Tag: Muddy Waters

New Video: JOVM Mainstay Chief Ghoul Releases a Menacing Stoner Blues Anthem

Louisville-based singer/songwriter, guitarist and producer Les Miles is the creative mastermind behind the JOVM mainstay act Chief Ghoul. Sonically Miles’ work meshes old school Kentucky folk with Mississippi Delta Blues and Chicago Blues –in particular the work of the likes Lightnin’ Hopkins, Blind Willie Johnson, Robert Johnson, Muddy Waters‘ acoustic blues and John Lee Hooker paired with poetic lyricism rooted in an overall belief in music as therapy.

Miles’ sixth Chief Ghoul album, These Lycanthropic Blues is slated for a June, 2021 release, and the album reportedly finds the Louisville-based JOVM mainstay tracing a sepia finger chronologically through Miles’ musical journey and influences — but while also revealing where he’s heading in the future. Along with that, the forthcoming album is the second album of his expanding output since 1892 that finds Miles producing his own work, after getting tired of the creative restraints of more commercial studios. But while 1892 was deeply connected to its lo-fi and hauntingly stark predecessors, These Lycanthropic Blues reportedly is centered around a much more three-dimensional yet earthy sound — with additions to the sonic palette, like piano, dirty bass, percussion and occasional cavernous sounding drums. Throughout it all, the autonomy of self-producing has allowed miles to make his work as personal, vulnerable and true to his old-soul.

Interestingly, These Lycanthropic Blues’ latest single, album closer “The Blackest of Souls” reveals Miles’ new sonic direction — stoner rock tinged, dive bar blues, centered around grungy and sludgy power chords, thunderous drumming, Miles’ bluesy baritone wail and a rousingly anthemic hook. It may be the most primal, forceful song of his career while remaining as menacing as ever.

Directed, filmed and edited by Aaron Tyler, the recently released video employs the use of shadows in a trippy fashion — first with seductively dancing woman, stripping and tantalizing the viewer; but the video takes turn for the dark, as monsters and mayhem lurking about.

Back in 2004, Chicago-based producer David Vandenberg brought the Leeds-based funk act The New Mastersounds to the States as an opener for Greyboy All-Stars for what would be the acclaimed British act’s first Stateside tour. As the story goes, Vandenberg took The New Mastersounds’ guitarist, bandleader and producer Eddie Roberts out to Rosa’s, a legendary blues club on Chicago’s West Side on Roberts’ first night in town to catch local bluesman Omar Coleman, a local blues legend, who had been playing Rosa’s for decades. 17 years later, Roberts wound up producing Coleman’s forthcoming album Eddie Roberts Presents Omar Coleman: Strange Times.

Slated for release this summer through Roberts’ own Color Red Music, the album’s title is an ode to The New Mastersounds 2001 debut, Keb Darge Presents: The New Mastersounds — and in many ways Coleman’s album finds Roberts, an acclaimed musician, bandleader and producer taking on the role of curator and influencer, championing and supporting artists he believes should be heard and loved.

Eddie Roberts Presents Omar Coleman: Strange Times‘ latest single, album title track is a strutting and gritty synthesis of The Payback-era James Brown funk and Chicago blues within a classic 12 bar blues structure featuring a looping bluesy guitar line reminiscent of B.B. King, Howlin’ Wolf and Muddy Waters, an enormous horn line, bursts of shimmering strings and a funky bass line that would make Bootsy Collins‘ proud paired with Coleman’s powerhouse, soulful vocals. Lyrically, the song’s origins can be traced to a series of conversations Coleman had with Roberts during the album’s recording sessions about bizarre, infuriating and tragic state of America during the height of the COVID-19 pandemic. Unsurprisingly, the exchange between the two kept turning back to the fact that we were all living in very strange times. Coleman took that and ran with it, immediately scribbling out incisive and fiery lyrics that accurately describe life in our very moment with the song talking about the abject poverty, desperation and uncertainty that hardworking and decent folks everywhere face. As the old saying the rich get richer while the poor get sicker.

