Tag: New Single

Over the six year history of this site, I’ve written quite a bit about New York-based singer/songwriter and multi-instrumentalist Rene Lopez, one of JOVM‘s earliest mainstay artists. And throughout that time, Lopez has uncompromisingly refused to be pigeonholed into one particular genre — the New York based singer/songwriter and multi-instrumentalist has managed to mesh salsa, boogaloo, old-school hip-hop, meringue and electronica into one cohesive whole on E.L.S. (short for Electric Latin Soul); salsa and 7os Brazilian music on his most deeply personal effort Paint the Moon Gold; and slinkily seductive synth-based R&B and funk, inspired by Prince, The Gap Band, Rick James, Chic and others on Love Has No Mercy and its subsequent releases. This shouldn’t be surprising as Lopez has told me in an interview, he grew up in a household where salsa, merengue and disco were frequently played — and his first band The Authority was deeply influenced by his love of Prince and funk. So in some way, Lopez has come back full circle.

Now, if you’ve been frequenting this site over the past year in particular, you’d likely know that Lopez is among a handful of artists who has focused on a single of the month series. While on one level, such a phenomenon points to the death of the album, it also allows artists to be creative without concerning themselves with the strict thematic and lyrical structure of an album — but with fairly strict deadlines to compete and release material. Lopez’s latest Jam of the Month, “Run Run Baby,” is a sleek, slinky and sensual synth-based pop/R&B that strikes me as a modernized version of Prince’s “The Beautiful Ones” if covered by Dam-Funk as Lopez’s sultry crooning is paired with shimmering and wobbling synths, skittering drum programming.

 

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With the release of their debut effort In The Red, Los Angeles, CA-based thrash punk trio Zig Zags –comprised of Jed Maheu (guitar/vocals), Caleb Miller (bass/vocals), and Dane Arnold (drums) — quickly received attention for a blistering, face-melting, no-bullshit thrash metal/thrash punk aesthetic that sounds as though it owes a massive debt to early 80s Metallica, Slayer, Iron Maiden and others. “The Sadist,” the latest single off the soon-to-be released Running Out of Red will further cement the trio’s reputation for pairing scuzzy, face-melting, ass-kicking power chords guitar pyrotechnics, propulsive drumming and shouted vocals. It’s the sound of kids with very little options, shitty lives and shittier jobs, playing in garages and basements, wishing for something — hell, anything to happen to break up the tedium of their lives.

 

 

 

 

 

 

 

 

 

With the 2012 release of the “Ribbons” 7 inch and the 2013 critically applauded release of their full-length debut, A Constant Sea, Brooklyn-based indie rock/psych rock act Heliotropes — comprised of frontwoman, founding member and primary songwriter Jessica Numsuwankijkul along with a rotating cast of collaborators that include Gregg Giuffre (drums), Richard Thomas (bass) and Ricci Swift (guitar)  — have quickly exploded on to the national scene; in fact, A Constant Sea landed on the top ten of Mother Jones’ Best of 2013 list, and as a result, the band has opened for (and toured with)a  diverse array of artists including Esben and The Witch, Thurston Moore, The Geto Boys, Matt and Kim, Kurt Vile, Parquet Courts, The Black Angels and The Raveonettes —  and they’ve played sets at SXSW, Firefly and Culture Collide.

Building upon that buzz, the Brooklyn-based indie rock band will be releasing their highly-anticipated sophomore effort Over There That Way on July 15, 2016 through The End Records. And the album’s latest single “Normandy” is sweetly, old-fashioned garage rock that pairs shimmering and jangling guitar chords, and a propulsive rhythm section with Numsuwankijkul’s plaintive and ethereal vocals. And as soon as you hear the song it shouldn’t be surprising that the band’s sound has been described as Mazzy Star’s Hope Sandoval doing jangling psych rock.

 

 

Comprised of Jonas Ronnberg, the co-owner of Northern Electronics who’s known for recording caustic techno under the moniker of Varg, as well as his involvement in renowned experimental acts Ulwhednar and Dard A Ranj Fran Det Hebbersalska Samfudet; renowned Swedish composer Erik Enocksson, who has scored a number of independent productions including an orphaned soundtrack to Apan, which was re-mastered and re-issued by Posh Isolation Records last year; Frederikke Hoffmeir, the mastermind of highly-regarded industrial and experimental electronic act Puce Mary;Vit Fana’s Ossian Ohlsson, who has appeared on a number of Northern Electronics and Posh Isolation compilations; and Loke Rahbek, co-founder of Posh Isolation and member of Damien Dubrovnik, highly-regarded act Lust For Youth — and for recording with Croatian Armor, Body Sculptures is an All-Star side project of renowned Scandinavian experimental electronic and electro pop artists.

