Tag: Nashville TN

New Video: The Gorgeous and Highly Symbolic Visuals for Rogue and Jaye’s “Golden Lady”

Comprised of the Los Angeles-based singer/songwriter Courtney Jaye, who has spent stints in Nashville, Atlanta, Austin and elsewhere; and Bay Area-based singer/songwriter Zach Rogue, the frontman of indie rock act Rogue Wave, the country music duo of Rogue and Jaye can trace their origins back to a December 2013 songwriting session, in which the duo quickly recognized they had an instant and easy-going simpatico — perhaps based in their backgrounds as songwriters influenced by country, whose material frequently possessed a wistful, late night, drinking in the honky tonk vibe and the results the critically applauded debut single together “Til It Fades.” As Zach Rogue explains in press notes “We have this thing, and I don’t really know know why, it’s just a comfort level. We have this easy spirit with each other, where I like hearing here sing and I feel very comfortable proposing ideas.”

The duo’s debut effort together, Pent Up features a backing band consisting of Bands of Horses’Bill Reynolds (bass), Floating Action’s Seth Kauffman (guitar) and Grace Potter and The Nocturnals’ and Natalie Prass’ Michael Libramento (drums) and was recorded and engineered by Logan Matheny at Bill Reynolds’ Nashville-based Fleetwood Shack Studio and mixed and mastered by Mikael “Count” Eldridge in San Francisco. Officially released earlier this month, the album has been released to critically praise from a number of major media outlets including The Associated Press, Rolling Stone, Entertainment Weekly, American Songwriter and others, with Rolling Stone Country recently naming the duo one of their “10 New Artists You Need to Know,” and when you hear the album’s latest single “Golden Lady,” you’ll see why as the duo pair an easy-going, 70s AM rock and late night honky tonk twang with Jaye’s gorgeous yet wistful vocals. And while clearly drawing at Americana, 70s Renegade Country, indie rock and pop without being too tethered to them, the song also finds the duo subtly nodding at psychedelia with some pedal effected guitar.

In fact, much like the sources the duo draw from sonically and thematically, “Golden Lady” reveals the duo’s cool self-assuredness as the single is a recording featuring a bunch of old pros, who’ve made it seem way too easy — but at the same time, there’s an understated emotional honesty; the sort that comes from living a full and messy life of mistakes, foibles, joy, heartache, loneliness, being lost and found and lost again, and profoundly life altering experiences and experiencing them as completely and fully as possible — and with an effortless gracefulness.

As the duo’s Courtney Jaye explains, their latest single details an all-too common frustration with the universe and one’s seeming inability to cope with a personally damaging situation and learning how to be patient, how to be alone and how to love yourself before loving another and learning how to trust yourself and letting things go at the time and pace they’re supposed to. And in fact, the recently released video  Ben Bennett and shot and edited by Stefan Colson is shot in hazy, golden light and throughout Jaye is shot hemmed in and trapped in a person-sized tube and cocooned in fabric. And while Jaye is struggling to break free, there’s a sense that some of this is self-inflicted. In fact, as Jaye explains in press notes, “this video symbolizes being trapped by your own fear, self-doubt and lack of trust in universal timing. 

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Nicole Atkins is a Neptune, New Jersey-born, Nashville, TN-based singer/songwriter, arguably best known as one for her time in Asbury Park, NJ — and perhaps more important for a sound that draws influence from 50s crooner pop, 60s psych rock and psych pop, soul music and Brill Building pop; in fact, some critics have compared her and her sound favorably to the likes of Roy Orbison and others. This shouldn’t be surprising as Atkins has publicly cited the favorites of her parents’ record collection as being major influences on her, including The Ronettes, Johnny Cash, The Beach Boys, The SundaysHarriet Wheeler and Cass Elliot.
Atkins started playing piano when she turned nine and taught herself to play guitar at 13 and by the time she was attending Belmar, NJ’s St. Rose High School, she was playing in pick-up bands and playing gigs at local coffeehouses. Upon graduating from high school, Atkins attended the University of North Carolina, Charlotte, where she studied illustration and ingrained herself within the city’s independent music scene. And while in Charlotte, she began writing original songs and befriending a number of local musicians; in fact, at one point, she was a member of a local supergroup Nitehawk that, at one point had close to 30 members. She also joined Los Parasols and released an EP with them, The Summer of Love in 2002; however, later that year, she moved to Brooklyn, where she began to be influenced by the Rainbow Quartz Records roster, and began writing songs more along the lines of Wilco and Roy Orbison.

