Tag: New Single

Since their formation back in the 2007, the Atlanta, GA-based quartet The Pinx, currently comprised of Adam McIntyre (vocals, rhythm guitar), Chance McColl (lead guitar), Jonathan Lee (bass) and Dwayne Jones (drums), have developed a reputation across the Southeast for a relentless touring schedule that had the band opening for the likes of Ben Harper and Relentless7 among others, for songs that have appeared during highlights broadcast on ESPN and Fox Sports, and for a sound that draws heavily from The MC5, Cheap Trick, Led Zeppelin, Motorhead and others — or in other words 70s-leaning arena friendly power chord rock.

After a brief hiatus that saw McIntyre’s stint with fellow Atlanta-based band StoneRider during their European tour and a massive lineup change, the band reformed and with a change of songwriting approach and sonic direction. As McIntyre says of the material he wrote that comprised the band’s forthcoming new album, Freedom: “A lot of the stuff I learned about songwriting during my decade in Nashville came back. Not the formulaic bro-country aspect, but folks like Todd Snider and Dan Baird. Smart, funny guys who write songs that reflect themselves well. I wanted some of that to come through. It all has to mix with the rock & roll and the blues and soul and everything, and I put together a band tailor-made to do just that.” McIntyre also adds ““These songs are all true stories. I tried to write concise, simple little rock and roll songs. This is the set I want to play live.”

Freedom‘s latest single “Baby Won’t Ya” is an Southern double fried, whiskey soaked, The Black Crowes-indebted cover of The MC5 that retains the song’s anthemic, power chord-heavy swagger but with a studio sheen that doesn’t clean up the original’s sleazy dive bar feel.

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With the release of their debut full-length effort, Teeth, Brooklyn-based indie rock quartet The Loom — comprised of John Fanning (guitar, vocals), Lis Rubard (French horn, trumpet, keys, vocals), John Mosloskie (bass, vocals) and Mike Rasimas (drums) — saw a rapidly growing national and international profile as the album was critically praised by the likes of The New York Times, who called the band the “Next Big Thing,” Paste, who named the band “Best of What’s Next,” WXPN, who named them a “World Cafe Next” band, as well as breathless praise from Daytrotter and New Yorker. And as a result, the Brooklyn-based quartet toured extensively across North America — in particular across the US and Canada — and they’ve made tour stops as far away as Poland.

Produced by Kevin McMahon, best known for his work with Titus Andronicus and Real Estate and recorded at Marcata Recording, the Brooklyn-based quartet’s long-awaited sophomore release Here In The Deadlights is slated for release next month and thematically speaking revolve around deeply personal experience — Fanning’s world up-ending split from his longtime partner and best friend of 14 years, followed by the difficult period of rebuilding one’s own life. And reportedly, the forthcoming effort is a radical sonic departure as the material has the band taking on a much more krautrock and psych rock-leaning sound, complete with layers of organs, feedback heavy guitars and ethereal horns all run through delay and other effects pedals as you’ll hear on the moody and buzzing “Fire Makes,” a song that sonically reminds me a little bit of My Jerusalem‘s Preachers — but with a tense sense of menace.

The Brooklyn-based quartet will be on tour throughout April, and it starts with a record release show on April 22, 2016 at Union Pool. Check out tour dates below.

Tour Dates
 
4/22 – Brooklyn, NY – Union Pool
4/23 – Beacon, NY – The Howland Cultural Center
4/24 – Albany, NY – The Low Beat
4/25 – Boston, MA – Out of the Blue Too Gallery
4/26 – Philadelphia, PA – Kung Fu Necktie
4/27 – Washington, DC – Velvet Lounge
4/28 – Louisville, KY – TBD
4/29 – Indianapolis, IN – The Melody Inn
4/30 – Chicago, IL – Schubas (w/ Cross Record)

