Tag: Peter Gabriel

Led by songwriter/producer and founder of Ice Queen Records and founding member Joseph Lekkas, the Nashville-based indie rock act Palm Ghosts can trace its origins back
to when Lekkas lived in Philadelphia. As the story goes, after spending a number of years playing in local bands like Grammar Debate! and Hilliard, Lekkas took a lengthy hiatus from writing and performing music to book shows and festivals in and around the Philadelphia area. Initially began as a solo recording project and creative way for Lekkas to deal with an incapacitating bout of depression and anxiety after discovering that music was his only way out the mire. So Lekkas spent a long Philadelphia winter recording a batch of introspective songs that he dubbed “sun-damaged American music’ that would eventually become the Palm Ghost debut album.
After a short tour in 2013 to support the Palm Ghost debut album, Lekkas packed up his belongings and relocated to Nashville, enticed by the city’s growing indie rock scene. Once he settled in to his new hometown, Lekkas set up a small home studio in the guest bedroom of a rental house on Greenland Avenue in East Nashville, where he eventually wrote and recorded the sophomore Palm Ghosts album, last year’s Greenland, an album that found him employing elements of electro pop, folk and indie rock that was influenced by his new hometown’s long-held song-is-king culture. Last May, the Palm Ghost founding member began working on the third Palm Ghosts album Architecture, an album heavily influenced by the sounds of the 80s — in particular, Cocteau Twins, Peter Gabriel, Dead Can Dance, New Order and The Cure among others. The album’s first single “Turn the Knife” is a hook-driven bit of 80s post-punk that will recall New Order, Echo and the Bunnymen and others but centered by the two part male/female harmonies, angular guitar chords, a propulsive rhythm section and a bitter sense of betrayal and distrust.
As Lekkas told me via email, “‘Turn the Knife’ is basically a song about betrayal in love — or a one sided relationship that ends badly. It was written and recorded in my studio here in Nashville. My influences are all over the map but I’m an enormous fan of 80s post punk and New Wave music, so perhaps that shines through to you in the song? Basically, The Cure, Echo and the Bunnymen, The Chameleons and The Jesus and Mary Chain are big influences.”

 

 

 

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Amy Kuney is a Tulsa, OK-born, Los Angeles, CA-based singer/songwriter and multi-instrumentalist, best known as AMES. Kuney began piano lessons when she turned four, and participated in piano recitals and church performances throughout her childhood. The Tulsa-born, Los Angeles-based singer/songwriter and multi-instrumentalist wrote her first song when she turned 12 and by the following year, Kuney’s father moved the family from their Tulsa home to Honduras to live as missionaries after he saw a video highlighting the destruction of Hurricane Mitch. As a teenager, Kuney taught herself guitar chords off a poster her father bought from Wal-Mart, while grappling with being gay in a strange country — and without friends; however, Kuney spent her time listening to the only secular album she could get her hands on, Fiona Apple‘s Tidal and writing songs.

The Tulsa-born, Los Angeles-based singer/songwriter and multi-instrumentalist returned to the States to study at a religious college but she dropped out because of their archaic views on LGBTQ and relocated to Los Angeles, where she vowed to spend the rest of her life creating art and helping young people in the LGBQT community much like herself. Since relocating to Los Angeles, Kumey has developed a reputation as a go-to songwriter, who has written songs for the likes of Kelly Clarkson, AKON, Rita Ora, Michelle Branch, Tori Kelly, Lights, Icona Pop, Adam Lambert, Jason Mraz, Jojo, ALMA and growing list of others. Kuney steps out from behind the scenes with the release of the breezy “Hold On,” a single centered around shimmering and arpeggiated synths, strummed acoustic guitar, and a soaring and anthemic hook — and sonically speaking, the song manages to nod at Peter Gabriel, Kate Bush and Feist but with a much-needed message for anyone who has felt marginalized at any point.

