Tag: pop

Single Review by William Ruben Helms

As you may know, I was in Dordrecht, The Netherlands for business related to my day job and am currently in Amsterdam, The Netherlands for a couple of days to just check things out, maybe catch some live music, and whatever else comes to mind. And from being here a few hours last Sunday morning and returning this afternoon, I can see how easy it could be to fall deeply in love with Amsterdam and this entire country.  So far, the Dutch have proven to be a kind and friendly people. But there’s work to be done so let’s get to it right?

Now, if you’ve been frequenting this site for a while, you may recall that I wrote about the  Toronto, ON-based DJ, violinist and singer/songwriter Maya Killtron. Killtron first came to attention across both her native Canada and across the States with the release of her 2012 debut EP Hipster/Gangsta — and as a result, Killtron wound up touring the festival circuit across North America with stops at Miami’s Winter Music Conference, Pride Toronto, The Halifax Jazz Festival and CMJ. Adding to a growing profile, Killtron’s collaboration with NYC-based production duo Love Taps “Back For More” received attention from the likes of Stereogum and Huffington Post for a sound that meshed moomba and R&B – and for a video that showcased a sadly bygone NYC. Additionally, Smalltown DJs, The Slow Waves, Eyes Everywhere, Brothers In Arms and City Kid Soul have all have remixed the song — with the City Kid Soul remix being named in the Top 5 at Toronto’s Bestival.

Killtron’s latest single “Bad Decisions” as she explained to me via email “is a review of some of my best romances and worst choices in the field of love. It’s honest but light, real but unapologetic, and always dancy.” But interestingly enough, the single is an expansion of the sound that first caught her attention — you’ll hear a sinuous bass line, Nile Rodgers-like funk guitar, squiggling synths and soaring strings paired with Killtron’s sultry vocals in a song that nods both at 80s synth funk, early 80s disco and EDM and the sound of blogosphere darlings Escort.  And that shouldn’t be terribly surprising as Killtron explains in an email “With ‘Bad Decisions,’ as well as my first single ‘Never Dance Alone,’ I wanted to pay tribute to; but not copy my heroes — Teena Marie, Prince, and The Gap Band.”

 

 

 

 

Video by William Ruben Helms

Throwback: George Michael

I suspect that it’s a sign of getting older is when people you admired, listened to or just remembered from your childhood start to die, whether suddenly or after some protracted illness. Certainly, as a child of the 80s, George Michael and his music both with Wham! and as a solo artist informed significant portions of my music listening life; so as you can imagine hearing about the man’s death the other day was both a surprise and a reminder than I’m getting older. Interestingly, a few months ago I had stumbled onto George Michael’s Faith on Spotify and I had forgotten that it was very good pop album with a ridiculous number of chart topping singles. And if you’re unfamiliar with it, give it a spin; it’ll be worth it.

In terms of this post, George Michael had a collection of songs that I remember very fondly and still occasionally play but by far some of my favorites were “I Want Your Sex,” “Careless Whisper,” “Everything She Wants” “Freedom 90” his duet with Elton John “Don’t Let The Sun Go Down On Me” and his duet with Aretha Franklin “I Knew You Were Waiting (For Me).” As I mentioned on Facebook, “Holy shit, that was a white boy, who could sing his ass off.”

Video by William Ruben Helms

Live Footage: Joseph Performs “White Flag” on Later . . . with Jools Holland

Writing and recording material comprised of elements of old-school county, singer/songwriter pop and contemporary pop, the Closners have received both national and international attention for crafting soaring and anthemic hooks and for gorgeous three part harmonies reminiscent of Crosby, Stills and Nash, The Mamas and the Papas, Pearl and the Beard, Lucius, and others. Now, if you had been frequenting this site earlier this year, you may recall that I wrote about “White Flag,” the first single off the trio’s full-length debut I’m Alone, No You’re Not. The recorded version paired the Closner’s gorgeous three-part harmonies around a slick and ambient production consisting of swirling electronics, handclap-led percussion, folk and country-like guitar chords, and a cathartic, anthemic hook which gave the song’s positive message — that giving up on your dreams and desires should never, ever be an option — a rousing, larger-than-life, urgency.