 

By early 2005, Atkins ran into keyboardist Dan Chen, who she had known from her days playing at The Sidewalk Cafe. Chen approached her about forming a new band, a band which eventually became Nicole Atkins and The Sea. During a residency at Piano’s, the band won the attention of music industry attorney Gillian Bar and quickly found herself in a bidding war between several record labels before signing with Columbia Records in early 2006. A the end of that year, Atkins and her backing band went to Sweden — Varispeed Studios in Kalegrup, Sweden and Gula Studion in Malmo — to record their Tore Johansson-produced debut effort Neptune City, which was released in October 2007 to accommodate re-mastering of the album. The album was a critical and commercial success, debuting at number 20 on Billboard‘s Top Heatseekers Chart and reached number 6 on the Heatseekers Middle Atlantic Chart.

2011 saw the release of her critically applauded, Phil Palazzolo-produced sophomore effort Mondo Amore. Recorded at Brooklyn’s Seaside Lounge Studio, Atkins’ new backing band The Black Sea featured Irina Yalkowsky (guitar), Mike Graham (drums) and Jermey Kay (bass). Atkins and her backing band played that year’s SXSW and were named by Spin Magazine as “the best live band of the festival,” and Mondo Amore received attention from the The New York Times and Rolling Stone.

During the winter of 2012 Atkins returned to Malmo, Sweden to record her third full-length effort Slow Phaser with Tore Johansson. Released in February 2014 to critical applause, the album landed at number 143 on the Billboard 200 based on the strength of singles “Girl You Look Amazing” and “Who Killed the Moonlight?” Adding to a big 2014 Atkins appeared on The Late Show with David Letterman, where she performed a new rendition of “War Torn” off her Live from the Masonic Temple, Detroit album, an album which was recorded while she toured as the opener for Nick Cave and the Bad Seeds.

Recoded at Fort Worth, TX‘s Niles City Sound, with a production team featuring Austin Jenkins, Josh Block and Chris Vivion and mixed by the Alabama Shakes‘ Ben Tanner, Atkins’ fourth album Goodnight Rhonda Lee marks two different things — the first being her first album in three years, the second a marked sonic departure from her previous work. The album’s first single, co-written by Chris Issak, “A Little Crazy” was a delicate and soulful ballad that clearly nods to many of Atkins’ early influences — in particular, Roy Orbison with a hint of Patsy Cline. However, the album’s second and latest single “Darkness Falls So Quiet” is a stomping and soulful track that nods at Dusty Springfield — and much like Springfield’s legendary work, Atkins’ incredible vocals, which manage to simultaneously express swaggering self-assuredness and aching loneliness are paired with a warm and soulful arrangement that features a gorgeous string section, twinkling keys and a Daptone Records-like horn section. And if weren’t for the subtly modern production, you may have mistaken the song for being released in 1963.

Goodnight Rhonda Lee is slated for a July 21, 2017 release through Single Lock Records, and Atkins will be touring throughout the summer and fall to support the new album. The tour will include a September 9, 2017 stop at Mercury Lounge. Check out the rest of the tour dates below — and if she’s playing at a venue near you, go see her. She’s fantastic live.
Tour Dates:

7/20 – Lexington, KY – The Burl
7/21 – Florence, AL – WC Handy Festival
7/23 – Nashville, TN – 3rd and Lindsley
7/25 – Annapolis, MD – Rams Head on Stage w/Robert Ellis
7/26 – Fairfield, CT – Stage One
7/29 – Freehold, NJ – Monmouth County Fair
7/30 – Newport, RI – Newport Folk Festival w/Steelism and Ruby Amanfu
8/7 – Ann Arbor, MI – The Ark
8/8 – Chicago, IL – Space
8/10 – Davenport, IA – The Raccoon Motel
8/11 – Iowa City, IA – The Mill
8/12 – Minneapolis, MN – Dakota Jazz Club & Restaurant
8/18 – Asheville, NC – Altamont Theatre
8/19 – Athens, GA – Wildwood Revival 2017
8/26 – Arlington, VA – Lockn’ Festival
9/8 – Philadelphia, PA – Boot & Saddle
9/9 – New York, NY – Mercury Lounge
9/10 – Asbury Park, NJ – Shadow of the City Festival @ Stony Pony Summer Stage – Shadow of the City Festival

 

