Tag: People Museum

New Video: People Museum Releases an Infectious Club Friendly Bop

People Museum is a rising New Orleans-based art pop/dance pop act largely inspired by Afrobeat, hip-hop and choral and marching music. The duo — Jeremy Phipps (trombone, production) and Claire Givens (vocals, keys) — can trace their origins back to 2016: Phipps and Givens were eager to start a music project that incorporated the feelings and vibes of their hometown. Founded with the expressed intention of bringing nature to the future, the New Orleans-based duo’s sound and aesthetic seamlessly meshes their hometown’s beloved and world famous brass band tradition with the Crescent City’s synth heavy, progressive underground scene. 

Givens and Phipps’ soon-to-be released effort I Could Only See The Night EP is slated for release next week through Community Records and Strange Daisy Records. The new EP features a mix of songs made during last year’s pandemic-related quarantines and restrictions and songs the duo initially created during the first few months of their collaboration together. Thematically, the EP is a contemplation of our past, how we’re making sense of where we have ended up — and as a result, learning how to be more malleable with our visions of what the future could and should be. As the duo explains in press notes, the songs are an attempt to offer a bit of light in our very dark times while opening space for the listener to reflect, dance or just feel some sort of joy.

Last month, I wrote about “Forever” a Larry Levan-era house music influenced club banger that’s full of late night regret and trepidation centered around shimmering Giorgio Moroder-like synth arpeggios, skittering beats, Phipps’ mournful and melodic trombone played through reverb and delay pedal and Givens’ achingly plaintive vocals. You can literally feel the song’s narrator spiraling into indecision, regret and despair — although they’re desperately trying not to do so. 

“Rush,” I Could Only See The Night’s latest single continues a run of house music inspired bangers, centered around shimmering synth arpeggios, skittering beats, Gaines coquettish vocals, explosive bursts of fluttering and melodic trombone and a euphoria-inducing hook. The end result is a much-needed escape to the dance floor, where there’s true liberation and equality.

“‘Rush’ was written in July of 2020 during quarantine with our drummer and co-producer, Mopodna. It is a dance anthem about letting go of the expectations we had for where we thought would be right now and reframing our thoughts and words to rebuild a better environment socially and emotionally. It’s intended to be this idea of a mourning that’s moving us toward evolving personally and globally. We have second-lines here in New Orleans which are basically street parades that are for deaths and for parties – I think it’s that’s a huge vibe of ‘Rush.’ We cry, we dance it out, we move on together and celebrate what we have and help each other.”

Directed, filmed and edited by People Museum’s Claire Givens, features black and white footage of a horn player walking to the beach with his horns, the band’s Phipps conducting an informal march, the recording of the song and Givens singing and dancing along to the song. It’s a playful and feverish visual that captures aspects of life in a quarantine.

New Video: People Museum Releases a Brooding Yet Club Friendly Banger

People Museum is a rising New Orleans-based art pop/dance pop act. Inspired by Afro-beat, hip-hop, choral, marching band music, the duo — Jeremy Phipps (trombone, production) and Claire Givens (vocals, keys) — can trace their origins back to 2016: Phipps and Givens were eager to start a music project that incorporated the feelings and vibes of their hometown. Founded with the expressed intention of bringing nature to the future, the New Orleans-based duo’s sound and aesthetic seamlessly meshes their hometown’s beloved and world famous brass band tradition with the Crescent City’s synth heavy, progressive underground scene.

Givens and Phipps’ latest effort I Could Only See The Night EP is slated for an April 9, 2021 release through Community Records and Strange Daisy Records. The EP features a mix of songs made during pandemic-related quarantines last year with songs the duo initially created during the first few months of the duo’s collaboration. Thematically, the EP is reportedly a contemplation on our past, how we are making sense of where we have ended — and as a result, learning how to be more malleable with our visions of what the future could and should be. The songs are an attempt to offer a bit of light in our very dark times while opening space for the listener to reflect, dance or feel joy.

“Forever,” I Could Only See The Night’s latest single is a Larry Levan-era house music influenced club banger that’s full of brooding, late night regret and trepidation centered around shimmering Giorgio Moroder-like synth arpeggios, skittering beats, Phipps’ mournful and melodic trombone played through reverb and delay pedal and Givens’ achingly plaintive vocals. You can literally feel the song’s narrator spiraling into indecision, regret and despair — although they’re desperately trying not to do so.