Roberts’ recruited an accomplished backing band that features himself, Ghost Light’s Dan Africano (bass), Matador! Soul SoundsChris Spies (keys and organ), Dragondeer’s Carl Sorenson (drums), Lettuce‘s Eric “Benny” Bloom (trumpet), Michal Menert‘s Nick Gerlach (sax), Adrienne Short (viola) and Kari Clifton (violin) to help him with a sonic approach that would combine classic blues with funkier blues. And to capture the rawness and immediacy of the material, they recorded it straight to tape on Color Red Studios’ Tascam 388. “I hear Omar’s voice as a cross between Muddy Waters and Charles Bradley,” Roberts says. “I tried to reflect those qualities in music approach and songwriting as well as the way we recorded the album and built the instrumentation of the tracks.”

Throwback: Black History Month: Muddy Waters

Today is February 21, 2021. It’s the 21at day of Black History Month. And as I’ve mentioned throughout this series, I’ve been featuring Black artists across a wide and eclectic array of genres and styles — with the hopes that it’ll be a bit of a primer on the Black experience and on Black music.

Of course, I hope that these posts will serve as a reminder of these very important facts:

Black culture is American culture — and Black music is American music.
America’s greatest and beloved contributions to the world are Black music styles — the blues, jazz, rock ‘n’ roll and hip-hop.
Black art matters.
Black lives matter — all of them, all of the time.

Muddy Waters may arguably be one of the most influential bluesman ever. Without him, The Rolling Stones wouldn’t be The Rolling Stones. And much like counterparts like Howlin’ Wolf, Sister Rosetta Tharpe, Lightnin’ Hopkins and others, Muddy Waters was a major influence to the British Invasion bands of the 60s, as well as a generation of bluesmen and blueswoman after him.

A Q&A with Jennifer Silva

Jennifer Silva is a Boston-born, New York-based singer/songwriter. Influenced by Stevie NicksAretha FranklinTori AmosThe Rolling StonesFlorence + The Machine and Alabama Shakes, the Boston-born, New York-based singer/songwriter has received attention for bringing a sensual and soulful energy to her live shows — and for lyrics that explore universal and very human paradoxes — particularly, the saint and sinner within all of us.

Silva’s debut EP was an EDM collaboration with DJ Sizigi-13 under the mononym Silva — but since the release of that effort, her material has leaned heavily towards singer/songwriter soul, rock and pop with 70s AM rock references, as you’ll hear on her most recent album, the Reed Black-produced Bluest Sky, Darkest Earth.

Silva’s latest single “I Wash My Hands” is a shimmering and gorgeous country soul/70s AM rock-like song centered around a fairly simple arrangement of guitar, bass, vocals and drums that’s sonically indebted to Stevie Nicks and Fleetwood Mac. Interestingly, the song was originally written as a weary lament over a major relationship that has come to an end – but the song manages takes on a heightened meaning, reflecting on a heightened sense of uncertainty and fear, suggesting that maybe Mother Earth is attempting to wash her hands of us.

The recently released video for “I Wash My Hands” was created during the mandatory social distancing and quarantines of the COVID-19 pandemic – and it features Silva, her friends, family, bandmembers and voice students, separated by quarantine but connecting through the song.

I recently exchanged emails with Jennifer Silva for this edition of JOVM’s ongoing Q&A series – and naturally, we chat about her new single and video, her influences –including her love of Stevie Nicks, and her songwriting process. Of course, with governments across the world closing bars, restaurants, nightclubs and music venues to prevent the spread of COVID-19, the impact on the music industry – particularly on small and mid-sized venues, and the touring, emerging and indie artists who grace their stages, has been devastating. Over the course of the pandemic, I’ll be talking to artists about how the pandemic has impacted them and their careers. And in this interview, Silva reveals that the much-anticipated follow-up to Bluest Sky, Darkest Earth has been rescheduled, with her and her backing band figuring out how to finish it with the use of technology. Then add lost gigs and the uncertainty of when you’ll be able to play or promote your new work, and it’s a particularly urgent and uneasy time. But the dedicated will find a way to keep on going on for as long as they can.

Check out the video and the Q&A below.

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Photo Credit: Paxton Connors

Jennifer Silva_IWMH

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WRH: Much of the world has been in quarantine and adhering to social distancing guidelines as a result of the COVID-19 pandemic. Hopefully you and your loved ones are safe and healthy. How are you holding up? How are you spending your time? Are you binge watching anything?