Comprised of the Los Angeles-based singer/songwriter Courtney Jaye, who has spent stints in Nashville, Atlanta, Austin and elsewhere; and Bay Area-based singer/songwriter Zach Rogue, the frontman of indie rock act Rogue Wave, the country music duo of Rogue and Jaye can trace their origins back to a December 2013 songwriting session, in which the duo quickly recognized they had an instant and easy-going simpatico — perhaps based in their backgrounds as songwriters influenced by country, whose material frequently possessed a wistful, late night, drinking in the honky tonk vibe and the results the critically applauded debut single together “Til It Fades.” As Zach Rogue explains in press notes “We have this thing, and I don’t really know know why, it’s just a comfort level. We have this easy spirit with each other, where I like hearing here sing and I feel very comfortable proposing ideas.”

The duo’s debut effort together, Pent Up features a backing band of Bands of HorsesBill Reynolds (bass), Floating Action‘s Seth Kauffman (guitar) and Grace Potter and the Nocturnals’ and Natalie Prass‘ Michael Libramento (drums) and was recorded and engineered by Logan Matheny at Bill Reynolds’ Nashville-based Fleetwood Shack Studio and mixed and mastered by Mikael “Count” Eldridge in San Francisco. Officially released earlier this month, the album has been released to critically praise from a number of major media outlets including The Associated PressRolling Stone, Entertainment WeeklyAmerican Songwriter and others, with Rolling Stone Country recently naming the duo one of their “10 New Artists You Need to Know,” and when you hear the album’s latest single “Golden Lady,” you’ll see why as the duo pair an easy-going, 70s AM rock and late night honky tonk twang with Jaye’s gorgeous yet wistful vocals. And while clearly drawing at Americana, 70s Renegade Country, indie rock and pop without being too tethered to them, the song also finds the duo subtly nodding at psychedelia with some pedal effected guitar.

In fact, much like the sources the duo draw from sonically and thematically, “Golden Lady” reveals the duo’s cool self-assuredness as the single is a recording featuring a bunch of old pros, who’ve made it seem way too easy — but at the same time, there’s an understated emotional honesty; the sort that comes from living a full and messy life of mistakes, foibles, joy, heartache, loneliness, being lost and found and lost again, and profoundly life altering experiences and experiencing them as completely and fully as possible — and with an effortless gracefulness.

 

 

 

 

New Video: The Futuristic Visuals and Genre Mashing Sounds of BASECAMP’s “The Hunter”

Now, if you had frequented this site back in 2015, you would have come across a handful of posts featuring the Nashville, TN-based electro pop trio BASECAMP. Comprised of producers and songwriters Aaron Miller, Aaron C. Harmon and Jordan Reyes, the electro pop trio can trace their origins to when the trio started to collaborate together to write. Quickly realized that they had a strong creative chemistry, the trio founded BASECAMP and with the release of their 2013 debut EP, which featured standout tracks “Emmanuel” and “Smoke Filled Lungs,” the Nashville-based trio received attention both locally and nationally for a genre-mashing sound featuring R&B-like melodies, thumping bass lines, percussive beats, unpredictable tempo changes paired with glitchy electronics and organic instrumentation. And as a result of the attention they had begun to receive, the members of BASECAMP toured across the States with CHVRCHES and Phantogram before signing to Skrillex’s boutique label OWSLA, which released their impressive 2015 sophomore effort Greater Than EP, which featured one of my favorite singles of that year “Watch My Back.”

Since the release of Greater Than, the Nashville-based electro pop trio have been rather busy, working on and releasing two stand-alone collaborations “Comfort Zone’ with Jamie Lidell and “In My Veins” with Del The Funky Homosapien, and the In Stone EP, an effort which further cemented the trio’s reputation for a genre mashing sound and tempo changes; but arguably with a greater sense of sonic and thematic cohesion, while revealing much more introspective songwriting. After successful tours across Europe and North America — with shows at TEDx, Colors Berlin and Summit At Sea — the trio released “The Hunter” Remix package, which features remixes from the trio’s friends and frequent collaborators — Jamie Lidell, Yeo and Deebs.

In the meantime though, “The Hunter” is a refinement of their imitable sound and production as the song finds the trio pairing earnest and soulful vocals with stuttering and glitchy beats, swirling electronics — and in some way, the song reminds me of Timbaland’s revolutionary collaborations with Missy Elliot and Justin Timberlake in the 90s and 00s and of Beacon’s The Ways We Separate and Escapements, thanks in part to a swooning, uneasiness that the song’s narrator expresses in describing a relationship that seems to heighten his own self-doubts and has him wondering if he is hunter or prey — or perhaps both simultaneously. It also captures the odd sense in almost every romantic relationship in which neither party could tell what their relationship actually is or what their intentions are; but both are fearful of the perceived inevitable heartache they expect.

