Tag: New Single

 

KCPK is a French production and electronic music artist trio, who have have been making a name for themselves as pioneers of the Rémoise scene along with the likes of Yuksek, Brodinski and The Shoes, as well as their frequent collaboration with PANIK, a club night best known for hosting the likes of Groove Armada, Laurent Garnier and Amon Tobin. And adding to a growing international profile, the act has collaborated with the likes of Woodkid, The Chemical Brothers and Two Door Cinema Club.

February 26 will mark the release of their Who Wants It remix EP and the EP’s first single “Who Wants It” pairs KCPK’s club rocking production consisting of huge, propulsive arena rocking beats, kick drum, handicaps, buzzing guitar chords, chilly staccato synths with swaggering, braggadocio-filled bars from Philadelphia-born emcee and producer STS. Interestingly, the song manages to bridge festival-friendly house music with trap hop/trap house in a way that feels playfully inventive and fresh.

 

 

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New York-based electro pop duo Sofi Tukker can trace their origins to when members Sophie Hawley-Weld and Tucker Halpern, who were both attending Brown University  met at an art gallery. Hawley-Weld and Halpern quickly started writing music together, based around their desire of crafting accessible world music that could reach a wider audience. Upon the duo’s graduation, they relocated to New York, where over the following year the duo worked on the material that comprised their self-titled EP.

Last June, I wrote about “Drinkee,” the first single off the New York-based electro pop duo’s self-titled debut EP. The song paired Halpern’s breezy production consisting of looping, angular and distorted guitar chords, congos, swirling electronics, thick, syrupy synth chords, a pitched down and a looped vocal sample with Hawley-Weld’s vocals singing lyrics in Brazilian Portuguese that were inspired by Brazilian poet Chacal. Sonically, the song nodded at Brazilian samba, the angular funk of Talking Heads and Las Kellies.

“Matadora,” the latest single of the duo’s upcoming Soft Animals EP pairs flamenco style guitar with tweeter and woofer rattling beats, ambient electronics, warm blasts of horn, animal noises and Hawley-Weld’s sensual cooing in a song that nods at the breezy tropicalia of Brazil and South America and shimmering dance-floor ready house music. Recently, Medina remixed the track — and the remix pushes the song towards more straightforward house music territory as the looped flamenco sample is replaced with an additional layer of ambient electronics, twinkling keys and harder hitting beats while retaining Hawley-Weld’s sensual cooing.

Originally known for her work in electro pop projects Her HabitsGemology and others, Toronto-born, Brooklyn-based singer/songwriter and electro pop artist Joanie Wolkoff has been a JOVM mainstay artist before striking out on her own last year with her solo recording project Wolkoff. In fact, 2015 was a very big year for the Canadian-born, Brooklyn-based artist — she collaborated with renowned electronic act The Hood Internet on “Going Back,” a single released to massive praise across the blogosphere, including several major media outlets, including Vice Noisey and Billboard — and as you can imagine resulted in a growing national profile for Wolkoff.

Interestingly, Wolkoff’s previously released work channeled the contemporary electro pop sound of acts like BeaconSeoul (both of whom are also JOVM mainstays) and others — in other words eerily minimalist productions consisting of icy synth stabs and woofer and tweeter rattling bass paired with plaintive vocals. However, her ongoing collaboration with young, up-and-coming producer Icarus Moth, which started with the release of the Talismans EP has set the duo apart from the pack as Icarus Moth’s production reveals a deliberate and painterly approach. While drawing from contemporary electro pop and world dance music, the young producer has developed a reputation for pairing big beats, swirling electronics and lush layers of synths with medieval-sounding instrumentation in a way that evokes brushstrokes across a canvas — as you’ll hear on EP single “Curve Appeal,” and others.

Building upon the buzz the duo received last year, Wolkoff and Icarus Moth are set to release Wolkoff’s full-length debut Without Shame on April 15. Lyrically and thematically, the material on the album explores the role shame has in our lives and perhaps more importantly the possibility of sidestepping its grip on us through breaking rank and venturing into the unknown. And as a result, the material on the album may be among the most deeply personal — and yet profoundly universal — material she’s released to date. Without Shame‘s first single “The Homecoming” pairs big tweeter and woofer rattling bass with skittering drum programming, swirling and ambient electronics, Eastern-tinged instrumentation and Wolkoff’s coquettish cooing, and in some way the song possesses the dreamy and ethereal feel of Swedish dream pop — think of Moonbabies‘ excellent Wizards on the Beach and The Knife but subtly filtered through chip tune and old school house music. Thanks to its accessibility, the song manages to be both radio-friendly and club-friendly — but it also reveals Wolkoff and Icarus Moth’s collaboration to be one of the most unique sounding collaborations I’ve come across in some time.

