Tag: New York Times

New Video: Kat Edmonson’s Dreamy Take on Louis Armstrong’s “What A Wonderful World”

Kat Edmonson is an acclaimed Houston, TX-born, Brooklyn-based singer/songwriter, who can trace some of the origins of her musical career to her childhood: her mom adored the Great American songbook and ’40s and 50’s pop — and as a child, Edmonson grew up listening to her mom’s records. She wrote her first song when she was nine, while riding the school bus.

She spent a year, attending the College of Charleston before relocating to Austin, TX to pursue a music career. While in Austin, Edmonson auditioned for the second season of American Idol and wound up being one of the Top 48 contestants invited to Hollywood. After appearing on American Idol, the Houston-born, Brooklyn-based singer/songwriter returned to Austin, where she spent several years performing regularly in local clubs. 

Her full-length debut, 2009’s Take to the Sky landed on the Top 20 of the Billboard Jazz Charts. Edmonson’s sophomore album, 2012’s Way Down Low was released to praise from The New York Times and NPR and reached #1 on the Billboard Heatseekers Chart. Her third album, 2014’s The Big Picture continued an impressive run of critical and commercial success with the album reaching  #1 on the Billboard Heatseekers Chart.  

The Houston-born, Brooklyn-based singer/songwriter has opened for Jamie Cullum and Lyle Lovett, with whom she collaborated on a rendition of “Baby, It’s Cold Outside,” which appeared on Lovett’s 2012’s effort Release Me and again on “Long Way Home,” which appeared on Edmonson’s aforementioned sophomore album Way Down Low — and she has headlined the Taichung Jazz Festival in Taiwan and the New York City Jazz Festival.  In 2012, she appeared on NPR’s Tiny Desk concert series and Austin City Limits. During 2013 and 2014, Edmonson appeared on A Prairie Home Companion, playing the role of Cat Mandu for the show’s regular skit “Guy Noir, Private Eye.” And adding to a batch of high profile appearances and gigs, Edmonson has maintained a busy national and international touring schedule that has included Montreux Jazz Festival

Edmonson’s fourth album, 2018’s Old Fashioned Gal was conceived as an imaginary, classic Hollywood movie that largely took shape in her imagination,  and naturally, was inspired by the Great American Songbook. Interestingly, the acclaimed Houston-born, Brooklyn-based singer/songwriter’s recently released fifth album Dreamers Do finds Edmonson tackling beloved mid-20th Century Disney songs — from Alice in Wonderland, Cinderella, Peter Pan, Pinocchio, Bedknobs on Broomsticks, Mary Poppins, Babes in Wonderland, familiar classics like “All I Do is Dream of You” from Singing in the Rain, Louis Armstrong’Louis Armstrong’s “What A Wonderful World” and two Edmonson originals “Too Late to Dream” and “Someone’s in the House.” 

Structurally, the album’s material is meant to take place during a single night — from bedtime until morning. And as Edmonson explains in press notes, “It’s about our concepts around dreaming — all of the wonderful things and the fearful things, the things that keep us awake in the middle of the night. It’s also about the quiet power of merely having a dream . . . ” Dreamers Do’s latest single is a Edmonson’s rendition of Louis Armstrong’s beloved “What A Wonderful World” centered around a twinkling arrangement and Edmonson’s effortlessly gorgeous and old-timey vocal. And while managing to be a fairly straightforward rendition, Edmonson delivers a lullaby-like take that subtly hints at “Twinkle Twinkle Little Star.”

Directed and edited by David Shultz, the recently released video for “What A Wonderful World” follows Edmonson in an empty studio space with a 35mm film camera — and while the viewer isn’t quite sure if she’s awake or dreaming, the video reveals Edmonson to be a beguiling and sweet natured presence. 

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Live Footage: Tame Impala Performs “Lost in Yesterday” on “Jimmy Kimmel Live!”

I’ve spilled quite a bit of virtual ink over the past decade — yes, decade — covering the Perth, Australia-born and-based singer/songwriter, multi-instrumentalist, producer and JOVM mainstay Kevin Parker, the creative mastermind behind the critically acclaimed and commercially successful psych pop/synth pop project Tame Impala. Parker’s third, full-length album, 2015’s Currents was a critical and commercial breakthrough. Released to overwhelming and wide-ranging critical applause across the blogosphere and elsewhere, the album was Grammy-nominated, RIAA Gold-Certified effort that reflected a decided change in direction for Parker’s songwriting and sound: the material  featured some of  his most emotionally direct lyrics paired with an nuanced and textured sound that draw from psych rock, psych pop, prog rock, synth pop and R&B.

