Tag: New Single

Josie Bolvin is a Quebec-based, classically trained pianist and opera vocalist, as well as an electronic pop producer, singer/songwriter and artist, best known as MUNYA— and as the story goes Bolvin had only written one song when she was asked to perform at last year’s Pop Montreal. Ironically, at the time, Bolvin had never intended to pursue music full-time but after playing at the festival, she quickly realized that what she was meant to be a musician. So Bolvin quit her day job, moved in with her sister and turned their kitchen into a home recording studio where she wrote every day. These recordings would eventually become part of an EP trilogy — with each EP comprised of three songs — named after a significant place in Bolvin’s life. Her self-released debut North Hatley derives its name from one of Bolvin’s favorite little villages in Quebec. Now, if you’ve had been frequenting this site earlier this month, you may recall that her second EP, Delmano is slated for an October 5, 2018 release through Fat Possum Records and derives its name from Williamsburg Brooklyn’s Hotel Delmano.

Delmano‘s first single “Hotel Delmano” was a breezy and mischievous, synth-based tale of melancholy surrealism, centered by Bolvin’s ethereal vocals singing in her native French. Interestingly, as Bolvin explained, the song is largely inspired by a dream Bolvin had that was inspired by the video for Vendredi sur Mer‘s “La Femme à la Peau Bleue.”  “I watched it so many times that she entered my dreams once we were having a drink at Hotel Delmano. The song is about that dream.”  Sonically, the song sounds as though it should be a part of the soundtrack of a Michel Gondry film in which its sad protagonist gets thrown into a whimsical and colorful world while recalling La Femme, Polo & Pan, and others. The EP’s second and latest single “If I’m Gone Tomorrow (It’s Because of Aliens)” will further cement Bolvin’s growing reputation for crating breezy and ethereal synth pop centered around shimmering synths and Bolvin’s equally ethereal vocals; however, unlike its predecessor, it’s the first song that the French Canadian singer/songwriter and producer has written and released entirely in English. But underneath the breezy and mischievous air, is a bitter break up/bitter tell off of a callous and indifferent former love. As Bolvin says, “When I was a kid I really loved the movie Independence Day,” she explains of the track. “One night, years later I was home alone and I kept hearing really weird loud noises, not like a truck driving by, but a truck crashing into a building over and over. It freaked me out so bad I called my boyfriend and told him that if I’m gone tomorrow it’s because of aliens…he wouldn’t stop laughing at me. I was so mad he wouldn’t take me seriously I didn’t sleep that night and instead I wrote this breakup song.

 

 

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Last year, I wrote about the acclaimed trio of Toto Bona Lokua, comprised of French-Antillean singer/songwriter Gerald Toto, Cameroonian jazz musician Richard Bona and Congolese singer/songwriter Lokua Kanza, and as you might recall, with the release of  2004’s, critically applauded sophomore effort Totobonalokua, the pan-African act received attention across world music circles for a sound and aesthetic that effortlessly blended several different traditions, cultures and languages; in fact, the album was a commercial success in France, despite very little promotion and no touring.

Since the release of Totobonalokua, the members of the trio have pursued a series of diverse solo projects, which kept them incredibly busy. Of course, because of the success of their sophomore album, the individual members of the trio would frequently be asked by fans and the press if they would be reuniting to write and record new material — or if they had any plans to tentatively do so. Although the individual member of the trio’s paths seldom crossed, they managed to stay in touch, and as the story goes Gerald Toto suggested that it might be time to reconvene the trio and try to write new material. Bona and Kanza quickly agreed and while it took some time to synchronize the schedules of three extremely prolific and busy artists, they found time to write and record their third full-length album Bondeko, which was released earlier this year through French record label Nø Førmat. (By the way, the album’s title is derived from the Lingala word for  “friendship” or “fraternity.”)