 

 

 

 

 

 

 

Up until last year, there hadn’t been many comprehensive photo-metal, pre-stoner rock compilations, until the Chicago, IL and Los Angeles, CA-based distributor Permanent Records record store, along with  RidingEasy Records released a carefully curated compilation of incredibly rare photo-metal and pre-stoner rock singles from the 60s and 70s on Brown Acid: The First Trip. Permanent Records co-owner Lance Barresi and RidingEasy Records’ Daniel Hall have complied a second volume of rare proto-metal and pre-stoner rock from the 60s and 70s, Brown Acid: The  Second Trip, which is slated (fittingly enough) for release on April 20.

Much like the first volume, the duo not only spent time collecting, compiling and then curating the material, they also spent a great deal of time tracking down the songs creators, often bands who haven’t been together in over 30 or 40 years, and encouraging them to take part in the entire process.  As Barresi explained in press notes for the first compilation, “All of (these songs) could’ve been huge given the right circumstances. But for one reason or another most of these songs fell flat and were forgotten. However, time has been kind in my opinion and I think these songs are as good now or better than they ever were.” And by having the artists actually participate in the entire process, it can give the artists and their songs a second chance at some much deserved attention — if not a second chance at success.

Now, if you’ve been frequenting this site, you may recall that just a few weeks ago, I wrote about The Second Trip‘s first single, Ash’s “Midnight Witch.” That single would likely remind many listeners of Mountain‘s “Mississippi Queen,” Steppenwolf’s “Magic Carpet Ride” and early Black Sabbath as layers of huge, sludgy and bluesy power chords were  paired with a driving rhythm and soulful vocals — but with a deeply psychedelic feel. Amazingly, although the song was originally released more than 35 years ago, it sounds and feels as though it could have been released today as several contemporary bands have adopted a similar sound, including the likes of Ecstatic Vision. The compilation’s second single Crossfield’s “Take It” manages to sound and feel like a surreal yet sensible amalgamation of Black Sabbath, The Rolling Stones, The Animals (in particular, “We Gotta Get Out Of This Place”) and The Doors and others as blistering and scorching guitar chords are paired with soaring keyboard chords and thundering drumming with unusual tempo changes and chord progression changes that make the song feel and sound as though it were a prog rock precursor — all while giving the song an expansive, tripping off hallucinogens in the desert feel and tone.

 

 

Kine Sandbæk Jensen is a producer, multi-instrumentalist and electronic music artist, who has spent time in a number of musical project; however her latest solo recording project Pieces of Juno has Jensen exploring new musical territory. Her latest single “Valentine,” which she dedicates to “all the people who there who chose to be alone” and are “spending this day doing their own thing” pairs a gorgeous and cinematic melody created by chiming and shimmering synths with swirling electronics and tweeter and woofer rattling boom bap drum programming in a subtly Eastern-tinged production reminiscent of Icarus Moth‘s work with JOVM mainstay Wolkoff but with a house music sheen.
 

 

Over the almost six year history of this site, Katy Goodman and her current musical project   La Sera have become a JOVM mainstay. And over that period, La Sera, which was initially begun as a solo side project from Goodman’s time with Vivian Girls and All Saints Day developed a growing national profile with the release of three critically applauded albums — the project’s self-titled debut, Sees the Light and Hour of the Dawn. Each successive album had Goodman expanding upon and experimenting with her sound — with 2014’s Hour of the Dawn being the most punk-leaning album she had released to date. Goodman’s fourth and upcoming album, Music For Listening To Music To will further cement her reputation for continually expanding upon her sound, while revealing an artist show has gone through major personal and artistic transitions. In fact, one of the biggest personal transitions that has informed and inspired the album thematically and sonically is the fact that Goodman’s husband Todd Wisenbaker,  best known as a member of Music For Listening‘s producer Ryan Adams‘ backing band, has joined the project as a guitarist and cowriter.