Earlier this month the Closners were on Later . . . with Jools Holland where they performed an acoustic version of “White Flag” in which they accompany their gorgeous vocals with guitar. Without the slick production, there’s a greater focus on the song’s lyrics, the Closner’s gorgeous harmonies — and while stripped down, the song still packs an enormous emotional punch.

Video by William Ruben Helms

New Video: The Breezy Visuals and Sounds of Quebec City’s Men I Trust

With the release of their sophomore full-length effort Headroom, the newly constituted quartet began receiving international attention as their material landed on Hype Machine’s charts, as well as several Spotify and SoundCloud playlists. Building on the increasing buzz around the Quebec City-based quartet, their first single of 2016, “Humming man” was released to critical praise across the blogosphere; however, I suspect that the act’s latest single “Lauren” may arguably be their breakout single as the band pairs a sinuous and sleek bass line, shimmering guitar chords and skittering drum programming with hauntingly ethereal vocal melodies to craft a song that sounds as though it were equally influenced by 70s funk and R&B, 80s synth pop and contemporary electro pop. Interestingly enough, the song sounds as though it should have been released through Cascine Records, a label that specializes in releasing silky smooth and breezy 70s and 80s inspired pop while being the sort of song you’d do a little two step to in the club.
The recently released music video follows an extremely fair skinned woman bicycling down a country road while hinting at the follow-the -bouncing ball/karaoke-styled video which fits the song’s breezy yet sensual air.

Video by William Ruben Helms

New Video: Majid Jordan’s New Video Cements The Duo’s Reputation For Slick and Seductive Visuals

  Over the past couple of years, the Toronto, ON-based electro pop production and artist duo Majid Jordan have had a rapidly growing international profile — before the release of their A Place Like This EP and the recent release […]

Single Review by William Ruben Helms

Last December, I wrote about Sophie Stern, the Los Angeles-based creative mastermind behind the (mostly) solo recording project Sophie and the Bom Boms. Initially, Stern’s career began behind the scenes as a songwriter, who was signed to mega-hit producer and songwriter Dr. Luke’s camp. After spending couple of years as a go-to songwriter, Stern decided that it was time for her to go out on her own as a solo artist.

 

Inspired by a diverse array of artists including diverse array of artists including Erykah Badu, Tom Tom Club and a lengthy list of others, Stern began collaborating with two rather renowned producers, David Elevator, who won 3 Grammys for his work on Beck‘s Morning Phase and Dan Dare, who’s best known his work with Marina and the Diamonds, Charli XCX and M.I.A. for her debut EP. The EP’s first single “Big Girls” was a breezy and infectious pop confection that paired big boom-bap beats, cascading synths, anthemic hooks and Stern’s effortlessly soulful vocals in a way that was reminiscent of Nu Shooz‘s “I Can’t Wait” while sounding remarkably contemporary.

The EP’s second and latests single “Appetite” will further cement Stern’s reputation for crafting incredibly infectious, breezy and anthemic pop as you’ll hear boom bap beats, handclaps, twinkling synths and an anthemic, hashtag worthy hook paired with Stern’s ballsy and bratty vocals in a song that’s a tell off to fuckboys, deadbeats, drama kings and queens and parasites everywhere — with the sort of sense of humor that would likely remind you of things you may have heard or said back in the schoolyard.

Sonically and thematically speaking the song manages to nod at Australian-born, Berlin-based indie pop artist Phia, Gwen Stefani‘s “Ain’t No Holla Back Girl,” and TLC‘s “No Scrubs” as it possesses the same “girl power/girl, drop that loser/girl, drop that deadbeat friend” air but backed by slick, modern production techniques.

