Tag: NPR

New Video: JOVM Mainstay REMI teams up with Black Milk, Razia Biza, and Baro on Upbeat Yet Politically Charged “Runner”

Over the course of late 2016 through last year, I had written quite a bit about the Melbourne, Australia-based emcee REMI, and as you may recall, along with his producer, DJ and longtime collaborator, Sensible J, the duo rose to national prominence with 2014’s critically and commercially successful  effort Raw X Infinity, an album that was named  Triple J‘s Album of the Week and the Independent Hip Hop Album of the Year by the Australian Independent Record Association, and received international attention from OkayAfrica, JUICE, laut.de, NPR’s All Things Considered, and several others. Adding to a growing national and international profile, the Melbourne-based emcee was named “Australian Breakthrough Artist of the Year” and as a result the duo wound up touring nationally and internationally with Danny Brown, Vic Mensa, De La Soul, Joey Bada$$ and Damon Albarn.

2016 saw the release of the duo’s critically applauded full-length Divas and Demons, an album that revealed a supremely talented emcee and adept lyricist and storyteller, whose stories possessed an earnest, soul-baring honesty.  Now, it’s been some time since I’ve personally written about the Melbourne-based emcee; but recently he released a collaborative EP Black Hole Sun that finds him teaming up with Hamilton, New Zealand-based Raiza Biza, Sampha the Great, Black Milk who contributes production, and Sensible J, who mixed and curated the entire affair. The EP’s latest single “Runner” is a collaboration that features the duo teaming up with fellow Melbourne-based emcee Baro — and the track find the trio rhyming over an upbeat production that’s centered around thumping, tweeter and woofer rocking beats, explosive hi-hat and a looped flute sample and an infectious hook; but unlike their previous work, the track finds the collaborators spitting fiery and incisive bars about racism, racist stereotypes and fears; deception and bullshit by teachers and political leaders, while being defiantly and boldly pro-black. 

Directed by Tig Terera, the recently released video is primarily centered around the trio’s exploits breaking into a closed shopping mall and then a closed hair salon and while shot in a way that brings the trio’s friendship to light, it allows each individual artist to shine in a variety of scenes. 

Advertisements

New Audio: Renowned Aussie Folk Duo Oh, Pep! Returns with a Jangling and Hook-Driven Take on Americana

Comprised of Olivia Hally and Pepita Emmerichs, the renowned Melbourne, Australia-based folk duo Oh, Pep! can trace the origins of the group to when they met while they were were both studying at a music secondary school, and as the story goes as soon as the met began writing music together. Now, as you may recall with the release of three critically praised EPs, the duo received a rapidly growing national and international profile — they played a series of attention-grabbing, widely praised at the CMJ Festival, which were praised by  KCRW, and NPR’s Bob Boilen, who later invited the duo and their backing band to perform a NPR Tiny Desk Concert set. The duo also made appearances at a number of prominent folk festivals, including The Woodford Folk Festival, Port Fairy Folk Festival, The National Folk Festival in Canberra, and Folk Alliance International, Kansas City, and at the 2014 The Age Music Victoria Awards, the duo was nominated in the Young Folk Performer of the Year and Best Folk Roots Category, winning the nod for Young Folk Performer of the Year.

2016’s Daniel Ledwell-produced full-length debut Stadium Cake found the duo subtly expanding upon the songwriting approach and sound that first won them national and international attention — their uncanny ability to write buoyant and ethereal pop with an underlying bittersweet sadness, centered around fully-fleshed out characters, who suffered from self-doubt, heartache, confusion, crippling indecision and a seeming inability to figure out how to move forward with their lives, all while their cohorts rush past them with successful lives. 