Jennifer Silva: The world is upside down right now and it’s been a rollercoaster of emotions for me.  Shock, depression, anger, acceptance — feels like the stages of grief sometimes! I really miss my friends and my social life. Playing shows, my band. The good news though, is that my family and I are safe, healthy and well stocked. We left Brooklyn right before it got really bad and headed upstate. So, I’ve been in the woods, pretty secluded, with limited cable news (thankfully) and some great outdoorsy vibes all around me.  I’m very lucky and I really can’t complain. I’ve been spending the time connecting with my family, homeschooling my daughters, cooking, knitting, reading and writing songs!  We’ve been living a simple life these days and that’s actually a great thing sometimes. I just started watching Ozark on Netflix, finally, which is perfect for this quarantine! I’m always down for an epic drug/murder/survival story. Oh, and wine.

WRH: Since COVID-19 was declared a pandemic, festivals have been postponed or cancelled outright, artists of all stripes have postponed, rescheduled or cancelled tour dates. Most of the world has been on an indefinite pause. How has COVID-19 impacted you and your career?

JS: This has got to be the hardest part of it all for me. I’ve also had to cancel shows, but, most significantly, literally one week before the pandemic really hit NYC, I was in the studio with my band and producer (Reed Black of Vinegar Hill Sound) tracking my next record.  We spent two full days laying down all the music and scratch vocals for 10 tracks, and I was so hyped and excited for the next two months of recording all the overdubs, lead vocals, background vocals and getting that final mix completed. Now, we must wait. Luckily though, we have the rough mixes to listen to and some of my band members are working on and planning overdubs at home. It’s frustrating but I’m still so grateful to have had those days in the studio. What we have already, sounds amazing!

WRH: How did you get into music?

JS: I’ve been singing all my life.  My father played guitar around the house throughout my childhood, and so at a young age I was singing classic rock and soul music to my family. “The House of the Rising Sun” (The Animals), “Bring it on Home to Me” (Sam Cooke) and “To Love Somebody” (Bee Gees) were my first covers!

I also went to Catholic school as a girl where the nuns always made me sing the solos at the Christmas and Easter performances. And of course, I was singing in Church every week. That really helped shaped me as a singer because I was taught to belt without shame because it was a “gift”, so I have always been a loud singer, haha. I’m not religious anymore (thankfully), but man, I love me some Church hymns! And there is nothing like the acoustics in a Cathedral.

WRH: Who are your influences?

JS: I have so many influences from so many different genres of music.  The Animals, The Beatles, The Rolling Stones, Janis Joplin, Diana Ross, Tina Turner, Lionel Richie, David Bowie, Elvis Presley, Sam Cooke and all of Motown were early loves of mine.

Then I had a whole Neo Soul moment, falling in love with singers like Erykah Badu, Lauryn Hill, and Jill Scott. They definitely influenced me with their powerful female energy and style and the vocal choices they made. I also love 80’s and 90’s female badasses, like Tori Amos, Bjork, PJ Harvey, Hole, Garbage, Madonna and Annie Lennox. Artists with true points of view and the guts to say it.

I love Blues and Jazz greats like Billie Holiday, Nina Simone, Etta James, Ray Charles, Lead Belly. Their emotional rawness and vocal prowess has always been a guide.

Singer-songwriters like Bob Dylan, Tom Waits, Tracy Chapman, T. Bone Burnett, Dolly Parton, Rufus Wainwright and Joni Mitchell have helped shape my lyric writing and storytelling. I love Lana Del Rey as well.

Vocalists like Amy Winehouse, Brittany Howard of Alabama Shakes, Stevie Nicks and of course, Aretha Franklin will always be the pinnacle of greatness for me. These artists INSPIRE me.

WRH: Who are you listening to right now?

JS: There is so much amazing music out right now. The talent level in this industry can be intimidating actually! Right now, we’ve been listening to a lot of indie rock and singer-songwriters like Marlon Williams and Aldous Harding, Töth, The Dø, Future Islands, Julia Jacklin, Sun Kil Moon, and Heartless Bastards.  And we are always playing The National and Arcade Fire. The Grateful Dead and Tom Waits are spun pretty regularly too around here. And of course, we’ve been listening to lots of John Prine since his recent passing from Covid-19.  What a loss.