 

 

New Video: Acclaimed Alt Pop Artist Vilde Releases Tense and Unsettling Visuals for “Warm Milk”

Best known as the frontman of British-based indie act Kins, the Melbourne, Australia-born and now Stockholm, Sweden-based singer/songwriter, multi-instrumentalist, producer Thomas Savage received attention with his solo recording project Vilde, which found Savage’s sound and overall aesthetic drawing from Radiohead, Wild Beasts, TV on the Radio, BØRNS and Tim Hecker — but with a warm take to the moody atmospherics that he dubbed “study-dance.” Now, if you had been frequenting this site last year, you may recall that Savage’s full-length debut eschewed the traditional album release format in which an artist releases a few singles, then puts out an album several months later; rather, much like JOVM mainstays The Raveonettes and Rene Lopez, he released a new single off the album every single month, and one of those singles, the Kid A-era Radiohead-like “Maintain” was a bit more of an uptempo affair with arpeggiated synth chords, a propulsive rhythm section and Savage’s plaintive, falsetto vocals floating over an icy mix.

Thud is Savage’s first proper album, and the album which is slated for a July 13, 2018 release found the Australian-born, Swedish-based singer/songwriter, multi-instrumentalist and producer superimposing the album’s overarching themes onto the material’s lyrics — and as he explains in press notes, that was an altogether much more natural process. “I hadn’t any idea for a theme in the beginning, the conscious element in the process is quite limited. It’s mostly reliant upon feeling resonance in the words rather than a specific line of thought. Sometimes I bring in more conscious thinking, but if I really succeed, they somehow manage to fall into linear coherency. I’m in it for the feeling of experiencing and what poured out of me afterwards, rather than attempting to express any sort of certainty. If I was certain about something, I supposed it’d be better as a novel.” Interestingly, throughout the writing and recording of the album, there was a recurrent element — “our relationship to technology and social media. I feel like the record almost became a plea for people to down their phones and speak to each other, or to just sit and think,” Savage adds. “But if this is the future for us, one should just accept it right?”

“Warm Milk,” Thud’s latest single is centered around a propulsive, motorik-like groove, shuffling beats, shimmering electronics and Savage’s plaintive vocals — but unlike his previously released material, not only does the song bring Peter Gabriel 3 and Security-era Peter Gabriel, Barbarossa and others to my mind (at least to my ears), it’s a deeply unsettling track meant to evoke the creeping dread and anxiety of being alone — and yet, when we’re constantly plugged into the digital realm, we’re always alone and never truly connecting with others.

Created by Elin Ghersinich and Thomas Savage, the recently released video is claustrophobic and unsettling as its centered around imagery of liquids being poured — at one point, the aforementioned white milk but cut with footage of Savage shot in an tightly cropped closeups in a dark, almost dungeon-like bathroom, full of self-loathing, regret and desperate loneliness. When we see Savage, it’s much like seeing a man struggling with his own warped, fractured psyche and emotions — and losing.

 

Born Rebecca Maria Molina, the 25 year-old, Copenhagen, Denmark-based singer/songwriter, producer and electronic music artist Molina can trace the origins of her music career to when she was 8. As the story goes, Molina began writing her own music, inspired by the music her mother played for her including Bjork, Kate Bush and Royksopp. “I remember wanting the Basement JaxxRooty album for my birthday at the same age as I was dancing to children’s music.Molina recalls.

In her teens, Molina furthered her musical education by searching the corners of the internet and following a trail of like-minded bands and artists, and as a result the Danish singer/songwriter, producer and electronic music artist quickly became obsessed with Kraftwerk, Aphex Twin, Boards of Canada, 70s-80s new wave and punk , shoegaze and Japanese music — in particular, the work of Miharu Koshi and Mariah among others. And all of those disparate styles and sounds have influenced Molina’s solo work within her solo recording project Molina.