Unsurprisingly, this year or so has been a very busy year for Gerald Toto, as he follows the release of Toto Bona Lokua’s third album with his forthcoming new album Sway, which is slated for an October 26, 2018 release, and from the album’s first single “Away Alive,” Toto will further cement his reputation for crafting infectious and breezy pop that’s enigmatic and mischievously difficult to categorize; in fact, “Away Alive” is centered around a languid and tropical groove, featuring gently strummed guitar, brief bursts of arpeggiated synths and an infectious hook paired with Toto’s yearning falsetto. Sonically the song hints at Tropicalia, Bossa nova, 70s soul, Afro pop, French pop and folk in a way that feels both familiar and new, but while encouraging the listen to slow down and to pay attention to the gentle sway of life’s rhythms every now and then.

 

 

 

 

 

 

Throughout this site’s 8 year history, I’ve written quite a bit about JOVM mainstay David Alexander, an internationally renowned Swedish-born singer/songwriter, multi-instrumentalist and producer, best known for his solo electro pop/dream pop recording project Summer Heart. Now, as you may recall Alexander has received attention for being among the first wave of Sweden’s contemporary electro pop and dream pop movement with the likes of MoonbabiesThe Land BelowHey ElbowBlind Lake and Emerald Park,as well as for a sound that has been compared to CaribouWashed OutIn Ghost Colours-era Cut CopyPainted Palms and others.
Over the past year, I’ve written about a handful of singles from Alexander’s 12 Songs of Summer, a single of the month series that according to the Swedish-born singer/songwriter, multi-instrumentalist and producer allows him to “show people what I am currently working on instead do what I was doing two years ago, which can be the case if you release an album. It’s definitely a way of challenging myself, thinking less and having more fun creating music!” Interestingly, 12 Songs of Summer‘s latest single “Ace of Pentacles” finds Alexander collaborating with Chicago-based electronic music artist and producer Elias Abid on a slow-burning and percussive production centered around ethereal vocals (which are chopped up at points), shimmering synths and a sinuous yet radio friendly hook — and while recalling Washed Out, the song manages to feel like the bitter come down of a love affair gone horribly wrong. While further cementing Alexander’s long-held reputation for crafting breezy synth pop, the song possesses an uncanny sober quality.
As the story goes, Abid and Alexander caught up in Abid’s new home of Chicago, the duo bonded over a mutual appreciation and admiration of each other’s work — and unsurprisingly, the duo quickly took the opportunity to bounce ideas off each other.  Speaking about their collaboration in press notes, Alexander said, “Both hanging out and working with Elias Abid was extremely inspiring. We shared the same work ethics and had similar ideas both when it came our craft but also in general. In a creative situation it’s worth a lot when you can comfortably put everything aside and focus on what’s important; the music. To me ‘Ace Of Pentacles’ ended up being about being open-minded and confident in yourself. About daring taking opportunities that are right in front of you.”
Abid adds “Besides creating some amazing ideas, what I appreciated the most out of hosting Summer Heart for his week in Chicago were the conversations we had between sessions. There was something that felt really familiar about the way he looked at life, relationships, music, art, etc.. His energy and approach as a creative person was inspiring and instilled a lot of confidence in my own process as a new artist. Not only did we create something we’re both proud of, we started a new friendship that I’m very grateful for!”

New Audio: London’s White Lies Releases a Moody and Epic New Single from Forthcoming Album

Slated for a February 1, 2019 release through [PIAS] Recordings, the acclaimed London-based indie trio White Lies, comprised of Harry McVeigh (lead vocals, guitar), Charles Cave (bass, backing vocals) and Jack Lawrence-Brown (drums) will be marking their tenth anniversary as a band — and interestingly, the album reportedly finds the band pushing their sound and aesthetic in new directions with the addition of personal, and at times deeply intimate lyrics written by the band’s Charles Cave. Unlike the preceding albums, the writing and recording process was a Transatlantic one that included a trip to Los Angeles, where they worked on new material with Ed Bueller, who produced the band’s chart-topping debut To Lose My Life and their third album Big TV. Throughout the process, the band enlisted past associates and collaborators to assist on the proceedings including engineer James Brown, who has worked with Arctic Monkeys and Foo Fighters; the renowned producer Flood, who contributes synths and keys on a couple of tracks; and Grammy Award-winning Alan Moulder, who has worked with Smashing Pumpkins, Nine Inch Nails and The Killers to mix the album. 