Directed by Riley Teahan, the recently released video is a brooding fever dream following a series of women trapped within their own thoughts, late at night. Teahan, the video’s director on the video:

“flashing light, thoughts that keep you up at night:
when I think about forever my head starts to spin.
caught in a cycle, the mind is a spiral staircase.
how long did you know it was time to go
before you decided to leave?

“‘Forever’ is a song about cycles and liberation. I know well the feeling of spiraling, how easily you can lose yourself. I asked women to embody a complicated moment of escape, flee, freedom, run, don’t look back.”

Earlier this summer, I wrote about the New Orleans-based pop act People Museum, and as you may recall, the act, which is comprised of producer/trombonist  Jeremy Phipps, who grew up playing in New Orleans brass bands, marching bands and traditional jazz groups; and Claire Givens, the daughter of an operatic singer and Baptist music minister, who’s a classically trained pianist and choral teacher, who began singing in the churches of rural Northern Louisiana can trace their origins to when they met in 2016.  As the story goes, the duo were eager to start a new musical project that incorporated the feelings and vibes of their hometown but in a non-literal, sincere fashion while drawing from their own personal and professional experiences — Phipps has toured with the likes of Solange, AlunaGeorge and JOVM mainstays Rubblebucket, and Givens’ work continues to draw from  her classical music training.

The duo’s full-length debut I Dreamt You In Technicolor is slated for a September 28, 2018 release and album single “Eye 2 Eye,” which was centered around a regal horn line, stuttering boom bap-like beats, shimmering synths, Givens’ ethereal vocals and a sinuous hook managed to sound as though it drew influence from Omega La La-era Rubblebucket, Superhuman Happiness and Hiatus Kaiyote, as it reveals a duo, who have begun to receive attention for  carefully crafted and breezy, left-field pop. “Bible Belt,” Dreamt You in Technicolor‘s latest single is an atmospheric and moody track centered around twinkling synths, a wobbling horn line, a sinuous hook and Givens’ ethereal vocals fed through distortion and effects pedals. But unlike its predecessor, the song thematically focuses on the sobering loss of innocence and belief in an organization or institution that comes from having the curtains pulled back, seeing its contradictions and hypocrisy and being disgusted. As the duo’s Claire Givens explains “Loss of innocence can come very quickly when you are given the chance to see the politics behind the curtain of an organization. That happened for me with the church, and I saw many beautiful things but also many contradictions with what people said and what they really did. ‘Bible Belt’ came from a realization that I was still so much like these religious people in power that I grew up around and criticized, and I had become just as contradictory in many aspects of my own life and needed to find a way out.”

 

 

 

 

 

Comprised of producer/trombonist Jeremy Phipps, who grew up playing in New Orleans brass bands, marching bands and traditional jazz groups; and composer/vocals Claire Givens, the daughter of an operatic singer and Baptist music minister and a classically trained pianist and choral teacher, who began singing in the churches of rural Northern Louisiana, the New Orleans-based pop act People Museum can trace their origins to when the duo met in 2016. And as the story goes, they were both eager to start a new musical project that incorporated the feelings and vibes of their hometown in a non-literal, un-ironic way while drawing from their own unique experiences — Phipps has toured with the likes of Solange, AlunaGeorge and JOVM mainstays Rubblebucket, and Givens’ work continues to draw from classical music.

“Eye 2 Eye,” the latest single off the duo’s forthcoming full-length debut I Dreamt You In Technicolor is centered around a regal horn line, stuttering boom bap-like beats, shimmering synths, Givens’ ethereal vocals and a sinuous hook — and interestingly enough, the song sounds as though it draws from Omega La La-era Rubblebucket, Superhuman Happiness and Hiatus Kaiyote, as it reveals a duo, who have begun to receive attention for  carefully crafted and breezy, left-field pop. As People Museum’s Claire Givens says about the song,  “’Eye 2 Eye’ is about a one-sided relationship where one person is transparent with their feelings, and the other person hides away, restricting their emotions. The relationship could bloom if only the other person could open up and help to create an environment for true understanding of each other.”