WRH: I’ve probably referenced Stevie Nicks’ “Stand Back” more times than any other journalist in town. I think of a certain synth sound – and that song comes to mind. Plus, I love that song.

I know that Stevie Nicks is a big influence on you. What’s your favorite all-time Stevie Nicks song?

JS: One thing I really love about Stevie, which I read in her biography a few years ago (by Zoe Howe), and that I can totally relate to, was that she didn’t have any formal musical education. She just had her gorgeous melodies and emotional lyrics and really, just a simple catalog of basic chords.  Lindsey [Buckingham] would get frustrated with her because he’d have to finesse her songs so much to make them work. “Dreams,” for instance, only has 2 chords! But her songs were always their biggest hits. She tapped into an emotion and style and energy that people love and her voice is just absolutely unique and powerful. In a way, the reason she was so successful with her songwriting was because she wasn’t trapped in a musical box. She would write whatever she felt, and her uniqueness and melodies were memorable and beautiful. She inspires me so much! It’s nearly impossible to choose one favorite Stevie Nicks song, but I’ll go with “Edge of Seventeen.”  A close second is probably “Landslide.”

WRH: Your first release was an EDM-like collaboration with DJ Sizigi-13. Since then your sound has gone through a dramatic change. How did that come about?  How would you describe your sound to those unfamiliar with you and your sound?

JS: After my old band broke up in 2014, I was searching for new musical collaborations on Craigslist. I connected with Sizigi over email and we decided to make a song together.  One song led to four, over the course of a few months. I knew going in, EDM wasn’t going to be my personal sound forever, but I was down for the challenge of writing to existing beats and learning to record all my vocals at home with GarageBand. I bought a microphone and set up a vocal booth in my closet with towels on the doors to pad the sound.  I learned to edit. I love my lyrics and vocals on those songs, and I am very proud of the work I did. So, ultimately, I chose to have the record mastered and to release the 4 song EP independently. It was a stepping-stone for me.

The music I make now is all me though. I pen all of the lyrics and write the melodies on guitar, or sometimes I use my Omnichord (a vintage electronic harp/synthesizer from the 80s, which is AMAZING) and then my band brings it all to life!  My sound can be described as indie rock soul. I love the Alabama Shakes so that’s a decent comparison, I hope. The lyrics are evocative and dramatic, and the music is organic rock, but I always sing with soul. I also love to explore the saint and the sinner in all of us and tap into themes from my Catholic upbringing — like with “The Convent” from my last record Bluest Sky, Darkest Earth and “Purgatory Road” which will be on my next record. I am inspired by elements of the occult (tarot cards, following your intuition, voodoo) and I use nature and other metaphors to write about complicated relationships.

WRH: Rockwood Music Hall celebrated their 15th anniversary earlier this year. Sadly, during this century, existing 15 years as a venue in New York time is like 149 years. Rockwood Music Hall invited an All-Star list of artists, who have cut their teeth playing the venue’s three stages to celebrate. The bill that month included JOVM mainstay Anna Rose, acts that I’ve covered like Eleanor Dubinsky, Christopher Paul Stelling, The Rad Trads, Mike Dillon, Melany Watson, as well as Jon Baptiste. How does it feel to be included with those acts?

JS: It feels amazing! I am so lucky to have played a small part in Rockwood’s incredible history. It was an absolute honor to play the stage that night, and to join that list of talented artists. Rockwood Music Hall was the first place I ever played in NYC. I remember getting an early Saturday afternoon acoustic slot with my old guitarist and playing to a mostly empty room. It was still so damn exciting to me, the opportunity to play that famous stage.  Fast forward a few years later to my packed record release show on Stage 1 and then my graduation to Stage 2, last year. Rockwood has supported me since Day 1 and to help celebrate their anniversary, on the very stage where it all began for me, made me so proud!