Clocking in at a little over 7 and a half minutes, the album’s latest single “Time to Give” may arguably be among the most ambitious songs the band has released, as the track is centered around a lush yet moody arrangement of shimmering synths, a sinuous bass line that’s part of a propulsive, motorik groove and soaring, arena rock-friendly hooks paired with McVeigh’s sonorous baritone. And while nodding a bit at Snow Patrol and others, the song seems to focus on a dysfunctional and abusive relationship from a real an lived-in place; in fact, it’s so real that as a result, the song bristles with bitterness, confusion and hurt. 

Last month, I wrote about Evalyn, an up-and-coming Los Angeles-based singer/songwriter whose soon-to-be released Salvation EP thematically explores the seven deadly sins, while also being centered around the concept of trying to find something to save you from yourself and the world — whether it be a religion or a cult or anything else you might worship. Now, as you may recall, EP single “Big Bad City” featured an arena rock-like production consisting of thumping beats, shimmering and arpeggiated synths, a sinuous bass line and a soaring hook. And while possessing the emotional heft of an old school spiritual, the song was one examination of pride — in particular, an unapologetic passion for a sinful, greedy and vapid way of life.

Interestingly, the EP’s latest single “A Pill to Crush” reveals an artist who readily experiments with her sound and songwriting as the track manages to subtly hint at 60s psych pop as its centered around a trippy production of bubbling and wobbling synths, shimmering and reverb-drenched guitar chords paired with the Los Angeles-based singer/songwriter’s dreamily distracted vocals (which are distorted at various points). And while the song is arguably the most expansive and mind-altering of the up-and-coming artist’s growing catalog, the song lyrically finds its narrator bitterly describing a relationship in which the other person treats you like a pill they can crush and eventually discard — and the feelings of wrath that being rejected and treated poorly can engender.

Led by sibling duo and founding members David (guitar, vocals) and Rylee Taggart (synth, vocals) along with Joey Kane (drums) and Ryan Wiles (bass, guitar, vocals), the Wakefield, Quebec, Canada-based quartet Rebelle quickly received a national profile with the release of the genre-bending “Hide,” which landed on CBC Searchlight’s Top 10 for consecutive weeks and eventually landed on Spotify Canada’s New Music Friday playlist. Building upon a growing profile in their native Canada, the band’s latest single “Still Pretty” finds the band’s sound meshing elements of synth-led New Wave with an intro that recalls The Fixx’s “Red Skies at Night,” rousing, arena rock friendly hooks, power chords and a gritty grunge rock-like vocal within a radio friendly yet expansive song structure.

New Audio: JOVM Mainstay Ron Gallo Returns with a New Wave-like Meditation on Unity

Throughout the past couple of years, I’ve written a quite a bit about Ron Gallo, a  Philadelphia-born, Nashville-based singer/songwriter and guitarist and JOVM mainstay, whose musical career began in earnest with an eight year stint as the frontman […]

Last month, I wrote about the Sudbury, Ontario, Canada-based punk act Tommy and the Commies, and as you may recall, the band, which is comprised of  Jeff Houle, best known as the creative master mind of Strange Attractor; Jeff’s brother Mitch, with whom he’s played in power pop act STATUES; and frontman Tommy Commy can trace their origins to when Commy dragged Jeff Houle into a punk rock venue bathroom stall to play an inaudible demo on his phone. And as the story goes. the Houles decided to collaborate with Commy, after being impressed by his vocals.

The trio’s full-length debut, Here Come .  .  . is slated for release later this month through Slovenly Records, and “Devices,” the album’s first single revealed a band that specializes in a furious and blistering mod punk that recalls power pop and  The Ramones on speed,  while centered by an incisive criticism of our addictive obsessions with our electronic devices. “Suckin’ In Your 20s” the Canadian trio’s latest single off their full-length debut continues in a similar vein as its predecessor as its an angular bit of breakneck power pop-influenced punk with enormous, rousing hooks that manages to be reminiscent of Q: Are We Not Men? A: We Are DEVO-era DEVO; in fact, the song seems underpinned by an anxious nihilism that evokes our socioeconomic moment.