With the release of her debut EP Corpus, Molina received attention internationally from the likes of BBC Radio 6, Beats 1 Radio, The 405, The Line of Best Fit among others for a sound and songwriting approach that embraces experimentation while drawing from  late 70s and 80s synth pop. Her latest single “Hey Kids” is centered around woozy and dizzying arpeggiated synths, boom bap-like beats and Molina’s ethereal vocals. Additionally, the song features a guest spot from Swedish artist and co-writer Late Verlaine, who contributes vocals on the song’s second verse. And while revealing a young artist, who’s self-assured and confident beyond her relatively young age, the track to my ears reminds me quite a bit of Peter Gabriel‘s work in the sense that it manages to be enigmatic and completely out of left field while being accessible and radio friendly.

 

 

 

 

 

 

 

 

 

New Video: The Lush Swooning and Psychedelic Visuals and Sounds of Jonathan Wilson’s “Loving You”

Jonathan Wilson is a Los Angeles, CA-based singer/songwriter, multi-instrumentalist and producer, who has collaborated with the likes of Father John Misty, Lucius, Karen Elson and Conor Oberst, contributed guitar and vocals as a member of the backing and touring bands for Roger Waters‘ Grammy nominated Is This The Life We Really Want?, and throughout that same period, the highly sought after Wilson has released two albums which have garnered comparisons to the Laurel Canyon troubadours of the 1960s and 1970s — in particular Crosby, Stills and Nash, Neil Young, Dennis Wilson, Tom Petty and others; however, Wilson’s third and forthcoming album, Rare Birds, which is slated for a March 2, 2018 release through Bella Union Records is reportedly one of the singer/songwriter, multi-instrumentalist and producer’s most ambitious, “maximalist” works to date featuring contributions from collaborators Father John Misty and Lucius, as well as Lana Del Rey and New Age musician Laraaji.

While much of the album’s material thematically and lyrically find Wilson meditating on a failed relationship and its aftermath, he has insisted in press notes that it’s not meant to specifically be a concept album. “It’s meant more as a healing affair, a rejuvenation, a reconciliation, for others, and for me. I wanted to balance personal narrative with the need I feel for calming, healing music. I think we need journeys in sound, psychedelic gossamer-winged music, to incite hope, positivity, longing, reckless abandon and regret. It’s all in there.” Late last year, I wrote about the album’s first single “Over The Midnight,” which brought to mind Peter Gabriel 3, Security and So-era Peter Gabriel, Kate Bush and Tears for Fears  while nodding at the lush psych pop of Tame Impala; but the song is underpinned by a swooning Romanticism, as it’s about a sacred and profoundly safe space where lovers could exist and freely be in love, escaping a world on the verge of collapse.

Rare Birds’ latest single “Loving You” continues in a similar vein as its predecessor as its a lush yet deeply meditative track with the bittersweet tinge of regret of someone, who’s looking back at a major relationship in his life, and of all the things he felt and believed that he should have or could have done. And as a result, it evokes the lingering ghosts of a man, who’s lived a messy and complicated life. Wilson says in press notes about the song, “One day, one of my musical heros Laraaji came into my studio to just experiment and record some music. I had the ditty ‘Loving You’ lying around, (it was a song I wrote from a feeling or inflection of a word I heard John Lennon emote in one of his songs) and I then put down a simple little drum machine beat along with the piano and vocal that you hear now. Laraaji then beautifully chanted over the song, one take … then he played his cosmic zither, undulated gracefully with his ipad, and truly shaped the scope of the track. I then added a specific drum/cymbal treatment used throughout Rare Birds, my funky Crumar bass, Lana Del Rey, a few other things and boom that was the genesis of the new album Rare Birds, that song set the tone.”