Directed, by BLAWKNO, from the GLO.Digital collective, the recently released video uses 3D scans of each member and fuses CG with live-action video as a play on the concept of perception vs. reality while giving the proceedings a hyper futuristic and alien sensibility.

New Video: FYUTCH’s Hilarious Action Movie-based Take on Rejection

Harold Simmons II is a Gary, IN-born, New York-based (by way of a lengthy stint in Nashville, TN), emcee, singer/songwriter, multi-instrumentalist and producer, who writes and records as FYUTCH (pronounced Fi-yoo-tch). Simmons can trace the origins of his musical and performing career to when he initially began to receive attention as a public speaker, who had given speeches at a number of impressive and major public events — including Gary’s Mayor Scott L. King’s campaign banquet and on the steps of Congress. When he turned 17, Simmons formed Legendary Biscuits and Gravy a band in which he played alto sax and contributed vocals with friends, Eric Sexton (keyboard), Brandon Holt (drums), Wesley Winfrey (tenor sax) and Brady Surface (bass). The quintet received regional acclaim as they were nominated for Southern Entertainment Awards’ Best Indy R&B Artist of the Year in 2007. And over the subsequent two year period, the band saw a rapidly growing profile as they’ve been on bills that included nationally and internationally recognized artists including The Pink Spiders, Sam and Ruby, as well as opening for Kanye West, GZA and Nappy Roots.

Simmons relocated to Nashville and while using the moniker Future the Artist, Simmons released his self-produced solo debut The Sci Fly EP, which garnered a Nashville Music Award nomination for Best Urban Recording of the Year, which he followed up with his Overnight Mixtape series in which he wrote and recorded six mixtapes — with each mixtape being recorded during an overnight studio session and then released as a free download the next day. The mixtapes caught the attention of renowned site, Nashville Scene, who praised Simmons’ work; in fact, thanks to the growing attention he received, the fourth mixtape of the series found Simmons collaborating with the likes of Bun B and GLC. Additionally, as a solo artist, he has opened for Wale, Pharrell Williams, Little Brother and Afroman.

By late 2012, Simmons changed his name to FYUTCH after discovering that there was another artist who also went by the name Future, who was receiving quite a bit of attention nationally — and internationally. And since changing his performing moniker, Simmons has released several efforts including Mr. Flattop, which was executive produced by DJ Rob “Sir” Lazenby and featured guest spots from Mike Stud, Futuristic, Mello Rello, Whitney Coleman and production by G-Pop, Wick-it the Instigator and The FANS; a psychedelic hip-hop concept EP Peace, Love and FYUTCH which was produced by G-Pop and featured deeply obscure samples and world music percussion. Interestingly, “Funked Up,” the first single off his Philosophy of Love EP was produced by Solar Shield — and the single is a Dam-Funk/Thundercat retro-futuristic -leaning jam featuring shimmering, arpeggio synths and wobbling low end paired with Simmons rhyming and singing a hilarious and very true tale about approaching an attractive woman, who’s been attracted to for some time or has noticed for a little bit and being cruelly rejected for his efforts. On one level, the song is about having the blind courage to risk being made a fool of and being rejected; on another level, the song is a tell off to someone, who in the narrator’s eyes doesn’t see what kind of man he is; but also, the song can be viewed as an admission of how stupid and vulnerable love can make us. And Simmons does all of this in a slick and funky as hell, dance-floor friendly song.

Filmed by Wesley Crutcher, the recently released video for “Funked Up,” is a mischievous take on action movies — in particular, movies like Jumper in which the main character travels through time; in this case, the future FYUTCH winds up traveling through time to see a younger FYUTCH get rejected by one of his first love interests, while the older FYUTCH gets rejected by a love interest, who was sitting near the younger FYUTCH. Trippy, right? But at the same time, it’s goofy and hilarious take on rejection.

