The Brian Jonestown Massacre and others. “Drive Your Car,” off the trio’s “Drive Your Car” 7 inch single will further cement the their reputation in specializing in grungy, old-timey garage and psych  rock as layers of chugging and jangling guitar chords played through tons of reverb and delay pedal, paired with a propulsive rhythm and Sanchez’s sneering vocals in song that possess a murderous and malicious intent.

If you’re out in the West Coast or Southwest, you can catch L.A. Witch live. Check out tour dates below.

TOUR DATES
03.11 – San Diego Art Institute – San Diego, CA
03.12 – Firecreek – Flagstaff, AZ
03.13 – Highlife Tavern – Tucson, AZ
03.14 – Exit 19 Music Festival – El Paso, TX
03.15 – Hot Burrito Boat Show Boogie – SXSW
03.15 – Desert Daze x NRMAL @ Hotel Vegas – SXSW
03.16 – She Shreds @ Hotel Vegas – SXSW
03.17 – Levitation Showcase @ Hotel Vegas – SXSW
03.18 – Spillover Fest @ Club Dada – Dallas, TX
03.19 – Entheo Sound @ The Shed – SXSW
03.20 – Burger Hangover @ Paper Tiger – San Antonio, TX
03.22 – House: The Venue – Albuquerque, NM
03.23 – Mesa Brewing – Taos, NM
03.24 – Time Out Lounge – Tempe, AZ
03.25 – Beauty Bar – Las Vegas, NV

Video by William Ruben Helms

New Video: The 120 Minutes Channeling Visuals for Dunes’ “Runner”

  Comprised of Stephanie Chan (vocals, guitar), a former member of Finally Punk and The Carrots; Kate Hall (drums), formerly of Mika Miko; Mark Greshowak (guitar, synths), formerly of Talbot Tagora; and Dave Reichardt (guitar, bass, synths), Los Angeles, CA-based post-punk quartet Dunes features […]

Video by William Ruben Helms

New Video: The Surreal and Hilarious Visuals for Sophie and the Bom Bom’s “Appetite”

As you might remember, last December I wrote about Sophie Stern, the Los Angeles-based creative mastermind behind the (mostly) solo recording project Sophie and the Bom Boms. Initially, Stern’s career began behind the scenes as a songwriter, who was […]

Single Review by William Ruben Helms

Up until last year, there hadn’t been many comprehensive photo-metal, pre-stoner rock compilations, until the Chicago, IL and Los Angeles, CA-based distributor Permanent Records record store, along with  RidingEasy Records released a carefully curated compilation of incredibly rare photo-metal and pre-stoner rock singles from the 60s and 70s on Brown Acid: The First Trip. Permanent Records co-owner Lance Barresi and RidingEasy Records’ Daniel Hall complied a second volume of rare proto-metal and pre-stoner rock from the 60s and 70s, Brown Acid: The  Second Trip, which is slated (fittingly enough) for release on April 20.

Much like the first volume, the duo not only spent time collecting, compiling and then curating the material, they also spent a great deal of time tracking down the songs creators, often bands who haven’t been together in over 30 or 40 years, and encouraging them to take part in the entire process.  As Barresi explained in press notes for the first compilation, “All of (these songs) could’ve been huge given the right circumstances. But for one reason or another most of these songs fell flat and were forgotten. However, time has been kind in my opinion and I think these songs are as good now or better than they ever were.” And by having the artists actually participate in the entire process, it can give the artists and their songs a second chance at some much deserved attention — if not a second chance at success.

Now, over the past month or two I’ve written about The Second Trip’s first single Ash’s “Midnight Witch,” a single that would likely remind many listeners of Mountain‘s “Mississippi Queen,” Steppenwolf’s “Magic Carpet Ride” and early Black Sabbath as layers of huge, sludgy and bluesy power chords were  paired with a driving rhythm and soulful vocals — but with a deeply psychedelic feel. Amazingly, although the song was originally released more than 35 years ago, it sounds and feels as though it could have been released today as several contemporary bands have adopted a similar sound, including the likes of Ecstatic Vision. The compilation’s second single Crossfield’s “Take It” managed to sound and feel like a surreal amalgamation of Black Sabbath, The Rolling Stones, The Animals (in particular, “We Gotta Get Out Of This Place”) and The Doors  as blistering and scorching guitar chords are paired with soaring keyboard chords and thundering drumming with unusual tempo changes and chord progression changes that make the song feel and sound as though it were a prog rock precursor — all while giving the song an expansive, tripping off hallucinogens in the desert feel and tone. The Second Trip‘s third and latest single Iron Knowledge’s “Show Stopper” meshes elements of glam metal, metal and seemingly hip-hop and funk-inspired hip-hop breakbeats in a song that metalhead and hip-hop DJs would instantly love.

 

 

Single Review by William Ruben Helms

 

Detroit-born, Los Angeles-based producer Sam Baker, best known under the moniker Samiyam can trace the moment his musical career truly started in earnest to when he was at a Detroit strip club Platinum, where he encountered a self-described fan of his, who told him that he needed to take his music more seriously. At the time, Baker was among a group of post-J. Dilla Donuts producers, who focused on instrumental work, rather than the traditional emcee/producer collaborations — and he was circulating beat tapes among local crew in Michigan and through zip files to friends on the web. Eventually, many of those Donuts-inspired producers, including Baker began relocating to Los Angeles and were created a scene around the Low End Theory in East Los Angeles.

As a part of East Los Angeles’ burgeoning producer and artist scene, Baker wound up meeting Flying Lotus, who quickly signed Baker to his Brainfeeder Records and then released the Detroit-born producer’s first two albums, 2008’s Rap Beats Vol. 1 (which was coincidentally, Brainfeeder’s first release) and 2011’s Sam Baker’s Album. 2013 was a big year for Baker as he released his third album Wish You Were Here and did production work for Earl Sweatshirt, Captain Murphy (the alter-ego of the aforementioned Flying Lotus) and Pharoahe Monch.

Animals Have Feelings is his Stone Throw Records debut, and as Baker explains in press notes, he considers the effort a creative sequel to Rap Beats Vol. 1. “Animals has roots in beats made around the time of Vol. 1, and the new stuff on the record has some of the same sound.” And as a result the material on the album is mostly instrumental, beat-driven hip-hop mixed with a few rap tracks he did with a few emcees, who are his few yet frequent collaborators — Earl Sweatshirt, Action Bronson, Jeremiah Jae and Oliver the 2nd.

Two singles from the album were recently released –“Mr. Wonderful” a collaboration with Action Bronson, that has Bronson rhyming and crooning over boom-bap beats and flashes of synth in a song that channels Raekwon‘s Only Built 4 Cuban Linx; and “Dartgun,” an instrumental track consisting of layers of buzzing synths, boom bap drum programming which channels the legendary and beloved work of J. Dill and of Dam-Funk — while evoking a singular, funky vision.

 

Video by William Ruben Helms

Live Footage: Lenny Kravitz and The Roots Play “Are You Gonna Go My Way”

Last month, The Roots were out in Los Angeles for their tenth annual Roots Jam Sessions — a series of shows that feature the members of The Roots collaborating with an incredibly diverse array of […]