Over the course of this site’s almost six year history, you’ve likely come across posts on Brooklyn-based emcee Shabaam Sahdeeq and as you may know, Sahdeeq recently celebrated his 20th anniversary in hip-hop as an artist. And considering the state of the contemporary music industry and that hip-hop has long been an extremely fickle genre, such longevity, especially as an underground/indie artist is a rather impressive, almost Herculean task. Interestingly, Sahdeeq has marked his 20th anniversary as an artist by being as prolific as ever — last year, he released the Modern Artillery EP, a collaboration with Swedish-born, The Netherlands-based producer Big Ape, and this year he’s collaborated with DJ Ready Cee and Spit Gemz on the politically charged single “News at 11.” 2016 will also mark the release of Timeless: The Collection and the latest single from the album “Fly Script” is a collaboration with DJ Doom that has Shadeeq rhyming about social media’s influence on hip-hop, artists and fans, the hustle of the hip-hop game, touring around the world as a musician, dealing with deceitful and dishonest people, and of course, gorgeous woman over a production consisting of boom bap beats, twinkling piano keys, scratching and chopped up vocal samples, along with ominously swirling synths. Sonically, the song has a menacing undertone that reminds me a little bit of It’s Dark and Hell is Hot-era DMX.

 

 

 

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 RyanCAPPAChelsea 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.

With the release of their 2010 self-titled EP and their 2012 full-length debut Differance, South Korean trio Jambinai, comprised of   Bongi Kim (haegum — a Korean fiddle-like instrument), Ilwoo Lee (guitar and piri — a Korean flute, made of bamboo) and Eun Young Sim (geomungo, a Korean zither), the trio have developed a rapidly growing national and international reputation for an intense, adventurous, headbanging worthy take on traditional Korean instrumental music. As the story goes, the trio met while studying traditional music at Korea National University of Arts, and they quickly bonded over a desire to present traditional music in a new way, “to communicate with the ordinary person, who doesn’t listen to Korean traditional music,” as the band’s principle composer and writer Ilwoo explains in press notes. Interestingly, Jambinai’s approach eschews several generations of Korean modernists and post-modernists, who Lee notes have based their sound and approach around Western classical music, jazz, jazz fusion to create a prog rock/experimental rock sound.

And while shocking Korean audiences, the trio have also been critically and commercially successful as their full-length Differance was nominated for Best Crossover Album and Best Jazz and Crossover Performance at the 2013 Korean Music Awards, and won Best Crossover Album — and as a result, the band used the album’s success as a springboard for several international tours as a quintet featuring  Jihoon Ok (bass) and Jae Hyuk Choi (drums) that have seen praise from a number of major Western outlets including The Guardian and others.

A Hermitage, the trio’s forthcoming sophomore effort and Bella Union Records debut is slated for a June 17 release, and the album’s latest single “They Keep Silence” is a tense, throbbing and furious song full of angular and stabbing chords paired layers upon layers of feedback and distortion in a composition that consists of downtuned and punishing power chord-heavy sections and brief and quite sections of respite and introspection. Sonically, the song sounds as though it draws from Tool and Ministry  — or simply put it kicks ass, takes names and kicks more ass just to ensure that you got the point. In fact, the song seems to tape into a universal feeling of anger and isolation of people, who are growing both impatient and suspicious of the forces that are controlling and influencing their daily lives.

 

 

 

 

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.

 

New York-born and based emcee Homeboy Sandman is arguably one of hip-hop’s most prolific, inventive and uncompromisingly challenging artists, and unsurprisingly over the course of this site’s history, the New York-based emcee has been a JOVM mainstay. Now, since  signing with renowned indie hip-hop label Stones Throw Records in 2011, the Boy Sand has recorded and released 3 full-length albums and 6 EPs — with the most recent release being a collaboration with Aesop Rock titled Lice. And with each effort, Homeboy Sandman along with a growing list of collaborators have managed to push the boundaries of what contemporary hip-hop should be, sound like and concern itself with thematically; in fact, few contemporary emcees can tackle sociopolitical issues with such a creative and witty use of wordplay and incredibly complex rhyme schemes.

Simultaneously, Homeboy Sandman has developed a reputation as being a highly sought-after social and cultural critic who has an thought-provoking pieces published in Gawker, Huffington Post and The Guardian among others. And as the New York-based emcee explains in press notes ,”I don’t want to write something to be a conversation piece. It has to help change something.”