Last year marked the act’s live debut, a set at the Berlin Atonal Festival and the release of their debut effort together, The Base of All Beauty Is The Body. And June 3, 2016 will mark the release of the act’s highly-anticipated sophomore effort A Body Turns to Eden.The album’s first single — and album title track — “A Body Turns to Eden” will further cement the act’s reputation for crafting stark and uneasily tense music as background electronic buzzing is paired with slowly unfurling and churning synths, minimalist beats in a song that only partially unfolds and reveals itself to its listeners.
 

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The combinations of acoustic and electronic instrumentation, the soiled traces of genre, and the mixed modes of experimentation, are here pitched as an eternal requiem, letting the play between the project’s orthodox and unorthodox methods reflect a sharp fatalism. Each song presents familiarity and intimacy within an aura of claustrophobia. And as if out of a cruel awareness of this fact, unease blooms into a comforting form. A Body Turns To Eden is an essential piece for anyone with interest in Scandinavian electronic music today.

 

 

With the release of critically applauded singles “Women’s Business” and “Here We Go,” Melbourne, Australia-based quintet Canary have won both national and international attention as the former charted on Hype Machine and the latter received airplay through triple J — and as a result, the band has opened for the likes of Saskwatch, Ainslie Willis, Hein Cooper and LANKS.

Building upon the buzz that they’ve already received, the Australian quintet’s sophomore effort I Am Lion is slated for a July 8, 2016 release and the album’s first single “Fickle Heart” was largely inspired by frontman Matthew Kennealy’s  breakup — and as a result, the song focuses on the bitterly self-righteous feelings of self-destruction and hatred in the aftermath of a relationship’s violent explosion.  Sonically,the band employs sludgy power chords in a song structurally sounds as though it owes a debt to 90s alt rock — as the song alternates between anthemic hooks and quieter, more contemplative sections. And throughout the song’s narrator spends his time reflecting on the nature of a relationship that’s left him heartbroken, bitter and wishing that he never met this person in the first place. Certainly, it’s a sentiment that should feel universally familiar to anyone who’s been through a nasty breakup.

 

 

 

 

 

 

 

 

Perhaps best known as the frontman of renowned indie act Black Moth Super Rainbow, Tobaccco has developed a reputation as an electronic music artist and producer, who has an uncanny ability for crafting an abrasive yet anthemic sound — as a fellow critic at Stereogum  described Tobacco’s sound as wanting to “channel Daft Punk and The Black Keys at the same time.”

Sweatbox Dynasty, the long-awaited follow-up to Ultima II Massage is slated for release this summer, and the album’s first single “Gods In Heat” will further cement Tobacco’s reputation for crafting scuzzy and anthemic electronic music as his production pairs layers of buzzing and abrasive synths, industrial clang and clatter, skittering drum programming, surface-level analog tape hiss and sizzle, a chanted mantra and an infectious hook — but if you’re familiar with the Pennsylvania-based producer’s work, the new single possesses a subtle elements of psych rock that lighten the murkiness ever so slightly.

 

 

 

 

 

Currently comprised of founding members Dean Povinsky (lead vocals, guitar) and Dwayne Christie (drums), along with newer members Derek Bosonworth (bass) and Nick Greaves (guitar), Chris Dawe (keys),  the Toronto, ON-based indie rock quintet Wildlife can trace their origins to when Povinsky along with guitarist Darryl Smith relocated to Glasgow, Scotland to form a band. Along with Scottish drummer Peter Kelly and fellow Canadian Billy Homes, the band spent time traveling, writing and recording songs and playing small venues around Glasgow; however that project split up with the Canadian members left Glasgow to return to Canada. Povinksy moved to Toronto with the intention of continuing Wildlife with childhood friend Plant, Christie and Julia Mensink (synths), along with Bosonworth to flesh out the band’s initial lineup.

Their full-length debut, Strike Hard, Young Diamond was released to critical praise from the likes of Exclaim!. Chart and others. After a series of lengthy tours across North America, which led to their first Top 10 hit single, the members of the band were also working on their first full-length album since 2013. “Dead Century” is the first single off that album, slated for release at the end of the year, and as the band explained to me in an email the song is about “moving forward through lost time; what it feels like to have one foot in an age that no longer exists, and coming to terms with having the other in a world you may never understand.” And as a result, the shimmering, moody and anthemic single produced by Tawgs Salter possesses a bittersweet sense of loss and confusion over what to do next, but underneath all of that a sense of time rushing past. Sonically, the song is incredibly contemporary and radio friendly indie rock as shimmering guitar chords, soaring synth chords, an anthemic hook you can hear kids shouting along and dramatic, propulsive drumming paired with plaintive and yearning vocals — and although aching, the song manages to have a sense of hope at its core.