The Slow Rush, Parker’s recently released, fourth Tame Impala album conjures the feeling of a lifetime in a lightning bolt, of major milestones whizzing by you while you’re looking at your phone. Thematically, the album focuses on the rapid passing of time and the unending cycles of creation and destruction in life.  “A lot of the songs carry this idea of time passing, of seeing your life flash before your eyes, being able to see clearly your life from this point onwards. I’m being swept by this notion of time passing. There’s something really intoxicating about it,” Parker told the New York Times in a profile on him and the album.

Last year Parker released the first batch of new Tame Impala material in over four years — “Patience,” a decidedly upbeat banger that seamlessly bridged 90s house and 70s funk while being a thoughtful meditation on the cycles and phases of life and “Borderline” a blissed out, shimmering mid-tempo track with house music flourishes and a razor sharp hook. Unofficially, those two tracks were the first two singles off Parker’s long-awaited and highly-anticipated fourth album, The Slow Rush. Parker closed out last year with the release of “It Might Be Time,” a swaggering prog rock meets psych pop banger, centered around layers of shimmering  synth arpeggios, thumping beats,  an anthemic hook and Parker’s plaintive vocals.

The Slow Rush‘s fourth  “Lost in Yesterday” is a woozy and hallucinogenic  disco-tinged banger centered around a propulsive and sinuous bass line, shimmering synth arpeggios, tweeter and woofer rocking beats, a cathartic and soaring hook and Parker’s plaintive vocals. While sonically the song seems to continue a run of glistening and decidedly 80s inspired synth bangers, the song thematically finds Parker exploring time’s distorting effect on memories. Given enough time, nostalgia gives even the most embittering times in your life a bit of a rosy tinge, and a sense of purpose and meaning that you didn’t feel while experiencing it. At it s core, the song is a plea to break the urge to look back with rose colored glasses and live in the here and now.

New Video: JOVM Mainstay Tame Impala Releases a Cinematic and Trippy Visual for Shimmering Disco-Tinged Examination of Nostalgia

I’ve spilled quite a bit of virtual ink over the past decade — yes, decade — covering the Perth, Australia-born and-based singer/songwriter, multi-instrumentalist, producer and JOVM mainstay Kevin Parker, the creative mastermind behind the critically acclaimed and commercially successful psych pop/synth pop project Tame Impala. Now, as you may recall Parker’s third album, 2015’s Currents was a critical and commercial breakthrough. Released to overwhelming and wide-ranging critical applause across the blogosphere and elsewhere, the album was Grammy-nominated, RIAA Gold-Certified effort that reflected a decided change in direction for Parker’s songwriting and sound: the material  featured some of  his most emotionally direct lyrics paired with an nuanced and textured sound that draw from psych rock, psych pop, prog rock, synth pop and R&B.

Slated for a February 14, 2020 release through Interscope Records, The Slow Rush reportedly conjures the feeling of a lifetime in a lightning bolt, of major milestones whizzing by you while you’re looking at your phone. Thematically, the album focuses on the rapid passing of time and the unending cycles of creation and destruction in life.  “A lot of the songs carry this idea of time passing, of seeing your life flash before your eyes, being able to see clearly your life from this point onwards. I’m being swept by this notion of time passing. There’s something really intoxicating about it,” Parker told the New York Times last year.

Last year Parker released the first batch of new Tame Impala material in over four years — “Patience,” a decidedly upbeat banger that seamlessly bridged 90s house and 70s funk while being a thoughtful meditation on the cycles and phases of life and “Borderline” a blissed out, shimmering mid-tempo track with house music flourishes and a razor sharp hook. Unofficially, those two tracks were the first two singles off Parker’s long-awaited and highly-anticipated fourth album, The Slow Rush. Parker closed out last year with the release of “It Might Be Time,” a swaggering prog rock meets psych pop banger, centered around layers of shimmering  synth arpeggios, thumping beats,  an anthemic hook and Parker’s plaintive vocals.

The Slow Rush‘s fourth and latest single “Lost in Yesterday” is a woozy and hallucinogenic  disco-tinged banger centered around a propulsive and sinuous bass line, shimmering synth arpeggios, tweeter and woofer rocking beats, a cathartic and soaring hook and Parker’s plaintive vocals. While sonically the song seems to continue a run of glistening and decidedly 80s inspired synth bangers, the song thematically finds Parker exploring time’s distorting effect on memories. Given enough time, nostalgia gives even the most embittering times in your life a bit of a rosy tinge, and a sense of purpose and meaning that you didn’t feel while experiencing it. At it s core, the song is a plea to break the urge to look back with rose colored glasses and live in the here and now.

