Tag: Portugal the Man

Over the past 18 months, the Mollymook, Australia-born, Sydney, Australia-based sibling duo Clews — Grace and Lily Richardson — have quickly emerged into their homeland’s national scene with the release of their first two singles “Museum” and “Crushed,” which displayed the sibling duo’s soaring vocal and guitar harmonies. As a result of the attention they’ve received for their first two singles, the Richardsons have opened for Portugal. The Man, Laurel, Albert Hammond, Jr. and Ocean Alley — and recently, they’ve headlined their own shows.

Building upon their growing national profile, the duo’s Nick DiDia-produced latest single “Hollywood” continues their collaboration with the Grammy Award-winning producer, who has worked with Bruce Springsteen, Rage Against The Machine and Pearl Jam. Sonically, the track is centered around shimmering and jangling guitars, the Richardson’s gorgeous harmonies and a soaring hook. And while the song subtly recalls the slick yet heartfelt pop of Lily & Madeleine, the song finds the sibling duo thematically focuses on the growing pains felt during the transition between youth and adulthood — and is rooted in autobiographical detail and the hard-won personal experience.

“‘Hollywood’ describes feeling so small that you end up making yourself invisible,” Clews’ Grace Richardson says in press notes. “It is full of self-fulfilling prophecies, and the common theme of feeling strongest when you’re alone. It’s a lot about what forces act on us to change our personalities.”

 

 

 

 

 

 

Roughly over the past 2 years or so, I’ve written quite a bit about Rodes Rollins, a Boulder, CO-born singer/songwriter, who spent a stint living abroad in Buenos Aires, Argentina and is now primarily based in New York. And as you may recall, Rollins quickly emerged into the national scene with the release of “Young and Thriving,” the first single off her critically applauded debut EP Young Adult, an incredibly self-assured effort written as a portrait of an artist as a young woman, in which the narrator looks back at her most formative experiences with a nostalgic yet wizened flashback of sorts — and the perspective of someone, who now sees how her decisions for better or for worse, planned or serendipitous have influenced who she has become and where her life is at this moment.

Earlier this year, I wrote about “Nasty Woman,” a bold and self-assured feminist anthem that according to Rollins was largely centered on empowerment and pride, while focusing on ” . . .the multi-dimensionality of what it means to be a woman in society — being who you are, as you are; and being proud of that. This song is not presented from only my singular perspective, or through just one medium. The very point of what I’m trying to express is that being a woman shouldn’t be a restrictive identity, but rather a broad and inclusive one.” Sonically, the song is based around a bluesy and reverb-y guitar line, propulsive drumming from Portugal, The Man’s Kane Ritchotee an infectious hook and Rollins’ sultry cooed vocals — and while sultry, the song lyrically features inclusive and intersectional lyrics. Rollins followed that up with “Boom Pow,” which was centered around a circular, hypnotic guitar riff and African-inspired percussion and rhythms, and an infectious hook paired around the New York-based singer/songwriter’s sultry and self-assured vocals. Sonically, the song finds the JOVM mainstay pushing her sound in a new direction — but while retaining the essential elements of the sound and approach that captured the attention of the blogosphere; in fact, as Rollins explained at the time, the song was inspired by a wide array of influences from Tinariwen to Jane Birkin.  Adding to a busy, attention-grabbing 2018 Rollins recently released the Velvet A/B side single, which features the looping and galloping “Mystery Man,” single that draws some influence from a short story she wrote about an abandoned desert town, where there was a fugitive on the run from the law — the eponymous Mystery Man character. Naturally, the song is an atmospheric and moody track that evokes Spaghetti Western soundtracks but with a sultry and soulful air. The B-side single “Wrong Turn” is an equally atmospheric but slow-burning and gorgeous ballad that reminds me a bit of Pavo Pavo but with a fiery guitar solo at its coda. Both of Rollins’ latest tracks reveals an artist, who has confidently found her own unique voice — and I’m looking forward to see where her songwriting and career go next.

 

 

 

 

 

Over the past 12-18 months or so, I’ve written quite a bit about Rodes Rollins, a Boulder, CO-born singer/songwriter, who spent a stint living abroad in Buenos Aires, Argentina and is now primarily based in New York, and as you may recall, she quickly emerged into the national scene with “Young and Thriving,” the first single off her critically applauded debut EP Young Adult, an incredibly self-assured effort written as a portrait of an artist as a young woman, in which the narrator looks back at her most formative experiences with a nostalgic yet wizened flashback of sorts — with the perspective of someone, who now sees how her decisions for better or for worse, planned or serendipitous have influenced who she has become and where her life is at this moment.