 

 

 

Single Review by William Ruben Helms

With the release of their 2014 debut EP, Magic, the New York-bsased dream pop/electro pop duo Paperwhite, comprised of sibling duo Katie and Ben Marshall exploded into the blogosphere; in fact, they earned the title of “Most Blogged About Artist” twice — and that shouldn’t be surprising as their (highly contemporary) sound pairs lush melodies and anthemic hooks. Building on the buzz that they’ve received a few years ago, the New York-based duo’s forthcoming EP Escape is slated for release this spring. And the EP’s first single “Unstoppable” will further cement the duo’s reputation for pairing lush melodies and anthemic hooks with Katie Marshall’s ethereal in a way that’s contemporary  as it’s reminiscent of St. Lucia and yet is also reminiscent of radio friendly 80s synth pop.

Interestingly, the single as the duo notes is a “reminder to find strength in the chaos and beauty in the unknown.” Certainly, considering life and its brutality and wonder, it’s something that we all need to remind ourselves at some point — while dancing with a bunch of sweaty kids in a club, right?

 

 

 

 

 

 

Single Review by William Ruben Helms

 

If you’ve been frequenting JOVM over the past couple of years, you may know that the Swedish cities of Umea, Sweden’s third (and most Northern) and Malmo, Sweden’s twelfth (and most Southern) have emerged with reputations as being Sweden and Scandinavia’s newest, most exciting creative hotbeds as an increasing number of artists and bands from both cities have started to receive international recognition — including the likes of JOVM mainstays Moonbabies, Cajsa Siik, Frida Selander and YAST and others.  I have to add to that list, Umea, Sweden-bornsinger/songwriter, producer and sound designer Catharina Jaunviksna, who splits time between her home country, Italy and Ireland and who has received attention with her solo recording project Badlands. With the release of 2012’s Battles Within EP and single “Tutu,” Jaunviksna’s Badlands project received attention from the likes of The 405 and Under the Radar for a sound that many of my colleagues have described as possessing elements of trip-hop and experimental pop.

April will mark the release of her forthcoming full-length effort Locus and album’s first single “Echo” reveals yet another change in sonic direction for Jaunviksna, as the single is a dance floor-ready song consisting of layers of staccato synth stabs and layers of cascading and twinkling synths, swirling electronics and an infectious hook paired with Jaunviksna’s ethereal coos bubbling and floating over the mix’s hazy surface, which give the song an eerie and spectral undercurrent.  Thematically and lyrically the song reportedly discusses self-censorship and the inherent dangers self-censorship can entail. As Jaunviksna explained in press notes “Even though the first intentions might be good, it always ends as a witch hunt and nobody daring to speak their mind.” But sonically speaking to my years, the song channels the likes of Depeche Mode, Still Corners and others as the song possess a captivating pull, begging the listener to come up closer.

 

 

 

Single Review by William Ruben Helms

 

Initially emerged in 2014 as the recording project of Los Angeles, CA-based electro pop production sibling duo Alex and Ben Kazenoff, Mood Robot expanded to a trio when they enlisted vocalist Jenny Helms (no relation to yours truly) to complete the project’s sound. And from what I understand, the early buzz across the blogosphere has been favorably comparisons to CHVRCHES and The Naked and Famous among others.

Continuing on the early buzz that they’ve received over the past year, the Los Angeles-based electro pop trio will be releasing their debut EP, The Story We Tell Ourselves next month, and the EP’s first single “Drip” pairs Helms’ buoyant, pop starlet vocals with a densely layered production featuring layers of shimmering and undulating synths, electronic bleeps and bloops, blasts of funky and angular guitar chords, tweeter and woofer rocking low end and an infectiously anthemic hook. Admittedly, comparing the trio’s sound to the likes of CHVRCHES is a fair one — although to my ears I also hear the likes of White Prism, Class Actress, and several others, and as as a result of such a crowd pleasing, club-friendly and radio-friendly sound, I expect that the blogosphere will be big on them throughout 2016.