WRH: Your Rockwood Music Hall set included a cover of one of my favorite Lead Belly songs ever “Where Did You Sleep Last Night.” It’s one of those songs that for whatever reason doesn’t seem to be covered a whole lot. So, what drew you to the song? And how much does the blues influence you?

JS: I have been listening to Lead Belly for a very long time. I only knew his version of “Where Did You Sleep Last Night” and never actually heard Nirvana’s version until many years later, which is what I think most people think of when they hear that song these days. I used to love singing that song in the car with my boyfriend. We each took a verse. It always seemed so chilling and powerful and it really tells a story that leaves you wanting more. You are right though, it’s not covered a whole lot and when we first tried in rehearsal, we knew it would kill. Everyone really responds to that one.

I generally gravitate toward big singers. Full voices filled with heartache and soul and you get that in spades with the Blues.  The Blues are rooted in emotion and that kind of expression comes naturally for me. Lead Belly and Big Mama Thornton are definitely my favorite blues artists, but I also really dig Howlin’ Wolf, Muddy Waters, Son House, Sister Rosetta Tharpe and Bessie Smith. I love how Bonnie Raitt, Larkin Poe and Gary Clark, Jr. are keeping that tradition alive and having success with Modern Blues too.

WRH: How do you know when you have a finished song?

JS: I know a song is finished when I love the melody and lyrics enough to play it over and over again, day after day and when I can get lost developing the vocal runs. A good sign is when my family really responds to it as well. I also think nailing the bridge usually seals the deal for me. That’s when I write over my penciled lyrics and chords, in my black, Papermate flair pen and make it final!

I’m not a person who usually tinkers on a song for years though.  I write most songs in a few hours, or a couple of days or maybe, up to a week. I like to capture the emotion of a sentiment and get most of it right and then move on to the next song. In all honesty, the best songs write themselves in 10 minutes! I actually wrote my new single “I Wash My Hands” quickly like that.

WRH: Your latest single “I Wash My Hands” and its accompanying video officially drops today. It’s a gorgeous country soul/70s AM rock song, a weary lament of someone who’s desperate to move on from a relationship or some other major life tie. You wouldn’t have known this at the time, but the song has an eerie double meaning that reflects our current moment of uncertainty and fear. Curiously, how does it feel to have written something that initially was supposed to be about something specific that suddenly transforms into something altogether different?  

JS: Thanks. I think the lyrics are very relatable for anyone in a long-term relationship who understands that compromise and respect are needed for a couple to survive and more importantly, thrive. But in this unprecedented moment in our lives, that can also be said about humans and our planet. Fear of Covid-19 leaves us all washing our hands like never before, so now, this track also invokes Mother Nature’s demand for more respect. She is also washing her hands of our abuse, forcing us all to pause while she shows us just how powerful she is. It’s humbling.

WRH: The video for the song is pretty intimate almost home video-like visual, as it features a collection of loved ones, including family and friends lip synching along to the song – while they’re in quarantine. How did you come about the concept? And how did it feel to have your loved ones participate in the video?

JS: Last week, my brother Chris and I were talking on FaceTime, about the need for interconnectedness even while social distancing. We thought about how lonely people are, even though we are Zooming and chatting on the phone, more than ever.

We thought it would be really special if I could get some of my friends and family to lip-synch parts of this song and create a montage. Video production resources are limited here in quarantine, but everybody has a phone with a camera and time on their hands!

The video is like being on a Zoom call but this one makes me feel so happy every time I watch it! It’s all my favorite people singing my song. People in Brooklyn, California, Detroit, New Jersey, New England, and even as far as Kenya! Everyone just really came through and had fun with this project, including my voice students, family members and close friends. People I haven’t seen in two months or more! I don’t know when I’ll see them again frankly, but the video makes me feel connected to them and I think it makes them all feel connected to each other. I love it so much.

WRH: What’s next for you?

JS: While I’m quarantined, I’m going to keep making art. Keep writing music. Keep singing.

I’m also going to continue to work on my next album. Right now, the plan is to release it in the Fall, so I’ve got shows to book and all the pieces in between to plan. Follow me on Instagram (@sheissilva) for all updates, single and video releases and of course, details about the album release party and tour dates.

Please stay safe and healthy, everyone. I’m sending vibes to you all. We will get through this. And I think we will be stronger for it. And don’t forget to keep washing your hands!