The duo’s soon-to-be released sophomore album I Wasn’t Only Thinking About You . . . is slated for an October 26, 2018 release through ATO Records, and the album reportedly finds Hally and Emmerich exploring the melody-rich expanse between indie pop, alt-folk and folk but through the prism of a women who have both come of age and have seen quite a bit of the world. They’ve accomplished most of their goals and dreams rather quickly  — and when that happens there’s this overwhelming sense of “Well, now what? What’s next?” And typically, there are two responses: you contently sit back and rest on your laurels — or you push yourself out of comfort zone. “This album is a darker form of pop than we have played before,” Pepita Emmerich says in press notes. “Basically Liv wrote a bunch of hits.” 

After touring to support Stadium Cake, Olivia Halley had become an in-demand songwriter. “With this album, in particular, I did a lot of sessions with other people. They weren’t necessarily sessions that were for the album. But every now and then, I’d be writing a song and take a fancy to it, then Pep and I would Oh Pep!-ify it together,” Halley says of the album that was written in New York, Nashville, Los Angeles and Melbourne and was largely inspired by her travels over the course of 2017 and 2018.  Interestingly, I Wasn’t Only Thinking About You . . . ‘s third and latest single, the jangling and anthemic  “Your Nail and Your Hammer” was inspired by words written on her wall in Nashville,  and the city’s long-held reputation for being the home of country and Americana — with a pop leaning, hook-driven sensibility; but while further cementing their reputation for breezy and infectious songs, the song evokes the sensation of someone’s mind whirring and grinding with the obsession over a brief and perhaps fleeting moment with another that leaves you wondering for weeks afterwards.

 

With a handful of singles and their full-length debut Vaporwave, the Washington, DC-based indie electro rock and synth pop sextet Color Palette, comprised of Jay Nemeyer (vocals, guitar), Josh Hunter (guitar, keys, bass), Matt Hartenau (drums), Rogerio Naressi (keys) and Maryjo Mattea (vocals) received attention both locally and internationally from the likes of NME MagazineUSA Today, NPR and Impose Magazine— and adding to a growing profile, the band has shared bills with  Charli XCX, The Naked and Famous, Mother Mother, Day Wave, Yumi Zouma, Mr. Little Jeans, The Kickback, Spirit Animal, VanLadyLove and others.

Up until late last month, some time had passed since I had come across the DC-based sextet but as you may recall, the band had been busy working on their sophomore album, which is currently slated for release sometime next year — and the album’s first single “Sunburn,” was a breezy and anthemic track centered around shimmering and jangling guitar lines, ethereal electronics and a soaring hook paired with a wistful vocal that evokes the passing of summer, and the impending end of another year. Interestingly, the album’s latest single “Chelsea” is a synth-based track that some have compared favorably to Depeche Mode, although to my my ears, the song recalls St. Lucia as the members of Color Palette layer of arpeggiated synths are paired with angular and hanging guitar chords, an a propulsive rhythm section — and while much like its predecessor, the song reveals a band that can craft a razor sharp and infectious hook, “Chelsea” may arguably be the most ambitious, arena rock friendly track they’ve written and released to date.

 

With a handful of singles and their full-length debut Vaporwave, the Washington, DC-based indie electro rock and synth pop sextet Color Palette, comprised of Jay Nemeyer (vocals, guitar), Josh Hunter (guitar, keys, bass), Matt Hartenau (drums), Rogerio Naressi (keys) and Maryjo Mattea (vocals) have received attention both locally and internationally from the likes of NME MagazineUSA Today, NPR and Impose Magazine— and adding to a growing profile, the band has shared bills with  Charli XCX, The Naked and Famous, Mother Mother, Day Wave, Yumi Zouma, Mr. Little Jeans, The Kickback, Spirit Animal, VanLadyLove and others.

Now, it’s been some time since I’ve last come across them, but as it turns out the band has been busy working on their sophomore album, which is slated for release sometime next year; but in the meantime, the DC-based band’s latest single “Sunburn” is a breezy and anthemic track centered around shimmering and jangling guitar lines, ethereal electronics and a soaring hook paired with a wistful vocal that evokes the passing of summer, and the impending end of another year.