Earlier this year, I wrote about “Nasty Woman,” a bold and self-assured feminist anthem that according to Rollins was largely centered on empowerment and pride, while focusing on ” . . .the multi-dimensionality of what it means to be a woman in society — being who you are, as you are; and being proud of that. This song is not presented from only my singular perspective, or through just one medium. The very point of what I’m trying to express is that being a woman shouldn’t be a restrictive identity, but rather a broad and inclusive one.” Sonically, the song is based around a bluesy and reverb-y guitar line, propulsive drumming from Portugal, The Man’s Kane Ritchotee an infectious hook and Rollins’ sultry cooed vocals — and while sultry, the song lyrically features inclusive and intersectional lyrics.

Rollins’ latest single “Boom Pow” is centered around a circular, hypnotic guitar riff and African-inspired percussion and rhythms, and an infectious hook paired around the New York-based singer/songwriter’s sultry and self-assured vocals. Sonically, the song finds the JOVM mainstay pushing her sound in a new direction — but while retaining the essential elements of the sound and approach that captured the attention of the blogosphere. As Rollins says of the song “‘Boom Pow’ is a song inspired by a wide array of influences from Tinariwen to Jane Birkin. I write Americana inspired music and felt compelled to explore the different influences of the Americana genre by showcasing West African-tinged percussion and rhythms. I’m excited to showcase a different side of my sound with this song. I really feel like I’m covering different territory with this one.”

Rollins is playing a free set at Elsewhere’s Rooftop. And you can RSVP here: https://www.facebook.com/events/231823890926934.

New Video: Rodes Rollins Releases Sultry and Self-Assured Visuals for “Nasty Woman”

Now, over the past 12-18 months or so, I’ve written a bit about Rodes Rollins, a Boulder, CO-born singer/songwriter, who spent a stint living abroad in Buenos Aires, Argentina and is now primarily based in New York. Rollins emerged into the national scene with “Young and Thriving,” the first single off her critically applauded debut EP Young Adult, an incredibly self-assured effort written as a portrait of an artist as a young woman, in which the narrator looks back at her most formative experiences with a nostalgic yet wizened flashback — with the perspective of someone, who now sees how her decisions for better or for worse, planned or serendipitous have influenced who she has become and where her life is at this moment.

“Nasty Woman,” Rollins’ latest single is a bold, self-assured, feminist anthem that according to Rollins is largely centered on empowerment and pride, while focusing on ” . . .the multi-dimensionality of what it means to be a woman in society — being who you are, as you are; and being proud of that. This song is not presented from only my singular perspective, or through just one medium. The very point of what I’m trying to express is that being a woman shouldn’t be a restrictive identity, but rather a broad and inclusive one.” Sonically, the song is based around a bluesy and reverb-y guitar line, propulsive drumming from Portugal, The Man‘s Kane Ritchotee  an infectious hook and Rollins’ sultry cooed vocals — and while sultry, the song lyrically features inclusive and intersectional lyrics.

Directed by Louis Browne, the recently released video for “Nasty Woman” is as sultry and self-assured as the song it accompanies. As Rollins says of the video treatment, “‘Nasty Woman’ is my own personal feminist anthem. Tonally and thematically it’s very different from my other material. It was really empowering and fun for me to write and record this one. I wanted that to come through in the visuals for the song too. So, we made an effort for the video to incorporate bold, bright colors and a strong energy. Performing in this video really gave me a platform to showcase the confidence when I sing ‘Nasty Woman.'”

Lyric Video: Rodes Rollins Releases a Boldly Self Assured Feminist Anthem

Over the past year or so, I wrote a bit about Rodes Rollins, a Boulder, CO-based singer/songwriter, who has had stints living abroad in Buenos Aires, Argentina and is now primarily based in New York. And as you may recall, Rollins first emerged into the national scene with “Young and Thriving,” the first single off her critically applauded debut EP Young Adult, an incredibly self-assured album that told the story of the artist’s most formative experiences of her youth in a sort of nostalgic yet wizened flashback — or in other words with the perspective of someone, who now sees how her decisions, both for better or for worse, planned or serendipitous have influenced where her life is at this very moment. 