New Video: The Murlocs Strutting Glam Rock-like Take on Psych Blues

Led by King Gizzard and the Lizard Wizard’s Ambrose Kenny-Smith and featuring Kenny-Smith’s bandmate Cook Craig, as well as Cal Shortal, Matt Blach and Tim Karmouche, The Murlocs specialize in a fuzzy and distorted psych blues. In their native Australia, they’ve played across their homeland’s festival circuit and have opened for the likes of internationally acclaimed acts like Gary Clark, Jr., Mac DeMarco, Ty Segall, Thee Oh Sees, Pixies, Stephen Malkmus and The Jicks, Wavves and King Gizzard and the Lizard Wizard. 

Building upon a growing profile, the Aussie quintet’s forthcoming Stu Mackenzie-produced third full-length effort, Manic Candid Episode is slated for a March 22, 2019 release through Flightless Records. The album’s second and latest single “Withstand” is a swaggering and strutting blues ripper that nods at classic glam rock, complete with rousingly anthemic, shout-along worthy hooks, explosive blasts of harmonica and big, distortion-filled power chords. Sonically, the track — to my ears, at least — brings T. Rex, Ziggy Stardust-era Bowie and King Bee-era Muddy Waters to my mind but with a lysergic haze. Fittingly, the Alex McLaren-created video for the song draws from classic 60s and 70s rock promotional videos, as it features the members of The Murlocs performing the song in front of a psychedelic backdrop. 

 

Black Pistol Fire is an Austin, TX-based rock act featuring Toronto, ON-born duo Kevin McKeown (guitar, vocals) and Eric Owen (drums). And since their formation, the duo whose sound and approach has been largely inspired by Led Zeppelin, Chuck Berry, Nirvana, Buddy Holly and Muddy Waters, has received a national profile for an untamed and blistering live set. Dubbed the “next big thing” by Huffington Post after their 2013 SXSW appearance, the act has built upon that reputation by playing some of the largest festivals including Lollapalooza, Austin City Limits, Bonnaroo, Sasquatch Music Festival, Shaky Knees and Governor’s Ball, as well as Mad Cool and Colours of Ostrava.

The Austin-based duo’s latest single is the swaggering and bluesy “Level,” a track centered around enormous power chords, thunderous drumming, arena rock friendly hooks and McKeown’s self-assured, rock god-like crooning. And while adding themselves to a growing list of power chord-based blues rock duos, they do so with an ass-kicking, name-taking self-assuredness of old pros.

The duo have lined up some tour dates during the first part of the year. Check out the tour dates below.

Tour Dates:

1/11 – Gothic Theater – Denver, CO
1/12 – Belly Up Aspen – Aspen, CO
3/2-3/3 – Innings Festival – Phoenix, AZ
5/3-5/5 – Welcome to Rockville – Jacksonville, FL
5/10-12 – Rockingham – Charlotte, NC
5/17-5/19 – Sonic Temple – Columbus, OH (fka Rock on the Range)

New Video: Up-and-Coming Blues Rock Act The Blue Stones Release a Disturbing and Timely Video for Arena Rock Friendly “Black Holes (Solid Ground)”

Comprised of high school friends Tarek Jafer (vocals, guitar) and Justin Tessier (drums, percussion, backing vocals), the up-and-coming alt rock duo The Blue Stones can trace their origins to when the duo, who had attended college together decided that they should start a musical project together. While being among an increasing number of blues-tinged rock duos including The Black Keys, The White Stripes, Royal Blood, and others, the duo cite Led Zeppelin, Black Sabbath, Jimi Hendrix, The Stooges, MC5, Alice Cooper, MUTEMATH, My Morning Jacket, Jay-Z, Kanye West, J. Cole, Muddy Waters, Howlin’ Wolf and B.B. King as influences on their overall sound and aesthetic.