 

Anne Malin is an Interlochen, MI-born, South Bend, IN-based singer/songwriter and multi-instrumentalist (guitar, autoharp), who along with her collaborator, multi-instrumentalist William Ellis Johnson (electric guitar, classical guitar, Lowrey organ, banjo and synth) have received praise from Bandcamp and NPR for a unique meshing of spoken word poetry and music that’s been described as “deceptively rich” and “unsettling.”

Slated for an October 12, 2018 release, the duo’s forthcoming Fog Area was conceived while Malin and Johnson drove past multiple fog area road signs on an emotionally fraught move from Massachusetts to Indiana — and thematically, the album touches upon desire, political and social injustice and prophetic reconciliation with each song on the album denoting a psychic and sonic space as the album’s material draws from and possesses elements of folk, rock and noise, centered through a deeply meditative lyricism. Fog Area‘s first single is the hauntingly gorgeous “In Waves,” a track centered around a spectral and intimate arrangement of shimming guitar, brief bursts of organ, and a soaring string arrangement paired with Malin’s tender and plaintive vocals — and while nodding at Chelsea Wolfe and others, the song’s yearning, intimate and confessional nature makes the song feel as though Malin is singing directly to you and only you.

 

New Video: JOVM Mainstays WINDHAND Return with 90s Grunge Take on Doom Metal

Over the past few years, I’ve written quite a bit about the Richmond, Virginia-based doom metal band WINDHAND, and as you may recall, the band which is currently comprised of Dorthia Cottrell (vocals), Garrett Morris (guitar), Parker Chandler (bass) and Ryan Wolfe (drums), the Northern Virginia-based metal act formed back in 2009 — and by the following year, they released a two track, self-recorded CD that quickly garnered comparisons to Electric Wizard, The Devil’s Blood and Black Sabbath. Building upon a growing profile, their 2012 self-titled debut became an underground hit and sold out multiple vinyl pressings within a few months.

2013 saw WINDHAND sign to Relapse Records, who released their sophomore album Soma to critical praise from Stereogum, Spin, LA Weekly, Revolver, Invisible Oranges, MetalSucks, Metal Injection, Rolling Stone and NPR — with Pitchfork naming the album as one of the third best metal releases of the year. Adding to a breakthrough year, the members of the Richmond, VA-based doom metal band had spent the bulk of 2013 and 2014 touring North America, the European Union, and Australia with Sleep, High on Fire, Dead Meadow and Kvelertak, as well as the festival circuit, wth appearances at Roadburn, SXSW, Scion Rock Fest, Day of the Shred and Maryland Deathfest.

2015’s Jack Endino-produced, third full-length album, Grief’s Infernal Flower featured album singles Crypt Key.” and “Two Urns” which managed to further cement their reputation for crafting sludgy, murky, punishing and downtempo dirges. Slated for an October 5, 2018 release, the Richmond, VA-based doom metal act’s forthcoming Jack Endino-produced Eternal Return is reportedly an observation and reflection of life’s ups and downs, joys and sorrows and beginnings and ends. Between 2015’s Grief’s Infernal Flower and their forthcoming album, the members of the band welcomed new life, experienced a number of lineup changes and mourned unexpected and tragic death — and as a result, the album’s material and the sequential order of its songs are the direct result of those experiences. Sonically, the album also finds the band growing artistically with the material balancing heavy, psychedelic and meditative, and in a way that have drawn early comparisons to Soundgarden, an act known for stretching genre boundaries.

Eternal Return’s latest single “Grey Gardens” was part of an early batch of album singles that were among the heaviest batches of material they recorded — and while being a thunderous and slow-burning dirge, the single finds the band’s sound and approach subtly moving towards Screaming Life/Fopp and Badmotorfinger-era Soundgarden, complete with a lysergic bridge. Directed by Jordan Vance, the recently released video for “Grey Gardens” features some trippy and murky stock footage that evokes a foreboding sense of dread at its core.