Directed By Matthew Daniel Siskin, the recently released video for “Loving You” will also continue Wilson’s run of pairing trippy and beautiful visuals to lush instrumentation. In this case the video features the renowned New Age multi-instrumentalist Laraaji floating over some gorgeous natural scenery — at points holding an old TV monitor that features a meditative Wilson singing the song. Later on, Wilson’s face and on that old TV monitor is seen in a number of New York locales, including an airport, a train station, a Manhattan intersection and so on. And interestingly, the visuals manage to further emphasize the swooning nature of the song.

New Video: The Brooding and Intimate Black and White Visuals for Fufanu’s “Tokyo”

Last year was a breakthrough year for the Reykjavik, Iceland-based indie rock/post-punk trio Fufanu as their sophomore effort Sports received attention nationally and internationally, thanks in part to critically applauded album singles like album title track, Sports,” which retains the synth-driven sound of their debut A Few More Days to Go while nodding at Can, Neu!  Joy Division and early ’80s Peter Gabriel,  and the slow-burning and moody  “Liability” and “White Pebbles.” And if you were frequenting this site, you’d recall that the Icelandic trio ended a breakthrough year with the release of a previously unreleased album single “Top of the Queens,” which was recorded during the Sports sessions and didn’t make the cut. 

Building upon a growing national and international profile, the members of the Icelandic post-punk trio recruited photographer Jonatan Gretarsson to direct and shoot the striking visuals for the moody and atmospheric album single “Tokyo.” Nodding at the gorgeous black and white photography and video work of the legendary Anton Corbjin, and perfume commercials, the incredibly intimate  video features the members of the band in individual and group portraits and tight close ups — and while capturing these brooding young men, there’s an underlying sense of their vulnerability, frailty, and ultimately their own loneliness. And as result, it further emphasizes the brooding nature of the song. 

2017 has been a breakthrough year for the Reykjavik, Iceland-based indie rock/post-punk trio  Fufanu.. Now, if you’ve been frequenting this site over the course of this past year, you’d recall that the band, currently comprised of founding members Kaktus Einarsson (vocals, guitar), whose father Einar was a member of The Sugarcaubes and Guðlaugur “Gulli” Einarsson (guitar, programming) (no relation, by the way) along with newest member, Erling Bang (drums) can trace their origins to when the band’s founding duo met while at school. And according to the band’s founding duo, Katkus had glanced at Gulli’s iTunes and noticed that they had listened to a lot of the same techno and electronic music. After quickly bonding over mutual interests, the duo went into a studio and began writing and recording electronic music under the name Captain Fufanu. Interestingly, within a month of their formation, Kaktus and Gulli had started playing shows in and around their hometown.

Building upon a rapidly growing profile, the duo went into the studio to record what would be their full-length debut as Captain Fufanu; but in a strange twist of fate, the studio where Kaktus and Gulli had recorded the album was burgled. Naturally, everyone involved in the process presumed the album was lost. While many bands would be devastated by losing their life’s work in such a shitty fashion, Kaktus and Gulli put a positive spin on the ordeal, viewing it as an opportunity to reinvent themselves and their sound, as they were developing a growing technical and musical prowess. Coincidentally, Kaktus Einarsson had been spending time in London working on Damon Albarn’s Everyday Robots and touring with the late and legendary Bobby Womack when he began writing lyrics. Simultaneously, Gulli had started to craft a completely revised sound, which according to Kaktus managed to convey exactly what he had been thinking and feeling at the time. The result was the duo pairing Kaktus’ brooding and ironically detached vocals with an arrangement that featured guitar, bass, drums, synths and other electronics. Armed with a new sound, the duo renamed the project Fufanu.

Fufanu’s first live set as Fufanu, with their new sound and material was at 2014’s Iceland Airwaves and they quickly became one of the most talked about bands of the entire festival. Right after the festival, they went into the studio to record their full-length debut, A Few More Days To Go, which was released to applause both nationally and internationally; in fact, with an even bigger profile, Fufanu toured with The Vaccines and others, and played some of Northern Europe’s and Scandinavia’s largest festivals, including the aforementioned Iceland Airwaves, JaJaJa Festival and others.