 

 

New Audio: The Sha La Das Release a Psych Pop-like Bit of Blue-Eyed Soul

I’ve written a bit about the newest act in the Daptone Records Universe over the course of the summer, The Sha La Das, and as you may recall, the act, which is comprised of the the Staten Island, NY-based Schalda Brothers,  Will (a.k.a. Swivs), who played keys for Charles Bradley and His Extraordinaires; Paul, the creative mastermind and guitarist with his Paul and The Tall Trees, as well as a member of Charles Bradley and His Extraordinaries; Carmine; and their father Bill can trace the origins of their passion for music to growing up in a rather musical home — as a teenager, Bill was a member of Brooklyn-based doo wop act The Montereys in the early 60s, an act that played neighborhood clubs and bars, eventually playing at the 1964 World’s Fair before putting his musical career on hold to raise his family; however, Bill made sure that he taught his sons what he knew. As the eldest son Will recalls in press notes, “He would bring us out on the stoop on Staten Island, and we would teach us parts of say, the Sesame Street theme song. We were his backing group early on and that was a lot of fun for us growing up.”

Officially though, the origins of The Sha La Das can be traced to when The Schalda Brothers had come into the studio to record background vocals on Charles Bradley’s sophomore album Victim of Love. And as the story goes, as soon as Daptone Records/Dunham Records producer and guitarist Thomas Brenneck first heard The Schalda Brothers’ close harmonizing, The Everly Brothers and The Beach Boys immediately came to his mind — and from that point, Brenneck knew that he had to work with them as a separate project. The Sha La Das’ Thomas Brenneck-produced full-length debut Love In The Wind is slated for a release next Friday through Dunham Records, an imprint of Daptone Records, and the album which was co-written by Brenneck and Bill Schalda finds the group taking their sound and approach outside of doo wop and “to take the whole vocabulary of doo wop harmony and reapply it to soul, so you get so you get super soulful harmonies along the lines of The Manhattans and The Moments,” as Brenneck explains in press notes. Unsurprisingly, the album was a family affair — both biological and within the Daptone Records Universe, as the Schaldas are backed by a modern soul All-Star backing band featuring Brenneck, Homer Steinweiss, Dave Guy, Leon Michels, Nick Movshon and Victor Axelrod.

The album’s first single was the achingly tender and yearning ballad “Open My Eyes” centered around an atmospheric and unhurried arrangement consisting of a bluesy guitar line, plinking keys, dramatic and gently padded drums, soaring strings and the Schaldas’ soulful harmonizing. The album’s second single “Just For a Minute” continues in a similar vein as its predecessor but centered around a jangling and old school soul-like arrangement that recalls The Everly Brothers and others, complete The Schaldas tender vocalizing. The album’s third and latest single “Okay My Love,” continues to highlight The Schaldas effortless, blue-eyed soul harmonizing but within a trippy and somewhat moody arrangement that recalls Scott Walker’s “It’s Raining Today” as much as it does old school soul, but while possessing a swooning urgency. 

 

Now, throughout the the bulk of this site’s eight year history, I’ve written quite a bit about the acclaimed New York-based dance music outfit Escort,which features their indomitable frontwoman and bassist Adeline Michele, and as you may recall she released a solo album a few years ago — but her forthcoming self-titled, full-length effort slated for a November 9, 2018 release is something of a reset button; in fact, the Morgan-Wiley-produced “Emeralds” found the Escort frontwoman’s sound moving towards slinky 80s Quiet Storm-inspired synth soul reminiscent of Prince and others, centered around a sinuous bass line and Adeline Michele’s sultry vocals.

“Before,” the self-titled album’s latest single is centered around a funky, disco-like bass line, twinkling keys, shimmering and arpeggiated synths and Adeline’s effortless and self-assured pop superstar vocals — and while the song sonically nods at Chaka Khan and Rufus‘ “Ain’t Nobody,”  Mary J. Blige’s “Be Happy,Patrice Rushen‘s “Feels So Real” and classic Chicago house music, it possesses a soulful and disco-like ecstasy.