“Nasty Woman,” Rollins’ latest single is a boldly self-assured, empowering, feminist anthem that according to Rollins centers on empowerment and pride, while focusing on  “. . . the multi-dimensionality of what it means to be a woman in society — being who you are, as you are; and being proud of that. This song is not presented from only my singular perspective, or through just one medium. The very point of what I’m trying to express is that being a woman shouldn’t be a restrictive identity, but rather a broad and inclusive one.” Interestingly, the song will further cement the up-and-coming singer/songwriter’s reputation for crafting infectious hook-laden pop but this time centered around a propulsive and bluesy guitar line and propulsive drumming from Portugal, The Man’s Kane Ritchotee — but while featuring deeply inclusive, intersectionally focused lyrics. 

Currently comprised of Kyle Morton (vocals, piano, guitar), Tony Tanabe (bass, vocals), Dave Hall (guitar, vocals), Shannon Steele (violin, vocals), Jef Hufnagel (violin, vocals), Pieter Hilton (drums, vocals), Alex Fitch (drums, vocals), Tyler Ferrin (horns, guitar, piano, vocals), Ryan McAlpin (trumpet, vocals), Eric Stipe (trumpet, vocals) and Devin Gallagher (percussion, ukelele, vocals), the 11 member Portland, OR-based indie act Typhoon has received attention for a sound that meshes elements of indie rock, baroque pop  and orchestral pop as their material is rooted around complex arrangements and lush orchestration, as well as a penchant for restless experimentation with various styles including classic sea shanties, Country and Western, Eastern European folk and others. And unsurprisingly, they’ve drawn comparisons to Frightened Rabbit, Bright Eyes, Beirut and Arcade Fire among others. Along with that, they’ve received attention for live sets that routinely feature 12 (or more) musicians performing on stage. However, with the release of Hunger & Thirst and A New Kind of House EP the collective’s material revealed an increasingly consistent sound paired with a greater attention on crafting a thematic through-line — with much of their material based around a preoccupation with mortality, based primarily around (and making references to) Morton’s childhood struggles with Lyme Disease.

Adding to a rapidly growing local and national profile, they’ve had their music appear on SyFy’s Being Human, NBC’s Chuck and the major motion picture Veronica Mars, and they’ve opened for the likes of The Thermals, Quasi, Yann Tiersen, Explosions in the Sky, The Decemberists, Belle and Sebastian and The Shins and have toured with Lady Lamb the Bee Keeper, Portugal, the Man and Grouplove. Thanks in part to the success of album single “The Honest Truth,” which was ranked #3 in Paste Magazine‘s Top 50 Songs of 2011 List, and 2013’s White Lighter, which reached #105 on the Billboard 200, #2 on the Heatseekers and was 37 on Paste’s Best Albums list, the members of the collective played sets at 2014’s Lollapalooza and Outside Lands.

After the release of 2015’s live album, Live at Crystal Ballroom, which features the band playing material from off Hunger & Thirst and White Lighter, Morton released his solo debut What Will Destroy You — and during that time, the members of the collective spent time working on the material, which would comprise their soon-to-be released fourth album Offerings. Thematically, the album is centered on a fictional man, who is losing his memory — and in turn, his sense of self.  “I’ve always been preoccupied with memory, losing memory, and trying to recapture memory. I wanted to explore the questions: What does a person become if they don’t know where they came from? What is the essential quality of the person if you strip away all memory?” explains singer/songwriter Kyle Morton in pres note

As the story goes, motivated by his own preoccupation with “losing it,” Morton was inspired by the films of David Lynch, Christopher Nolan’s Memento and Fellini’s 8 1/2, as well as several different books on his nightstand, including Samuel Beckett’s famed Three Novels — in particular, Malloy. “It made it a much darker album for sure,” Morton says in press notes.  Structurally, the album is divided into four different movements — Floodplains, Flood, Reckoning and Afterparty — meant to represent each of the four mental phases the main character goes through when he first realizes that something is wrong, then struggles through the chaos of his situation, and finally moves into acceptance before succumbing to a terrible and unimaginable fate.