Directed by Terri Timley, the directing duo of Ian Kibbey and Corey Creasey, the recently released video for “Lost in Yesterday” features Tame Impala’s Kevin Parker, starring as a wedding singer playing at a dismal and unhappy wedding ceremony. In a short period of time, that horrible wedding turns into a grand and euphoric ceremony that features Parker and a full backing band rocking a house full of happy revelers — but just in the fringes, the misery of the affair is there. Much like the song, the video is centered around the theme of how nostalgia can give the most embittering, most embarrassing, most hurtful times in your life a rosy tinge, and a sense of meaning and purpose — and at points make things seem better than what they were. 

New Audio: JOVM Mainstay Tame Impala Releases a Shimmering Disco-Tinged Examination of Nostalgia

I’ve spilled quite a bit of virtual ink over the past decade — yes, decade — covering the Perth, Australia-born and-based singer/songwriter, multi-instrumentalist, producer and JOVM mainstay Kevin Parker, the creative mastermind behind the critically acclaimed and commercially successful psych pop/synth pop project Tame Impala. Now. as you may recall Parker’s third album, 2015’s Currents was a critical and commercial breakthrough. Released to overwhelming and wide-ranging critical applause across the blogosphere and elsewhere, the album was Grammy-nominated, RIAA Gold-Certified effort that reflected a decided change in direction for Parker’s songwriting and sound: the material  featured some of  his most emotionally direct lyrics paired with an nuanced and textured sound that draw from psych rock, psych pop, prog rock, synth pop and R&B. 

Slated for a February 14, 2020 release through Interscope Records, The Slow Rush reportedly conjures the feeling of a lifetime in a lightning bolt, of major milestones whizzing by you while you’re looking at your phone. Thematically, the album focuses on the rapid passing of time and the unending cycles of creation and destruction in life.  “A lot of the songs carry this idea of time passing, of seeing your life flash before your eyes, being able to see clearly your life from this point onwards. I’m being swept by this notion of time passing. There’s something really intoxicating about it,” Parker told the New York Times last year.

Last year Parker released the first batch of new Tame Impala material in over four years — “Patience,” a decidedly upbeat banger that seamlessly bridged 90s house and 70s funk while being a thoughtful meditation on the cycles and phases of life and “Borderline” a blissed out, shimmering mid-tempo track with house music flourishes and a razor sharp hook. Unofficially, those two tracks were the first two singles off Parker’s long-awaited and highly-anticipated fourth album, The Slow Rush. Parker closed out last year with the release of “It Might Be Time,” a swaggering prog rock meets psych pop banger, centered around layers of shimmering  synth arpeggios, thumping beats,  an anthemic hook and Parker’s plaintive vocals.  

The Slow Rush’s fourth and latest single “Lost in Yesterday” is a woozy and hallucinogenic  disco-tinged banger centered around a propulsive and sinuous bass line, shimmering synth arpeggios, tweeter and woofer rocking beats, a cathartic and soaring hook and Parker’s plaintive vocals. While sonically the song seems to continue a run of glistening and decidedly 80s inspired synth bangers, the song thematically finds Parker exploring time’s distorting effect on memories. Given enough time, nostalgia gives even the most embittering times in your life a bit of a rosy tinge, and a sense of purpose and meaning that you didn’t feel while experiencing it. At it s core, the song is a plea to break the urge to look back with rose colored glasses and live in the here and now.   

Throughout the bulk of this site’s nine-plus year history, I’ve written quite a bit about the Perth, Australia-born and-based singer/songwriter, multi-instrumentalist, producer and JOVM mainstay Kevin Parker, best known for his acclaimed psych pop/synth pop recording project Tame Impala. Now, as you may recall Parker’s third full-length album, 2015’s Currents was a critical and commercial breakthrough: released to wide-ranging critical applause, the album was a Grammy-nominated, RIAA Gold-Certified effort that reflected a decided change in songwriting and approach that featured emotionally direct lyrics paired with an increasingly nuanced and textures sound that drew from psych rock, psych pop, synth pop, prog rock and R&B.