Comprised of three siblings, twins Alexis (bass) and Zandy Fitzgerald (guitar), along with their brother Darius (drums) and cousin Jasmine Mullen (vocals, guitar), The New Respects are a Nashville, TN-based blues rock act, that has been heavily influenced by the gospel music they were surrounded by — but also by a healthy amount of secular and pop artists including Aretha Franklin, Alabama Shakes, John Mayer and others. Produced by Leagues‘ Jermey Lutito, the Nashville, TN-based quartet’s debut EP Here Comes Trouble is slated for a March 10, 2017 release through Credential Recordings and with the release of the EP’s first single “Trouble,” which has seen recent placements on ESPN’s Major League Soccer coverage, Fox Sports’ Road To The Octagon and TNT’s NBA coverage, as well as praise from NPR World Music Cafe‘s Jewly Hight. And unsurprisingly, as a result, The New Respects’ debut EP may arguably be one of the most highly-anticipated EPs of the first few months of 2017.

Here Comes Trouble‘s second and latest single “Money” is a gritty yet funky and soulful that not only displays The New Respect’s genre-defying sound — a sound which effortlessly meshes blues, arena rock, pop and hip-hop; but it also reveals a band that has an uncanny ability to write an swaggering and anthemic, power chord friendly hook paired with a sinuous bass line, a darting yet funky guitar line, thunderous drumming and Mullen’s powerhouse, pop belter vocals. Sonically speaking “Money” will likely remind listeners of The Black Keys, Robert Randolph and The Family Band and others and while that would be a fair comparison, lyrically the song has struck me as an ironic take on “If I Was a Rich Girl” that not only points out that being filthy rich won’t buy you more time, nor would it buy you much in the way of happiness.  In fact, the song suggests two things that seem to be an anathema in our consumer world — that having money and a lot of possessions actually distracts you from life’s true purpose: to love someone else and to be here now.

Directed by Ry Cox, the artfully shot, recently released music video follows the members of the band as they break into the home of some rich guy as he’s away to play music and invite friends and other associates to the house, along with footage of the band languidly enjoying the fruits of greed and power as they sing the song’s hook. And while being kind of trippy, the video ends with the band disappearing before the rich man’s return.

The quartet will be opening for Robert and The Family Band throughout March. Check out tour dates below.

Tour

Supporting Robert Randolph & The Family Band

3/15 — Cincinnati, OH @ The Ballroom @ Taft

3/16 — Cleveland, OH @ Beachland Ballroom

3/17 — Chicago, IL @ Lincoln Hall

3/18 — Madison, WI @ Majestic

3/20 — Kansas City, MO @ Knuckleheads

3/22 — Fort Collins, CO @ Aggie

3/24 — Boulder, CO @ Fox Theatre

3/25 — Denver, CO @ Gothic Theatre

3/26 — Aspen, CO @ Belly Up

Although he’s known as a co-founder of renowned, old school hip-hop act, Ultramagnetic MCs and for a lengthy  solo career, in which he has taken up a number of aliases and personas while perfecting and expanding upon an imitable flow full of surrealistic and fantastic tangents, grim and nightmarishly violent imagery and pop cultural references — namely comic books and cartoons, Kool Keith  may arguably be one of hip-hop’s most uncompromisingly weird and challenging artists. And interestingly enough 2016 may have also been one of the biggest years for The Bronx-based emcee, as the long-lost full-length effort Pimp to Eat from his collaborative project Analog Brothers with Ice-T, Pimp Rex, Marc Live and Black Silver was released earlier this year, along with his latest solo effort Future Magnetic, which had the incredibly prolific emcee collaborating with Ras KassAtmosphere’s Slug, MF Doom and Dirt Nasty.

In fact, last year, I wrote about “World Wide Lamper,” a single consisted of a menacingly sparse and hypnotic production featuring winkling synths and subtle yet propulsive drum programming paired with Kool Keith, B.A.R.S. Murre and Dirt Nasty trading braggadocio-filled bars full of insane punchlines that make references to pop culture, the profane, the grisly violent and the surreal. That single was quickly  “Super Hero,”a single that pairs a production consisting of wobbling and undulating synths, stuttering drum programming and looped chiming cymbals around a wildly infectious hook with two renowned emcees trading verses full of super-heroes, villains and anti-heroes maneuvering through a comic book-styled universe.

L’Orange an up-and-coming, Nashville, TN-based producer, who collaborated with Mr. Lif on his The Life & Death Of Scenery, released a free EP Koala and is about to go our on tour with Wax Tailor, and in his free time, the up-and-coming producer remixed Kool Keith’s and MF Doom’s “Super Hero.” And with the L’Orange remix, the Tennessean producer pairs two of hip-hop’s most acclaimed emcees ridiculous rhyme schemes with classic, super hero/comic book dialogue and a production featuring twinkling keys, some old-timey clang and clatter, a distorted old school-leaning blues vocal sample, and tweeter and woofer rattling 808-like beats  – while retaining the song’s hook. And in some way, the L’Orange remix manages to boldly and mischievously evoke film noirs, with an insane yet impeccably done ballroom caper — and you can probably picture the heroes (or shall I say, anti-heroes, in this case) narrowly yet confidently escaping capture.