Jafar and Tessier spent seven years honing and perfecting their sound, during which they wrote and recorded an independently released EP. As the duo’s Tarek Jafar says in press notes, “It takes a lot to be a success. You have to stay proud and focused.” Building upon several years of hard work and dedication, the duo’s full-length debut Black Holes was released earlier this year— and the album, which features “Rolling With The Punches,” a single that has received placements on USA Network‘s Suits, Showtime‘s Shameless and ESPN‘s Monday Night Football and the attention-grabbing lead single “Black Holes (Solid Ground),” which has amassed 8 million streams, will further cement the duo’s growing profile for  playing blues rock that as the duo’s Justin Tessier says is “lean, raw, tight, without a wasted note.” Thematically, the album as Jafar explains is “. . . about being a young adult and entering the real world from a sheltered environment, like college. Feeling torn between taking the secure path or doing something that might be riskier but you’re passionate about . . . following what you love as opposed to sticking to the straight and narrow.”

Over course of the year playing across the national festival circuit with stops at Carolina Rebellion with MUSE and Queens of the Stone Age, and at Northern Invasion, Winnetka Music Festival and Bonnaroo Festival.  But let’s talk about the aforementioned, arena rock friendly “Black Holes (Solid Ground),” which is centered around big, bluesy power chords, thundering drums and anthemic hooks — and while clearly indebted to classic Delta blues, The Black Keys, The White Stripes and early Black Sabbath but with a subtly psych rock-leaning that reveals a twist on a familiar and winning formula.

Directed by Jason Lester and filmed in Los Angeles, the first official video from the band’s full-length debut is provoking, and considering the recent news stories about migrants and refugee seekers being tear gassed at our borders — disturbing and timely. As Lester says in press notes about the video treatment,  “When the band told me about how their great track was an exploration of the battles we fight within ourselves, my mind went instantly to Stanley Milgram’s infamous shock experiments of the early 1960s,” says director Jason Lester. “Using the setup of his obedience tests as a jumping off point, we constructed a visual representation of the struggle with the self — a person facing their own image in a mirror, pushed to the brink by a choice that must be made.”

New Audio: Introducing the Arena Rock Friendly Blues Rock of The Blue Stones

Comprised of high school friends Tarek Jafer (vocals, guitar) and Justin Tessier (drums, percussion, backing vocals), the up-and-coming alt rock duo The Blue Stones can trace their origins to when the duo, who had attended college together decided that they should start a musical project together. While being among an increasing number of blues-tinged rock duos including The Black Keys, The White Stripes, Royal Blood, and others, the duo cite Led Zeppelin, Black Sabbath, Jimi Hendrix, The Stooges, MC5, Alice Cooper, MUTEMATH, My Morning Jacket, Jay-Z, Kanye West, J. Cole, Muddy Waters, Howlin’ Wolf and B.B. King as influences on their overall sound and aesthetic.

Jafar and Tessier spent seven years honing and perfecting their sound, during which they wrote and recorded an independently released EP. As the duo’s Tarek Jafar says in press notes, “It takes a lot to be a success. You have to stay proud and focused.” Building upon several years of hard work and dedication, the duo’s full-length debut Black Holes is slated for an October 26, 2018 release — and the album, which will feature “Rolling With The Punches,” a single that has received placements on USA Network’s Suits, Showtime’s Shameless and ESPN’s Monday Night Football and the attention-grabbing lead single “Black Holes,” which has amassed 8 million streams, will further cement the duo’s growing profile for  playing blues rock that as the duo’s Justin Tessier says is “lean, raw, tight, without a wasted note.” Thematically, the album as Jafar explains is “. . . about being a young adult and entering the real world from a sheltered environment, like college. Feeling torn between taking the secure path or doing something that might be riskier but you’re passionate about . . . following what you love as opposed to sticking to the straight and narrow.”

Over course of the year playing across the national festival circuit with stops at Carolina Rebellion with MUSE and Queens of the Stone Age, Northern Invasion, Winnetka Music Festival and Bonnaroo Festival. Interestingly, Black Holes’ third and latest single is the sultry and anthemic “Be My Fire,” which sonically is indebted to The Black Keys, Jimi Hendrix, North Mississippi All Stars as its built around enormous power chords, thundering drumming and arena rock friendly hooks — but while being centered around an urgent and plaintive yearning for someone, just out of reach. The song possesses a compelling name-taking and ass-kicking, swaggering bombast underpinned with a sincerity and earnestness.