Last year, the Northern Italian psych punk act Bee Bee Sea released their sophomore full-length album Sonic Boomerang to praise from NPRClash Magazine and others for a high-energy, fuzzy power chord sound with elements of garage rock and psych rock that’s generally been compared to Thee Oh Sees and King Gizzard and The Lizard Wizard among others, earning the band attention and praise from outside of their small, industrial hometown. And once you’ll hear the furious and frenetic album single and title track “Sonic Boomerang,” it’ll no longer be a surprise as to why they’ve so quickly gained the attention of both European and American press —  fuzzy power chords, some explosive guitar pyrotechnics,  a forceful and motorik-like groove, shouted vocals and a rousing mosh-pit friendly hook.

The Italian psych rockers are in the middle of their first North American tour to support their critically applauded sophomore album. Check out the rest of the tour dates below.

Tour Dates 

7/23 – Atlanta, GA – The EARL

7/24 – Memphis, TN – Hi Tone

7/26 – Phoenix, AZ – Crescent Ballroom

7/27 – Costa Mesa, CA – The Wayfarer

7/28 – Los Angeles, CA – Zebulon Café Concert

7/31 – San Francisco, CA – Elbo Room ( with DJ Sid Presley)

8/02 – Seattle, WA – Funhouse Seattle

8/03, 04, 05 – Happy Valley, OR – Pickathon

 

 

 

 

New Video: Renowned Argentinian Producer and Electronic Music Artist Chancha Via Circuito Releases Breezy and Trippy Sounds and Visuals for “Alegria”

Over the last decade or so, Argentina has become the home of an new digital-influenced take on cumbia, in which artists blend the traditional folk music of the Andes Mountains with electronic beats and production, and interestingly enough Pedro Canale, a Buenos Aires, Argentina-born and-based electronic music producer and electronic music artist, best known as Chancha Via Circuito is one of the genre’s leading figures, arguably responsible for its emergence on the global stage with the release of his 2008 debut Rodante. And since, then Canale has released a string of critically applauded and commercially successful albums, including 2010’s Rio Arriba, which Resident Advisor described as “aural magical realism,” and his international breakthrough, 2014’s Amansara, which received critical praise from the likes of The Fader and NPR among others.

Bienavaenturanza, Canale’s fourth, full-length album is slated for release next week through Wonderwheel Recordings, and the album, which derives its name from an Argentinian Spanish word that translates roughly into English as bliss will further cement his reputation for pairing traditional Andean folk instrumentation, typically flute and charango with slick, dance floor friendly electronic production centered around thumping, tribal beats; however, the album which marks Canale’s first batch of new material in over four years, was written and recorded with an unprecedented amount of care and in a highly collaborative fashion with a number of digital cumbia and regional All-Stars making appearances, including Mateo Kingman, Kaleema, Lido Pimienta, Kawa Kawa as well as Colombian Dancehall king Manu Ranks and others, who contribute their highly distinguishable sounds and talents to the natural flow of the album. And as you’ll hear on the breezy yet tribal album single “Algeria,” Canale has expanded upon his sound in an effortless and organic manner — in this case, the song seems to draw from cumbia, tribal house, ambient electronica that that’s psychedelic and mystical. Directed and animated by Kati Egely, the recently released video meshes the natural and synthetic through the use of Egely’s vibrant and childlike watercolor drawings and paintings, which morph at will from a birds, to a modern women, desperate to escape the doldrums of the workplace and so on.