Kindness for Weakness, the Boy Sand’s forthcoming full-length effort is slated for a May 6, 2016 release through Stones Throw Records, and the album’s title is informed by the New York-based emcee’s personal saying that “mistaking kindness for a weakness is a weakness I need to have more kindness for.” Reportedly, the album thematically focuses on Homeboy Sandman’s discomfort within his own comfort zone and addresses his personal insecurities, rapper stereotypes and morality among others. “Talking Bleep,” Kindness For Weaknesses‘ first single was produced by Edan and pairs a warm, glitchy and psychedelic-leaning soul sample with some scratching with Homeboy Sandman’s ridiculous flow. Throughout the song, the New York-based emcee discusses a series of ridiculous situations that have recently occurred to him including fans who desperately want to him to continue releasing the same exact songs without considering the fact that as an artist, his sole duty is to evolve and challenge himself, and in turn his fans; Huffington Post asking him to write about his thoughts about a rap beef, after he had written and then published a controversial article linking mass media and private prisons; producers who want him to guest spot for free or very little money; corny emcees who try to give him career advice; and more. It’s arguably Homeboy Sandman’s most incisive and riotously funny song while being pointedly and thoughtfully sociopolitical with playful inner and outer rhymes.

Simply put Homeboy Sandman is one of my favorite contemporary emcees and although he’s not as commercially successful as the likes of Drake, Meek Mill, Fetty Wap or Wocka Flocka Flame, that may be a boon to those who love real hip-hop with dope emcees, who actually have something significant to say, rhyming over insane productions. Real hip-op will thankfully never, ever die; it’s just more difficult to find when listeners are inundated with bullshit.

 

 

 

 

 

 

 

 

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Comprised of Aaron Closson (guitar and vocals), best known as a member of The Hourly Radio and multi-instrumentalist Nolan Thies, best known as a member of N?TIONS, Brooklyn-based shoegaze duo The Blessed Isles specialize in a sound that is heavily indebted to 80s Brit Pop, New Wave and of course, shoegaze; in fact, as you’ll hear on “Caroline,” the first single off the duo’s long-awaited full-length effort Straining Hard Against the Strength of Night, the band’s sound seems to draw from New Order, Slowdive and Cocteau Twins as the duo pairs Closson’s plaintive vocals with shimmering delay pedal fed guitar chords, propulsive boom-bap 808s, and ambient-like synths to craft a swooning and introspective song with an urgently anthemic pulse.

 

 

 

 

Initially comprised of cousins Jamie Turner (vocals, bass) and Matt Williams (guitar), along with Mike Mutt (organ) and Adrian Macmillan (drums), Perth, Australia-based psych rock quartet The High Learys can trace their origins to when Turner and Williams met Mutt in high school, with the band recruiting Macmillan to finalize the band’s original lineup back in 2011. With the release of a full-length album and a number of singles the Australian psych rock quartet have received praise both across their native Australia and internationally for a sound that had been described as a contemporary take on 60s psych rock, bubblegum pop and large rock that seemed to draw influence from the likes of  The DoorsThe Who Sings My Generation-era The WhoThe Animals, The TurtlesThe Beatles and contemporary acts such as OasisThe Black Angels, Elephant Stone, Sleepy Sun and others.

In fact, the band quickly became a JOVM mainstay as I wrote about a handful of singles on this site — including “Letters to Alice,” a song comprised of intertwined, twisting and turning guitar and organ chords paired with a propulsive rhythm section and Turner’s  Liam Gallagher-like vocals; “I’m A Fool For You” was their most bubblegum pop-leaning single, which possessed an infectious and sweet melody paired with even sweeter lyrics; and “Clear My Mind,” a single that sounded as though it could have been written, recorded and released sometime during the Summer of Love. Now, it’s been a couple of years since I’ve written about them and in that time the band’s lineup has been shuffled — Macmillan has been replaced by Mitchell J. Benson on drums. And interestingly enough, the band’s latest single “Cabinet” not only marks a change in sonic direction for the band that pushes their 60s-leaning psych rock sound closer to the 21st century and is the first time that the band produced themselves in the studio. Sonically “Cabinet” sounds as though it draws from My Gold Mask and Elephant Stone’s most recent releases, as the band pairs guitars and organ played through distortion and effects pedals, thundering drumming and an anthemic hook. In some way, the song sounds as though it were recorded in an enormous empty room with the instrumentation reverberating off the walls and back down to the musicians and listener.

As the band notes in press notes “‘Cabinet’ explores the insecurities of a young mind. Someone who feels lost in their ways, but at the same time shares the burdens of adolescents with their other half.”  And although the song possesses a trippy feel, at its core is a plaintive heartache that should feel familiar — it should remind the listener of the fact that love is almost always awkward but perhaps even more so when you’re trying to figure yourself out.