Musically, the band evokes an impending doom and chaos that’s supposed to mirror the main character’s sense of fear and anxiety. And to set the set the tone, Morton and company decided to write the material with much more guitar than horns and string arrangements.  “I wanted it to be a darker, more intense rock record, so it’s very guitar-based. It’s going back to my rock roots before Typhoon,” says Morton. But along with that, the material parallels the contemporary world. “I was also reading historian Timothy Snyder and was inspired by his take on how America is at risk of losing their sense of history. If we haven’t learned the lessons of our past, historically, we can’t recognize when elements come back to haunt us, which is what’s happening right now,” Morton adds.

Interestingly, Offering‘s latest single “Darker” is from the album’s third movement, and as Morton explains, the song details some of the final stages of the album’s main character’s memory crisis in which he loses the critical distinctions separating self from other. And naturally all kinds of chaos and confusion ensue. And while the arrangement balances a hook laden arena rock friendliness with a sweeping, cinematic quality, it possesses a tense and creeping anxiousness of someone, who’s fully aware of something horrifying happening to them and that they’re utterly powerless to stop it — but along with that, there’s the strange recognition that whatever it was that it was happening to them is something they’d have a difficult time explaining to someone else. Personally, what makes the song interesting is that Morton as a songwriter has revealed himself to have a novelist’s attention to psychological detail, capturing the fractured thoughts and uncertain emotions of someone slowly losing it all.

 

The band will begin 2018 with a lengthy US and European tour, and it includes a January 27, 2018 stop at The Music Hall of Williamsburg. Check out the tour dates below.

 

 

TOUR DATES:
01.10 – URBAN LOUNGE – SALT LAKE CITY, UT (TICKETS)
01.12 – GOTHIC THEATRE – ENGLEWOOD, CO (TICKETS)
01.14 – THE WAITING ROOM – OMAHA, NE (TICKETS)
01.17 – TURF CLUB – SAINT PAUL, MN (TICKETS)
01.18 – MAJESTIC THEATER – MADISON, WI (TICKETS)
01.19 – THE METRO – CHICAGO, IL (TICKETS)
01.20 – EL CLUB – DETROIT, MI (TICKETS)
01.23 – LEE’S PALACE – TORONTO, ON (TICKETS)
01.25 – PARADISE ROCK CLUB – BOSTON, MA (TICKETS)
01.26 – UNION TRANSFER – PHILADELPHIA, PA (TICKETS)
01.27 – MUSIC HALL OF WILLIAMSBURG – BROOKLYN, NY (TICKETS)
01.31 – 9:30 CLUB – WASHINGTON, DC (TICKETS)
02.01 – CAT’S CRADLE – CARRBORO, NC (TICKETS)
02.02 – TERMINAL WEST – ATLANTA, GA (TICKETS)
02.03 – EXIT IN – NASHVILLE, TN (TICKETS)
02.06 – THE MOHAWK – AUSTIN, TX (TICKETS)
02.08 – THE CRESCENT BALLROOM – PHOENIX, AZ (TICKETS)
02.10 – MUSIC BOX – SAN DIEGO, CA (TICKETS)
02.11 – TERAGRAM BALLROOM – LOS ANGELES, CA (TICKETS)
02.13 – THE INDEPENDENT – SAN FRANCISCO, CA (TICKETS)
02.16 – THE CROCODILE – SEATTLE, WA (TICKETS)
02.23 – CRYSTAL BALLROOM – PORTLAND, OR (TICKETS)
02.24 – RICKSHAW THEATRE – VANCOUVER, BC (TICKETS)
02.28 – THE DEAF INSTITUTE – MANCHESTER, UK (TICKETS)
03.01 – BROADCAST – GLASGOW, UK (TICKETS)
03.02 – THE LEXINGTON – LONDON, UK (TICKETS)
03.07 – LE PETIT BAIN – PARIS, FRANCE (TICKETS)
03.08 – BOTANIQUE – BRUSSELS, BELGIUM (TICKETS)
03.09 – PARADISO – AMSTERDAM, NETHERLANDS (TICKETS)
03.10 – KNUST – HAMBURG, GERMANY (TICKETS)
03.13 – VEGA – COPENHAGEN, DENMARK (TICKETS)
03.14 – MUSIK & FRIEDEN – BERLIN, GERMANY (TICKETS)
03.15 – FLUC – VIENNA, AUSTRIA (TICKETS)
03.16 – GARE DE LION – WIL, SWITZERLAND (TICKETS)
03.18 – ROYAL – BADEN, SWITZERLAND (TICKETS)
03.20 – ARTHEATER – COLOGNE, GERMANY (TICKETS)