 

 
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With the release of a couple of EPs and a reputation for a being one of the best up-and-coming live sets in the UK scene, Bristol, UK-based post-punk band The Jacques have built up quite a buzz around themselves; in fact, this summer, the band will be touring the European Union and UK major festival circuit with opening sets for Noel Gallagher, Rudimental and The Charlatans at Kendal Calling’s main stage and for Primal Scream at Down To The Woods.

“Eleanor Ring Me,” the band’s latest single sounds as though it draws influence from 90s alt rock and grunge rock as the band pairs sludgy power chords,  distorted vocals, snarling vocals and an anthemic hook in a song that the band says is “a kick at the people and things that we are distancing ourselves from now. And as a result, the song possesses a “Fuck off — or we’ll kick the shit out of you” air.

Check out the band’s EU and UK tour dates below.

Tour Dates

Fri 13th May – l’Alimentation Generale, Paris France

Sat 14th May – Les Nuit Botanique, Brussels Belgium

Fri 27th May – Dot to Dot Festival, Manchester UK

Sat 28th May – Dot to Dot Festival, Bristol UK

Sun 29th May – Dot to Dot Festival, Nottingham UK

Fri 29th July – Kendal Calling Festival, UK

Sun 31st July- Damaris Festival, Amsterdam Holland

Sat 13th Aug – Down to The Woods Festival, Durham UK

 

Comprised of Danielle Souza (vocals) and Kyle Foster (guitar), Los Angeles, CA-based indie rock duo Dead Posey can trace their origins to when the duo met at an album release party at Serenity West Recording in Hollywood back in 2013. Foster caught Souza’s eye when he was lighting a candle inside a little glass cottage and it led to the duo striking up a joking conversation about setting Tinkerbell’s house on fire. After discovering that they had mutual musical influences, the duo started a band together, which eventually lead to their current project Dead Posey.

Their debut single as Dead Posey “Holy Grail” is a stomping and swaggering bit of anthemic, power chord-based rock that sonically owes a debt to The Black Keys, Dirty Ghosts and the glam rock sounds of T. Rex and others as the song finds the duo pairing Souza’s soulful and gritty vocals with stomping and propulsive drumming and scuzzy yet towering power chords. And although it is a rather familiar yet winning formula, the duo manage to do so with a cool self-assuredness and a sultry sensuality.

 

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Comprised of Nate J. (vocals, bass), Ali Abbas (guitar) and Kirk Power (drums), Calgary, AB-based post-punk/darkwave/chillwave trio Ultrviolence have quickly developed a reputation for a moody, post-punk sound that’s indebted to Joy Division, New OrderInterpol, Viet Cong and others and for adhering to the sort of DIY principles that led them to ignore the clichés and dictates of the major recording industry machine. Now over the past couple of months the Canadian post-punk trio have become one of my new favorites as I’ve written about “Better Learn How to Swim,” and “Radiation,”  the first two singles off the Canadian  trio’s soon-to-be released EP Black Sea; in fact, both singles manage to remind me quite a bit of Turn On The Bright Lights-era Interpol — in particular, I think of “Untitled,” “NYC” and “Stella Was a Diver and She Was Always Down.”

Much like “Radiation,” “Untitled,” will further cement the trio’s reputation for moody and angular post-punk with anthemic hooks — but while arguably being the most propulsive and forceful songs they’ve released to date.

 

 

 

 

Earlier this month, I wrote about Calgary, AB-based indie rock/darkwave/New Wave/post-punk trio Ultrviolence. Comprised of Nate J. (vocals, bass), Ali Abbas (guitar) and Kirk Power (drums), the Canadian trio have quickly developed a reputation for a moody post-punk sound that’s reminiscent of contemporary acts like Interpol, Viet Cong and others, and for adhering to DIY principles as they’ve played in countless basements and tiny clubs across the continent, using battered instruments and battered instruments and ignoring the cliches and dictates of the recording industry machine. Now you might recall that i wrote about “Better Learn How to Swim,” a moody yet swooningly Romantic song off their forthcoming Black Sea EP that manages to be reminiscent of Turn On The Bright Lights-era Interpol — in particular, I think of “Untitled,” “NYC” and “Stella Was a Diver and She Was Always Down” — as the band pairs a sinuous bass line, angular and shimmering guitar chords and an dramatic, anthemic hook with Nate J’s aching baritone.

Black Sea‘s latest and single ” Radiation” will further cement the Canadian trio’s burgeoning reputation for crating dark and moody post-punk/New Wave/darkwave-leaning rock while gently expanding upon the sound that initially captured my attention — the band pairs Nate J’s expressive and yearning baritone with ethereal synths, shimmering guitar chords played through copious reverb, and a driving rhythm consisting of four-on-the-floor drumming and propulsive bass chords. Sonically, the new single manages to clearly draw influence from the likes of the aforementioned Turn On The Bright Lights-era Interpol, Joy Division and New Order — but with as subtle twist on a familiar sound.