Earlier this year, Parker released the first bit of new Tame Impala material in over four years — “Patience,” a decidedly upbeat banger that seamlessly bridged 90s house and 70s funk while being a thoughtful meditation on the cycles and phases of life and “Borderline” a blissed out, shimmering mid-tempo track with house music flourishes and a razor sharp hook. These two tracks were unofficially the first two singles off Parker’s long-awaited and highly-anticipated fourth album, The Slow Rush. Slated for a February 14, 2020 release through Interscope RecordsThe Slow Rush reportedly conjures the feeling of a lifetime in a lightning bolt, of major milestones whizzing by you while you’re looking at your phone. Thematically, the album focuses on the rapid passing of time and the unending cycles of creation and destruction in life.  “A lot of the songs carry this idea of time passing, of seeing your life flash before your eyes, being able to see clearly your life from this point onwards. I’m being swept by this notion of time passing. There’s something really intoxicating about it,” Parker told the New York Times earlier this year.

“It Might Be Time,” the album’s latest single is centered around layers of shimmering synth arpeggios, thumping beats, a rousingly anthemic hook and Parker’s plaintive falsetto. And while being a swaggering prog rock meets psych pop banger, the song possesses an underlying sweaty paranoia about getting older and being forced to accept a sad and fateful inevitability — that you’ve lost it and not as cool as you used to be, and that maybe you were never really cool in the first place. If you haven’t had this moment yet, you will. Trust me.

 

 

Throughout the course of this site’s nine-plus yer history, I’ve written quit a bit about the Brooklyn-based electro pop act denitia and sene. And as you may recall, the act won the attention of the blogosphere for a unique sound that paired Brian “sene” Marc’s hyper-modern and slick production work, which effortlessly meshed elements of electro pop, hip-hop, funk. minimalist electronica, underground and avant-garde pop and neo soul with Denitia Odgie‘s soulful yet ethereal vocals.

The duo’s full-length debut his & hers was a critical and commercial success — the album landed in the Top 10 of iTunes R&B Charts, and the duo were profiled in the New York Times, for their participation in a forward-thinking Brooklyn-based multidisciplinary artist collective and living space. After the release of their debut, the duo had been busy with individual creative pursuits — Marc was a part of the cast of  Netflix‘s Luke Cage, has starred alongside Emma Roberts in Nerve and a lead role in White Girl while Odigie’s solo recording project ADESUWA received attention after the release of the Air Light EP and the project’s full-length debut.

Their sophomore effort, 2016’s love and noir featured album singles “open wide,” a swooning love song centered around a seemingly chilly and subtly industrial production and “favorite” a shimmering and airy song that evoked the happy sigh of waking up next to a lover after you’ve just made love. Although it’s been a while since I’ve written about the longtime JOVM mainstays or their individual projects, Odigie has been busy writing and recording the material off her forthcoming solo album Touch of the Sky. Written as a cinematic ode to nostalgia and the alchemy of love, the album’s material was produced largely from 6am sessions from Odigie’s beachfront studio.

Touch of the Sky‘s third and latest single “Place To Be” follows the release of “Where You Go” and “Waves,” both of which received placement on Spotify’s Indie Stage playlist and Shazam‘s official The Best New Music playlist on Apple Music. Additionally, “Waves” caught attention from Refinery 29, who placed the song on their New Music To Know This Week round-up. The slow-burning “Place To Be” is centered around denitia’s tender and aching vocals, atmospheric synths, and thumping beats.  Interestingly, the new track bears more of a resemblance to the cinematic and aching pop of JOVM mainstay ACES — while being inspired by the bittersweet loneliness that frequently sets in during the aftermath of a tumultuous affair.

 

 

 

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New Audio: Acclaimed Singer/Songwriter Meg Mac Releases an Anthemic Tell-Off

Born Megan Sullivan McInerney, the Sydney, Australia-born, Melbourne, Australia-based singer/songwriter and keyboardist and pop artist Meg Mac can trace the origins of her music career to when she was a small girl — as the story goes, she began singing as soon as she could speak and began writing her own songs when she was a teenager.

McInerney began degree studies in Digital Media but quit that after relocating to Perth, where she studied music at the Western Australia Academy of Performing Arts. After earning her degree, she recorded “Known Better” and submitted the song to Triple J’s Unearthed. Coincidentally, after she submitted her song, McInerney and a car load of friends left on a road trip from Perthto Melbourne, where she would later permanently relocate — and as they were approaching Melbourne, she learned that Triple J had selected her single and were going to play it.

As a result of being named an Unearthed Featured Artist of the Week in 2013 and Unearthed Artist of the Year in 2014, the Sydney, Australia-born, Melbourne, Australia-based singer/songwriter and keyboardist emerged into her homeland’s national scene; in fact, “Roll Up Your Sleeves,” reached #80 on the ARIA Singles Chart in August 2014 with “Never Be” landing at #39 the following year — and she went on her first national headlining tour.