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Single Review by William Ruben Helms

If you’ve been frequenting this site over the past few weeks, you may recall a post I wrote about the Sunderland, UK-based duo Field Music. Comprised of its creative masterminds, sibling duo Peter and David Brewis and featuring the contributions of Kev Dosdale, Andrew Lowther, Ian Black, Liz Corney, Andrew Moore, Damo Waters and a rotating casts of collaborators, the Brewis Brothers have developed an internationally recognized profile for a for a sound comprised of interwoven vocals, slightly off chords and chord changes, a slightly off-kilter yet approachable experimental pop sensibility — and for material based around incredibly catchy choruses.

Over the past few years, Field Music has been on hiatus as the Brewises were busy with a variety of side projects. But they found themselves inevitably drawn back to working together on their own songs. As David Brewis explained in press notes, “As much fun as we might have had on our own or collaborating, we missed just spending time in the studio, the two of us, trying things out and playing together.” Interestingly, Commontime. the first Field Music album in several years was written and recorded over spontaneous bursts over a six month period in their Wearside, UK-based studio. And the material the Brewis Brothers wrote was focused around them playing and singing — while featuring contributions from original keyboardist Andrew Moore, Peter Brewis’ wife Jennie Brewis, vocals from the newest member of the touring band, Liz Corney and a variety of other collaborators. “We wanted to embrace being a duo, and perversely, that made us feel more comfortable about all of those conspicuous cameos,” David Brewis notes.
Reportedly, the album’s material is reportedly based around the passing of time — acquaintances coming and going, friendships drifting and diffusing over time, random snippets of the every day and real-life conversations being replayed. In fact, Commontime’s first single “The Noisy Days Are Over,” was based on a conversation between two friends who are struggling to say goodbye to their boozy, hard-partying youthful days.  Sonically, the song paired funky guitar chords, propulsive percussion, dramatic keyboard chords and the Brewis brothers’ ironic yet wistful vocals with warm and soulful blasts of saxophone and strings in a song that reminds me both of Superhuman Happiness‘ Escape Velocity (in particular, I think of “Drawing Lines” and “Super 8“) and of Talking Heads as all three are eccentric and expansive visions of what you can do with pop — while being approachable.

Commontime‘s latest single “Disappointed” begins with a David Bowie-like introduction of shimmering and soulful guitars and gentle drumming before turning into a bit of off-kilter funk with propulsive and hard hitting drums, a sinuous bass line, the Brewis Brothers’ ironically detached and yet wistful vocals, gorgeous piano keys and angular guitar chords; sonically, the song sounds as though the Brewis Brothers were drawing from fellow Englishman Tom Vek. Lyrically, the song focuses on an ambivalent and confusing relationship in which disappointment is bound to happen. Of course, interestingly enough, the song also suggests that disappointment may be part of the human condition; that all relationships have their disappointments — and it’s okay.

Single Review by William Ruben Helms

 

Born in rural Vermont and currently based in Atlanta, GA, Nick Takenobu Ogawa is a classically trained cellist and composer, who writes, records and performs under the moniker Takénobu. As the story goes, Ogawa was raised in an extremely small town with a population of about 1,000 residents — and as a result, the cellist and composer grew up playing in the woods, since he had no next-door neighbors and had no cable TV. His parents were professors at Middlebury College, and when Ogawa turned 6, they introduced him to cello, and he took private lessons and practiced religiously until he had turned 18. But after 12 years of study and orchestral playing, Ogawa began veering away from classical music and started focusing on a self-taught style of play that borrowed techniques from his guitar playing and composition based on a variety of roots and world music influences.