 

 

 

New Video: Watch Nashville Garage Punk Ron Gallo Take Over a Busy Intersection with Furious, Old-School Rock

Gallo’s forthcoming full-length effort Heavy Meta was primarily written while Gallo was in Philadelphia — and over the course of a lengthy romantic relationship with a woman, who had a number of personal and emotional troubles. When the relationship ended, Gallo relocated to Nashville to finish writing material in what may have been one of the most transformative periods of his life as he went through what he felt was a personal reawakening and musical rebirth. Interestingly, at the time Gallo wrote and then recorded songs in small batches — without the initial intention of making an album and without the support of a label. As Gallo explains “Coming out on the other side, i now look at my past as a hazy dream where I did not know myself or the world at all. I still don’t know anything, but I’m closer than before. There is so much to learn outside of your comfort zone.”

Slated for a February 3, 2017 release through New West Records, the material on Heavy Meta reportedly covers several themes including Gallo’s personal ideology on abstaining from drugs and alcohol, self-empowerment, domestication, dead love, not knowing yourself, mental illness and more while expressing an overall frustration with the human race and civilization, while balanced with an underlying hopefulness of an idealistic realist. As Gallo explains “this record comes from my frustration with humanity and myself, and from my wanting to shake us all. At my core, I’m compassionate for humanity and the sickness that we all live with, and from that comes something more constructive.” He ends by saying “Party is over — this is the beginning of true personal responsibility for ourselves and our world and so we must LIVE truth, be freaks, be fearless, be light, love and be our best selves.”

The album’s latest single “Please Yourself” is a fuzzy and aggressive garage rock song full of power chords, a propulsive back beat paired with Gallo’s howled vocals — and throughout the length of the song there’s a wild urgency and frustration within. As a result, the song feels as though the narrator is trying to violent shake everyone around him awake, while screaming “Pay attention, you goddamn idiots! Stop fucking around and do something to make it right!”

Directed by Joshua Shoemaker, the recently released video begins with Gallo delivering a fiery soliloquy on the hollowness, pretension of our digital world. It’s quickly followed by a lengthy one-take shot in which Gallo walking through downtown Nashville stops at intersection to wait for his band featuring Joe Bisirri (bass) and Dylan Sevey (drums) to drive up in a Ford F-150 truck loaded with a PA system and a makeshift stage — and then they promptly take over the streets with furious rock ‘n’ roll before quickly disappearing into the night.

Featuring members of JEFF The Brotherhood and  Diarrhea Planet, Breast Massage is a Nashville, TN-based All-Star side project that specializes in a bruising, sludgy, power chord-based rock that has had the act headlining Third Man Records‘ Devil’s Night and playing with the likes of A Place to Bury Strangers, Colleen Green and others. “Bathing The Dog,” the first single off their soon-to-be released Cruisin’ For Filth, part of Infinity Cat Records‘ limited release cassette series, is a slow-burning, dirge-like power chord heavy song with thundering, heavy metal-liked drumming that sounds indebted to the Melvins and 90s alt rock.

 

 

 

 

Quinn Lewis is an Australian-born, Nashville, TN-based indie electro pop artist, who has has spit part of his childhood in both the Western US and Eastern US is a self-taught multi-instrumentalist and producer, who started his music career while in his early teens. Lewis began a fruitful collaboration with Danen Reed that caught the attention of the blogosphere; however, Lewis’ solo debut effort The Addicted EP is slated for an October 14, 2016 and from the EP’s first single “Bridges,” the Australian-born, Nashville-based multi-instrumentalist and producer reveals that he specializes in a sleek, infectious, dance-floor groove that’s reminiscent of blogosphere darlings like St. Lucia, Haerts, Nick Murphy (f.k.a Chet Faker) and others while drawing from the work of Nile Rodgers, 80s synth-based funk and R&B and house music — and its paired with Lewis’ plaintive and sultry cooing. In other words, it’s a  sexy yet plaintive, radio-friendly, club-banger that you’ll likely find yourself playing while pre-gaming your way to the bar or to the club.