She also received nominations for Best Female Artist and Breakthrough Artists during the 2015 ARIA Music Awards. And adding to a growing national profile, Marie Claire Australia named her an Artist to Watch in 2015 and Rolling Stone Australia nominated McInerney for a Best New Talent Award. By 2016, “Never Be” landed at #11 on Triple J’s Hottest 100.

“Roll Up Your Sleeves” was featured in a number of American TV series including HBO’s Girls, Grace and Frankie and Astronaut Wives Clubs — and as a result, the MegMac EP became a platinum selling effort. Building upon a rapidly growing profile, Mac’s 2017 full-length debut Low Blows entered the ARIA Charts at #2 and received praise internationally from the likes of InStyle, Buzzfeed, Noisey, V Magazine and the New York Times who called her music “rooted in soul with just enough contemporary production.”

Developing a reputation for live show centered around her soulful vocals, Mag has managed to consistently sell out national tours and shows across her native Australia, has opened for Clean Bandit and D’Angelo — and she’s played some of the major festivals’ across the international festival circuit includingGovernor’s Ball and SXSW.

Last October saw the release of the uplifting and powerful “Give Me My Name Back,” off her forthcoming and highly awaited sophomore album. As Mac told Billboard, the song “is a song for those who have suffered emotional and physical abuse; it’s for the women who are standing up and speaking out, those discriminated against in the LGBTQI community, the indigenous people of Australia and the children abused by the church. For everyone who has lost an important part of themselves and need to reclaim their identity, dignity and self-worth in order to move forward with their lives.”

Mac’s latest single is the slow-burning and atmospheric “I’m Not Coming Back.” Centered around intertwined harmonies, an anthemic drum beat, shimmering synths, a rousing hook and Mac’s effortlessly soulful and self-assured vocals, the song finds its fed up narrator letting someone go, who only seems to be around to use them. And as result, the song bristles with the satisfaction of saying “No, not anymore” to someone who desperately needs to hear it.

Born in Nashville, the acclaimed, Los Angeles-based indie pop artist Meg Myers spent her formative years in a devoted Jehovah’s Witness household, in which a young Myers dealt with strict restrictions on what she was allowed to listen to. After her parents divorced, her mother married a comic book artist, who moved the family to Ohio, where her mother and stepfather ran a cleaning business. When she was 12, her family moved to Florida, where she spent the bulk of her teen years — and during that period, Myers began singing and writing songs on keyboard, eventually teaching herself guitar. She also played bass in a band that she started with her brother, Feeling Numb.

A few days shy of her 20th birthday, Myers moved to Los Angeles to pursue a career in music. Living in a studio apartment with her then-boyfriend, the Nashville-born, Los Angeles-based singer/songwriter and multi-instrumentalist worked as a waitress at a Hollywood coffee shop and played show whenever she could land them. Although her romantic relationship ended, Myers met Doctor Rosen Rosen, who signed her to his production company. Rosen and Myers began writing songs together, including the material that comprised her first two EPs Daughter in the Choir and Make a Shadow and her 2015 full-length debut Sorry, which featured a number of Top 15 and Top 20 alternative radio hits.

Building up on a rapidly growing profile, Myers’ sophomore album, last year’s Take Me To The Disco debuted at #5 on the Current Alternative Charts and received praise from a number of media outlets including The New York Times, the Associated Press, NPR Music, StereogumBillboard and a lengthy list of others.  The acclaimed Nashville-born, Los Angeles-based singer/songwriter recently played an NPR Tiny Desk session that included a fairly straightforward yet intense cover of Kate Bush‘s “Running Up That Hill (A Deal With God)” that brings the song to 21st Century listeners, who may have been previously unfamiliar with one of the great, dramatic pop songs of the 80s.

“Growing up, I was never really interested in covering other artist’s music.” Meg explains, “I always wanted to write my own songs because I knew I could only sing music and lyrics that were truly authentic, from my heart (and also would have to make sense with my deep voice). Well, then I discovered Kate Bush’s ‘Running up that Hill,’ which for years has resonated with my soul like nothing ever before. What if we could experience role reversal? What would it be like living in each other’s shoes? I think we would find a lot more compassion for one another and a passion for kindness and truth. This song to me, represents an opening of our hearts and a possibility of acceptance for all. And to me, this is an important message for the world we are living in right now.​​​​​​​”