Ogawa moved to Kyoto, Japan, where he spent a year experimenting and cultivating his unique playing style and sound — until he had suffered a wrist injury from intense practice. He then wound up attending Haverford College in Philadelphia where he graduated with thoughts of entering law school; however, instead of studying for the LSAT’s and preparing applications, Ogawa moved to Vancouver, BC, where he recorded his full-length debut album. He then moved to Brooklyn and won the 2006 Williamsburg Live singer/songwriter competition and with the winnings he was able to release his 2007 debut effort, Introduction. The album was released to favorable reviews but didn’t gain much exposure.

Frustrated and despondent, Ogawa was close to giving up on pursuing music. But just before his own deadline, the Vermont-born, Atlanta, GA-based cellist and composer submitted his debut effort to Pandora. And ironically enough, just as he was about to give up was the exact moment that he started to see increasing press attention and commercial success; in fact, thanks to Pandora’s recommendation algorithm, in the four year period between 2007-2011, Introduction received enough streams and sales that Ogawa was able to focus on music full-time, releasing three more full-length album. Adding to a steadily growing national profile, Ogawa’s music has received airplay on NPR‘s Morning Edition, has opened for Kishi Bashi and performed and arranged cello on Dessa‘s “It’s Only Me.”  

Reversal, Ogawa’s fifth full-length effort is slated for a February 12, 2016 release and the album’s first single “Curtain Call” pairs a gorgeous and moody cello composition with Ogawa’s achingly plaintive vocals singing about a relationship that has come to an inevitable conclusion, and both sides have recognized that they have to part — perhaps forever. Sonically speaking the song employs the use of several different layers of cello to create a lush and yet spectral arrangement that emphasizes the melancholy sense of acceptance at the core of the song.

 

 

 

 

Video by William Ruben Helms

New Video: The Hazy Synth Pop and Visuals of Nashville’s REMMI

Rachel Smith is an up-and-coming  Nashville, TN-based singer/songwriter and producer, whose solo, electro pop project REMMI has received attention for her collaborations with Lucian, CAPPA and Black Coast — and for her appearance on the […]

Single Review by William Ruben Helms

 

Sophie Stern, the Los Angeles-based creative mastermind behind the (mostly) solo recording project Sophie and the Bom Boms originally started her career as a pop songwriter, who was signed to mega-hit producer and songwriter Dr. Luke’s camp. After spending a couple of years writing songs for several major stars, Stern, who was inspired by a diverse array of artists including Erykah Badu, Tom Tom Club and others, decided that she should go out on her own as a solo artist.

Stern collaborated with two renowned producers, David Elevator, who won 3 Grammys for his songwriting/production work on Beck‘s Morning Phase and Dan Dare, who’s best known his work with Marina and the Diamonds, Charlie XCX and M.I.A. for her forthcoming debut EP. The EP’s first single “Big Girls” is breezy and infectious pop confection that pairs big, boom-bap beats, cascading synths, anthemic hooks and Stern’s effortlessly soulful vocals. Sonically, the song draws from 80s synth pop and R&B (for example think of Nu Shooz‘s “I Can’t Wait“) while sounding remarkably contemporary — the production behind the song is incredibly slick without removing the song’s sense of fun or Stern’s larger-than-life confidence.

 

Single Review by William Ruben Helms

As a Queens native, The Ramones have a very special place in my heart —  I’ve walked on the streets that young Joey, Tommy, Dee Dee and Johnny walked on as a teenagers and young men and in some way or another I’m intimately familiar with many of the places they’ve referenced in their songs. Hell, if you grew up in Queens, I’d bet that you probably spent some part of your summer on Rockaway Beach, and it gives “Rockaway Beach,” a deeply personal feel.  In any case, more than enough ink has been spilled on how influential the band had been to both punk rock, rock and other genres throughout the band’s run and their lives — and more than enough ink has been spilled on what arguably may be one of their best known songs “I Wanna Be Sedated.”