Released earlier this year, the band’s sophomore album Sports finds the band going through some significant changes — Kaktus and Gulli recruited Erling “Elli” Bang (drums) to further flesh their sound out, with the newly constituted trio refining their material’s sound and thematic concerns, represented through album title track  “Sports,” which retains the synth-driven sound of their debut while nodding at CanNeu!  Joy Division and early ’80s Peter Gabriel,  the slow-burning and moody  “Liability” and “White Pebbles.”  However, the highly buzzed about Icelandic trio begin the holiday season and close out the year, with “Top Of The Queens,” a track that was recorded during the Sports sessions and didn’t make the cut.

Of course, what makes an the release of a previously unreleased album track intriguing is the fact that they frequently give the listener — if they’re familiar with the album in question — some insight into the complex editorial decisions that comprise the making of an album. In some cases, you can immediately tell why a particular song wasn’t included — it just didn’t fit the tone and vibe of the album. In other cases, it’s not apparent. Sometimes, it’s a matter of a song floating around for a while and the band just is tired of the song or it’s an issue of not having a whole lot of time and something has to get cut — or a variety of other issues. Interestingly enough, “Top Of The Queens” manages to continue in a similar, anthemic hook-laden, synth-based rock vibe but it has a rougher, punk rock band in a dive bar edge to it.

 

 

 

 

New Video: The Trippy Psychedelia Meets New Age Visuals for Jonathan Wilson’s Lush New Single “Over The Midnight”

Jonathan Wilson is a Los Angeles, CA-based singer/songwriter, multi-instrumentalist and producer, who has collaborated with the likes of Father John Misty, Lucius, Karen Elson and Conor Oberst, contributed guitar and vocals as a member of the backing and touring bands for Roger Waters’ Grammy nominated Is This The Life We Really Want?, and throughout that same period, the highly sought after Wilson has released two albums which have garnered comparisons to the Laurel Canyon troubadours of the 1960s and 1970s — in particular Crosby, Stills and Nash, Neil Young, Dennis Wilson, Tom Petty and others; however, Wilson’s third and forthcoming album, Rare Birds, which is slated for a March 2, 2018 release through renowned indie label Bella Union Records is reportedly one of the singer/songwriter, multi-instrumentalist and producer’s most ambitious and downright “maximalist” works to date featuring contributions from collaborators Father John Misty and Lucius, as well as Lana Del Rey and New Age musician Laraaji.

While much of the album’s material thematically and lyrically find Wilson meditating on a failed relationship and its aftermath, he has insisted in press notes that it’s not meant to specifically be a concept album. “It’s meant more as a healing affair, a rejuvenation, a reconciliation, for others, and for me. I wanted to balance personal narrative with the need I feel for calming, healing music. I think we need journeys in sound, psychedelic gossamer-winged music, to incite hope, positivity, longing, reckless abandon and regret. It’s all in there.” And interestingly enough, the album’s first single “Over The Midnight” finds Wilson pairing British, early 80s synth pop with layered instrumentation that may bring to mind Peter Gabriel 3, Security and So-era Peter Gabriel, Kate Bush and Tears for Fears but while nodding at the lush psych pop of contemporaries like Tame Impala — but with a swooning romanticism; after all, the song is about a sacred and profoundly safe space where lovers could exist while escaping a world on the verge of collapse.

Directed by Andrea Nakhla and featuring animation by Clara Luzian, the recently released video for “Over The Midnight” draws from New Age concepts of consciousness and awareness of one’s connectedness to the larger universe around them and to others.