Currently comprised of founding members  and primary songwriters Chuck Cleaver (vocals, guitar), known for being a member of Ass Ponys  and Lisa Walker (vocals, guitar), along with Mark Messerly (bass, keys), John Erhardt (pedal steel, guitar), and Joe Klug (drums), the Cincinnati, OH-based shoegaze quintet Wussy can trace their origins back to 2001 when its founding duo began playing together as a dare during a brief run of solo Cleaver shows. The first show they played together while being largely unplanned went without incident, so they agreed that they should continue as a fully fleshed band. Cleaver and Walker recruited Dawn Burman (drums) and Messerly in 2002 And as a quartet, Wussy released three full-length albums and a critically applauded EP that received praise from a number of major media outlets including Rolling StoneSPINVillage VoiceNPRThe Washington PostUncut and the legendary Robert Christgau, who placed the Cincinnati act’s first two efforts Funeral Dress and Left for Dead on his best of the decade list, and their third, self-titled release on his best of 2009 list.

After receiving critical success, the band went through a series of lineup changes, as Burman left the band and was replaced with Cincinnati music scene vet Joe Klug, who joined the band for Attica! and Forever Sounds. The band’s newest member John Erhardt has helped evolve the band’s sound, adding a twangy psychedelic vibe as they’ve expanded their profile with recorded sessions for BBC 6 Music and KEXP, appearances at SXSW and CMJ, touring with the likes of The Afghan Whigs, and have shared stages with Yo La TengoThe BreedersBest CoastMudhoneyOkkervil RiverThe MekonsCOMEWreckless Eric and Jeffrey Lewis.

The Cincinnati-based indie rock act’s seventh studio album What Heaven Is Like is slated for release later this month through Damnably Records in Europe and Shake It! Records in the States, and as you may recall, earlier this year, I wrote about “Gloria,” a song that was reportedly inspired by the protagonist of Fargo‘s Season 3, Gloria Burgle, played by Carrie Coon — but in a much larger sense, the song is meant to paint a portrait of an inscrutable everywoman, who dares to stand up to an omnipresent, almost supernatural, villain. The album’s latest single “Cake,” while continuing in a similar, cinematic yet 90s inspired vein of its predecessor is arguably one of the album’s bleaker songs, evoking the sort of existential dread and anxiety that feels inescapable and pervasive. Shit has gone bad and quickly, and it’s time to start hunkering down because it’s about to get much worse.

 

 

Perhaps best known as a co-founding member and lead guitarist of the Brooklyn-based indie rock act Big Thief, Buck Meek is finally stepping out on his own with his highly-anticipated self-titled, full-length debut, which is slated for a May 18, 2018 release through Austin, TX-based label Keeled Scales. Reportedly, Meek’s solo debut is extension of his work and role in Big Thief, but it can also be seen as being a revealing look at his primary act’s hidden talent. And so far, this year has been a breakthrough year for Meek as he’s received attention from NPR and American Songwriter and has toured with Margaret Glaspy, Twain and others.

“Maybe” the third and latest single off Meek’s self-titled debut is a shuffling and shambling song that draws from rock and country in a way that may remind some of Let It Be-era Beatles (think of “Get Back” “I’ve Got a Feeling” and “One After 909“), Harry Nilsson (think of “Jump Into The Fire“)and others but with a straight out of left field take, thanks to a song structure that eschews the traditional chorus, verse chorus format while being held together with razor sharp hooks and a mischievously free flowing vibe. The song may have been released in 1972, 1982, 2002, 2012 or 2018 but no matter what, there’s a deliberate attention to craft that’s charming.

Meek will be touring to support the album with a backing band and the tour will include a June 8, 2018 stop at Rough Trade. Check out the tour dates below.

Rough
TOUR DATES
May 30 | Kerrville, TX at Kerrville Folk Festival
June 07 | Allston, MA at Great Scott
June 08 | Brooklyn, NY at Rough Trade
June 09 | Washington, DC at Songbyrd
June 10 | Durham, NC at The Pinhook
June 12 | Nashville, TN at The High Watt
June 13 | Bloomington, IN at The Bishop
June 14 | Chicago, IL at Schuba’s
June 15 | Millvale, PA at The Funhouse
June 16 | Philadelphia, PA at Johnny Brenda’s
June 7-16 with Sam Evian
June 7 & 8 also with Katie Von Schleicher