Now, if you’ve been on this site in the past month or so, you may recall that I wrote about Music For Listening‘s first single “High Notes,” a song that paired the shimmering guitar chords of The Smiths and the propulsive, old-school chugging rhythm of Johnny Cash (in particular, think of “Folsom Prison Blues,” “Jackson” and countless others) with Goodman’s wistfully ethereal coos. “High Notes” makes a vital connection between punk, post-punk and renegade country that countless others have done before but while pointing out an irony at the heart of any relationship that’s busted up — that you may be take the high road, not because you actually believe it’s the best thing or the adult thing to do but because you want to appear as though you’re not as petty as you might really be and feel and because on another level you want to make sure that you’re the only one who could get the last word. And it may be the most honest and heartfelt sentiment you’ll come across in a song in some time.

The album’s latest single “I Need An Angel” is reminiscent of The Smiths “This Charming Man” and “Hand In Glove” as it pairs gorgeous and shimmering guitar chords and a propulsive rhythm with swooning and lovelorn lyrics sung from the prospective of the achingly and desperately lonely and unloved. Certainly, if you’ve ever been alone on Valentine’s Day — or if you’re alone, now — it’s a sentiment that feels deeply familiar.

Currently comprised of founding members Clint Sargent (guitar, vocals) and Luke Strahota (drums), along with Colin Sheridan (bass) and Kaitlyn Ni Donovan (vocals, guitar), the Portland OR-based shoegaze quartet The High Violets can trace their origins to the breakup of The Bella Low, which featured Sargent, Strahota and another founding member Violet Bianca Grace (who left after a few early gigs). After a lineup change that resulted in their current lineup, the quartet released the their EP Dream Away, their full-length debut 44 Downin and their critically applauded third effort To Where You Are through Irish label Reverb Records. And as a result The High Violets saw a rapidly growing profile across North America as they played sets at NXNE in Toronto and SXSW in Austin, TX and then released a remix album, Satellite Remixes, which featured remixes from the renowned Ulrich Schnauss, Carmen Rizzo and others.  

Although the band is currently on hiatus from touring and live shows, they have remained active in the studio. The band’s fifth full-length effort, Heroes and Halos is slated for an April 1, 2016 release through Saint Marie Records and the album’s first single “Bells” has the band pairing layers of shimmering guitars and a propulsive and steady rhythm with Ni Donovan’s gorgeously ethereal and wistful vocals in a way that nods towards The SundaysHere’s Where The Story Ends” but with a cosmic glow that belies a subtly modern production.

 

 

 

 

 

 

Over the past couple of years, Los Angeles-based, indie electro pop duo Pr0files have not only become JOVM mainstay artists, they’ve also developed a growing national profile for a sound that possesses elements of R&B, pop and electronic dance music — especially with the release of Call Yourself A Lover,”  and “Luxury.”

February 23 marks the release of the duo’s long-awaited and highly-anticipated full-length debut Jurassic Technologie and from the release of the album’s first three singles “I Know You Still Care,Empty Hands” and “Like A Knife,” the duo’s material has revealed an urgent, insistent sensuality reminiscent of Giorgio Moroder‘s legendary work in the 1970s while at other times being incredibly anthemic in a way that owes a debt to 80s synth pop and more contemporary fare, such as Haerts and St. Lucia. Jurassic Technologie‘s fourth and latest single “Abuse U (Feel It)” pairs Sternbaum’s gauzy Quiet Storm meets 21st century production consisting of skittering drum programming, swirling electronics and layers of shimmering and cascading synths with Pardini’s sultry come hither vocals and brief bursts of guitar.  Sonically and lyrically the song sounds as though it draws from Prince‘s incredible 80s work — think of “I Will Die 4 U,” “When Doves Cry,” “Raspberry Beret,” and “Little Red Corvette” in particular, as the song may arguably be the most sensual and outright sexual song that the duo has released to date.

 

 

If you’ve been frequenting this site over the past year, you may have stumbled across a post on recent JOVM mainstay, Copenhagen-born, London-based vocalist and electro pop artist Marie Dahlstrøm— and in fact, you might recall that I’ve recently written about her collaborative project with Canadian producer Mwahs — Hans Island. However, Dahlstrom, a three-time Scandinavian Soul Award winner has developed a reputation as an up-and-coming solo artist, who has received attention across both Scandinavia and the European Union for her silky smooth, effortlessly soulful vocals with covers of Phil Collins, Chris Brown and Rihanna, as well as her debut EP, Feelings. 