Now, if you’ve been frequenting this site over the past year or so, you may be familiar with New York-based singer/songwriter Sylvia Gordon, best known in the music world as Sylvia Black. (To avoid deeper confusion, I’ll refer to Gordon as her musical pseudonym, Sylvia Black from this point forward.) Black has received international attention for her time as the frontwoman of electro-pop outfit K.U.D.U., and for collaborations with The Black Eyed Peas, Moby, William Orbit, Kelis, Spank Rock, The Knocks and Telepopmusik, among others. Over the past year, Black has received attention both here and across the blogosphere performing and recording under the moniker and alter ego Betty Black. Interestingly with her alter ego, Sylvia Black’s sound is a decided departure from her previously recorded work as it generally draws from garage rock, Southern gothic blues, Spaghetti Western soundtracks and atmospheric electronics while thematically the material explores love, lust, longing and obsession — and in a fashion that’s darkly seductive.

As a special holiday treat, Black is gifting one of the most interesting and unique covers of The Ramones’ mega-hit “I Wanna Be Sedated” that I’ve ever heard. Featuring a gorgeous Burt Bacharach/pop standard-like arrangement of horns, strings, vibraphone and upright bass Black’s rendition is decadently opulent and sensual, while sounding as though it were recorded under the influence of Quaaludes and/or Xanax that makes it trippy — and evokes the dreamy sensation of being sedated. There are a couple things that make Black’s rendition so interesting to me: it manages to radically change the song’s tempo and tone without distorting or removing the song’s essence; but it also makes a long-forgotten connection between 50s and 60s pop that had been such a major influence on Joey Ramone and company.

Check out how Betty Black’s version radically differs from the original below.

Black has a series of upcoming live dates including a residency at Happy Ending every Wednesday in January as Betty Black’s Happy Blue Lounge, The project will continue what Happy Ending is best known for — putting a lounge lizard/exotica spin on rock and post-punk classics along with originals. Check out dates below.

 

Live Dates

12/21 NYC, NY @ Pinks (Betty Black & Cullers)
12/22 NYC, NY @ Leftfield ((Betty Black & Cullers)
12/28 NYC, NY @ Elvis Guesthouse (Betty Black DJ set)
1/6 NYC, NY @ Happy Ending (Betty Black’s Happy Blue Lounge)
1/13 NYC, NY @ Happy Ending (Betty Black’s Happy Blue Lounge)
1/20 NYC, NY @ Happy Ending (Betty Black’s Happy Blue Lounge)
1/27 NYC, NY @ Happy Ending (Betty Black’s Happy Blue Lounge)
2/7 Los Angeles, CA @ The Mint (Betty Black & Cullers)
2/10 Los Angeles, CA @ Resident (Betty Black & Cullers)

Single Review by William Ruben Helms


Classically trained, Toronto, ON-born, Los Angeles-based soul/pop singer/songwriter Crystyna Marie has had a lengthy music career, which can be traced to when she was teenager — she has been in and played with a number of Ontario-based acts and had been featured as a demo singer for a number of locally-based indie labels. After relocating to Los Angeles, the Canadian-born singer/songwriter had a stint in a pop act, Greencat; however, writing and releasing her own music with her own voice was where her real passion was.

As a result of her own experience as an artist, who has been with a number of labels, Marie decided that in order to shape her sound the way the she felt fit, that releasing music completely on her own was necessary. “Loaded Gun,” is the first single off the Canadian-born, Los Angeles-based artist’s forthcoming EP, slated for a February 29, 2016 release pairs Chrystyna Marie’s sultry and soulful vocals with a classic bluesy and soulful sound — propulsive yet simple rhythms, soaring hooks and 12 bar blues-based guitar chords and bursts of keyboards in a song that has its narrator describes the heady first days of a new love to a loaded gun — something that could quickly be combustible and unpredictable.

Unlike many of her soul, pop and blues-inspired contemporaries,  Chrystyna Marie’s debut single possesses an underlying sense of danger along with the prerequisite sultry seductiveness.