 

New Video: The Surreal and Noir-ish Visuals for JOVM Mainstay Fufanu’s Latest Single “White Pebbles”

Over the course of this site’s 7 year history, I’ve been proud to champion an increasingly diverse batch of artists across the globe, writing and perform across a widely eclectic array of genres, sub-genres and styles. And as you may recall, earlier this year, I’ve written a quite a bit about Reykjavik, Iceland-based indie rock/post-punk trio Fufanu. Currently comprised of founding members Kaktus Einarsson (vocals, guitar), whose father Einar was a member of The Sugarcaubes and Guðlaugur “Gulli” Einarsson (guitar, programming) (no relation, by the way) along with newest member, Erling Bang (drums) the up-and-coming Icelandic band can trace their origins to when the band’s founding members met while at school. According to the band’s founding duo, Katkus had glanced at Gulli’s iTunes and noticed that they had listened to a lot of the same techno and electronic music. After quickly bonding over mutual interests, the duo went into a studio and began writing and recording electronic music under the name Captain Fufanu. And within a month of their formation, Kaktus Einarsson and Gulli Einarsson had started playing shows in and around Reykjavik.

Building upon a growing local and national profile, the duo went into the studio to record what would be their full-length debut as Captain Fufanu; but in a strange twist of fate, the studio where Kaktus Einarsson and Gulli Einarsson had recorded the album was burgled. And as a result, the album was presumed stolen and lost — forever. While many bands would be devastated by losing their work in such a fashion, the band’s founding duo decided that it was the perfect time to reinvent their sound and themselves, as they were beginning to develop a growing technical and musical prowess. Coincidentally, around the time that this was happening, Kaktus Einarsson was in London working on Damon Albarn’s Everyday Robots and touring with the late and legendary Bobby Womack when he began writing lyrics. Simultaneously Gulli had started to create a craft a completely revised sound, which according to Kaktus managed to convey exactly what he had been thinking and feeling. They then paired Kaktus’ brooding and ironically detached vocals with live instrumentation — guitars and drums — and electronics, and with their new sound, renamed themselves Fufanu.

Fufanu’s first live set with their new sound and material was at 2014’s Iceland Airwaves and they quickly became one of the most talked about bands of the entire festival. Almost immediately after the festival, the duo went into the studio to record their full-length debut A Few More Days To Go. And with the release of their debut effort, the then-duo saw a rapidly growing national and international profile as they toured with The Vaccines and others, and they played some of Northern Europe and Scandinavia’s largest festivals, including the aforementioned Iceland Airwaves, JaJaJa Festival and others.

Released earlier this year, the band’s sophomore album Sports finds the band going through some significant changes — Kaktus and Gulli recruited Erling “Elli” Bang (drums) to further flesh their sound out, with the newly constituted trio refining their material’s sound and thematic concerns, represented through album title track  “Sports,” which retains the synth-driven sound of their debut while nodding at the likes of Can, Neu!  Joy Division and early ’80s Peter Gabriel, and the slow-burning and moody  “Liability.” Sports’ third and latest single “White Pebbles” continues in a similar vein of its immediate predecessor as it’s a slow-burning, moody and enigmatic track featuring angular bass and guitar chords and ominously swirling electronics, all of which evoke a late night, meditative sense of regret over the embittering, confusing and downright heartbreaking events of one’s life; after all, as the band explained to Billboard, the song is about “looking back in time, and understanding all the little things you didn’t get back then, but are so obvious today.” 

Directed by the Snorri Brothers, the recently released video for “White Pebbles” features the members of Fufanu as a trio of existentially bored policemen, who drive around in a badass car with no particular purpose — until they go on a rather chilled-out, nonchalant police chase, with the members of the band seeming much more fascinated by the entire thing; but the women they chase always manages to be just ahead of them and out of reach.

Reportedly, the video required an unusual amount of preparation, including extensive research for a muscle car in a Reykjavik suburb and a back-alley meeting with a local, police detective to acquire the uniforms but it adds a strange sense of realism to a surrealistic video shot in a noir-ish fashion. “On the actual day of shooting, driving around in this bad ass Mustang in a complete police outfit, getting people really confused and then having a stare-off against one of Iceland’s leading public figures of the commercial culture made everything make so much sense and felt so right,” the band explains.