2016 looks to be a big year for the Danish-born, London-based artist as the follow-up to Feelings is slated to be released later this year. Now you might recall that early last year I wrote about  the EP’s first single “Look the Other Way.” Produced by DK The Punisher, who’s best known for his work with Justin Beiber on Beibers’s “All That Matters, the track had Dahlstrøm teaming up with Brighton, UK-based vocalist Sophie Faith in a song that thematically nodded at Brandy and Monica’s 1998 duet/battle “The Boy Is Mine” as the single has Dahlstrøm and Faith alternating vocal responsibilities on each verse and teaming up on the chorus, as the song’s dueling narrators openly question the state of their romantic relationships with the love interest at the center of the song. Sonically speaking, the song paired Faith’s equally effortless soulful vocals and Dahlstrøm’s cooing with icily cascading and twinkling synths and hip-hop influenced beats.

Produced by Joe Garrett, who has worked on Zayn Malik‘s “Pillowtalk,” the EP’s second single and latest single “Crashing Down” is a gauzy, Quiet Storm-inspired yet contemporary track that paris Dahlstrøm’s silky smooth vocals with swirling electronics, Mary J. Blige What’s the 411? inspired hip-hop soul beats and stuttering percussion. As Dahlstrøm explained in press notes the song “is about the feeling of always searching, instead of being present in the moment. It’s about giving in and realizing that you’re exactly where you need to be.” Truer words have yet to be spoken this year at least, and the fact that the Copenhagen-born, London-based artist’s material is presumably based around lived-in experience sets her apart from countless soulless and prepackaged contemporary pop artists.

 

 

Electronic music artist, multi-instrumentalist and producer Grant Eadie and his solo recording project Manatee Commune has received regional attention across the Pacific Northwest and a growing national profile for a carefully and organically molded electronic sound that pairs natural overtones extracted from field recordings with slick and nuanced electronic production.

Eadie’s soon-to-be released EP, Thistle, slated for a February 26 release marks two new developments in the young producer, multi-instrumentalist and electronic music artist’s career — it’s his first release through renowned Brooklyn-based label Bastard Jazz Recordings, the label home of Illa J, Lord Echo and several others; and the effort is the result of Eadie radically changing his songwriting, production and recording process as he  opened his studio and gear to friends, collaborators and loved ones, gaining inspiration from the energy of each of those interactions. As Eadie explains in press notes “Learning how to share my creative process with my friends completely revolutionized the last of year of music for me. Inviting those I trusted and loved into my studio to spend even just an hour talking or jamming opened fountains of inventive energy for me, especially from the ones who lacked any musical knowledge. I soon found myself incredibly inspired by the originality of even the smallest interactions with people, and so I pointed my field mic at anyone who had a story, a melody, or a stumbling beat they had been absentmindedly drumming, all in the hopes of capturing their individuality and framing it with my ever expanding insight into audio production.”

Thistle’s first single “Clay” pairs a stuttering yet breezy and coquettish production consisting of twinkling and chiming percussion, a looped flute sample, layers of shimmering synths and swirling electronics with Marina Price’s flirtatious and sultry vocals to craft a song that reminds me quite a bit of Sylvan Esso — but bouncier and slightly more dance floor friendly. Considering the Arctic weather we’re soon to have in New York, “Clay” is a brief yet lush and necessary blast of summer.

Catch Eadie live throughout March and April as he tours the Pacific Northwest with Blackbird Blackbird and Chad Valley. Check out tour dates below.

Tour Dates 

3.3 Bellingham, WA Wild Buffalo (EP Release Party)
3.10 Portland OR, Mississippi Studios ^
3.11 Seattle WA, Nectar Lounge ^
4.19 Tucson, AZ Club Congress *
4.20 San Diego, CA The Hideout *
4.21 Los Angeles, CA The Echoplex *
4.22 Santa Cruz, CA The Catalyst *
4.23 San Francisco, CA Social Hall *
4.30 Vancouver, BC Alexander *
^ with YPPAH
* with Blackbird Blackbird & Chad Valley