Tag: Roxy Music

Single Review by William Ruben Helms

New Audio: Alt Rock All Star Side Project Filthy Friends Release Their Most Straightforward and Anthemic Song to Date

Comprised of Corin Tucker (vocals, guitar), who’s best known for being a member of Sleater-Kinney and Heavens to Betsy; Kurt Bloch (guitar), who’s best known as the frontman of The Fastbacks and a producer and mentor for several up-and-coming Seattle-based rock bands; Bill Rieflin (drums), who’s best known for being a member of the legendary King Crimson; Scott McCaughey (bass), a studio musician, who’s also known for being a member of Fresh Young Fellows; and last but certainly not least, Peter Buck (guitar), who was a founding member of R.E.M., Filthy Friends is both a side project and free-flowing collaboration between likeminded, long-time friends, who happen to be among some of the most accomplished and influential musicians of the past 30+ years. 

The band has released two attention-grabbing singles this year, “Desiperta,” their contribution to the anti-Trump protest compilation 30 Songs For 30 Days and a Record Store Day release featuring “Any Kind of Crowd” and a cover of Roxy Music’s “Editions of You.” Building upon the attention they’ve already received, the band will be releasing their full-length debut Invitation through Kill Rock Stars Records on August 25, 2017 — and while featuring their previously released tracks, the album overall finds the band working through a series of different moods and styles, genre exercises and experiments; however, “The Arrival,” Invitation’s first single may arguably be the most straightforward, glam rock and alt rock nodding single as the band pairs bristling and chugging power chords and a rousingly anthemic hook around Tucker’s imitable vocals in a song that swaggers with the cool, self-assured confidence of old pros, who make it seem far easier than it actually is — and who can essentially play anything at will.  

Single Review by William Ruben Helms

 

Ward White is a Los Angeles, CA-based singer/songwriter and guitarist, who is arguably best known for his work as one-half of the critically applauded chamber pop duo McGinty and White, which features Joe McGinty, a former member of Psychedelic Furs, and the creator of The Loser’s Lounge tribute series; in fact, the duo’s debut effort together received praise from  The New Yorker and The New York Press.  And while a member of McGinty and White, White has quietly developed a reputation as a solo artist of note as 2013’s Bob and 2015’s Ward White is the Matador were released to critical praise from iTunes, New York Magazine, Magnet Magazine and CMJ for a songwriting approach and sound that has been compared favorably to Scott Walker (one of the great and sadly under-appreciated songwriters of the past 50 years or so), 1970s  David Bowie, T. Rex and others.

 

Now, if you’ve been frequenting this site over the course of 2015, you may recall that I had written about White’s Ward White is the Matador, an album that while clearly drawing from 70s classic rock and AM rock, also possessed an experimental art rock sheen. And while unquestionably, a very New York rock sound, at points the material lyrically and thematically covered things that we become conscious of as we get older — that life is increasingly about a series of loss; that most relationships throughout one’s life will inevitably end; and of a rapidly disappearing New York into eccentrics and lunatics, and improbable situations.

It’s been a while since I’ve written about White, and as it turns out, White has been rather busy. Over the past couple of years, Ward has relocated from Brooklyn to Los Angeles — and his soon-to-be released tenth full-length album As Consolation chronicles his relocation to the West Coast; in fact, the album’s first single “Dude” will further cement his reputation for crafting 70s AM radio friendly rock in the veins of the aforementioned Scott Walker, David Bowie, T. Rex and Roxy Music — with a winking and witty irony; but under the surface is the hazy confusion of being disconnected, of being a stranger in an even stranger place that you can’t quite figure out with people who seem completely alien to you. And as a result, the song evokes the recognition of not fitting in — while wondering if people are looking at you with disapproval and disdain because you can’t quite tell.

 

 

New Audio by William Ruben Helms

Initially comprised of founding member Al Jourgensen (vocals and guitar), Stephen George (drums), Robert Roberts (keys) and John Davis (keys), the renowned and influential Chicago, IL-based industrial metal/industrial electronic act Ministry began as a New Wave synth pop act that released several 12 inch singles through Wax Trax! Records between 1981-1984. And after a series of lineup changes that included a deeper focus on the band’s founding duo of Jourgensen and George, and a radical change in sonic direction that lead to the aggressive and abrasive sound that later inspired the likes of Marilyn Manson, Nine Inch Nails ,KMFDM and others.

This Friday will mark the limited release of the long-awaited Trax! Rarities double album featuring rare, early tracks and versions of songs from Wax Trax! Records-era Ministry and unreleased material from Al Jourgensen’s related side projects including Revolting Cocks, PTP, Pailhead and 1000 Homo DJs through Cleopatra Records. And we’ve got three tracks from the Trax! Rarities collection — the A Flock of Seagulls meets Roxy Music-like demo version of “The Game Is Over,” which reveals that even with a completely different sound that Jourgensen, his late bandmate George and company had an uncanny ability to write an incredibly anthemic hook paired with shimmering guitars and a propulsive groove;  the mid 80s New Order and Depeche Mode-nodding “I See Red,” which is not only a dance-floor friendly song but manages to be a more conscious move towards something resembling industrial electronic music; and lastly, “Same Old Madness,” which strangely enough, bears an uncanny resemblance to Freedom of Choice-era DEVO. Of course, while the compilation will be a must have for die-hard fans and completetists, it’s a revealing look into how a band’s sound and aesthetic can morph from making them a mere footnote of a particular time into one of the more influential bands of their generation.

 

 

 

 

 

Single Review by William Ruben Helms

Now, if you’ve been frequenting this site over the past couple of months you might recall a post on  Stockholm, Sweden-based pop quartet Red Sleeping Beauty. Comprised of of Kristina Borg (vocalist), Niklas Angergård (guitar, vocals) of Acid House Kings, Mikael Matsson (guitar), of The Shermans and Carl–Johan Näsström (bass), the quartet originally formed in 1989 and with the release of two full-length albums Bedroom and Soundtrack, a number of EPs and singles, the Swedish pop quartet received both national and international attention before the quartet quickly split up.

After several years of in other creative and professional pursuits, the Swedish indie pop quartet reunited to record a cover of Alpaca Sports song “Just For Fun” and “Merry Christmas, Marie,” a holiday-themed track, which caught the attention of fans and critics, who had desperately awaiting both a reunion and new material from the act. Continuing upon the buzz that they received, the Stockholm-based quartet followed that up with the release of the “Always” 7 inch, a set at Madrid Pop Fest and the release of “Mi Amor,” the first song the band recorded with a chorus completely sung in Spanish. Adding to the growing attention the band has received, their first full-length effort in over 19 years, Kristina is slated for release next week.

Kristina‘s first single “If You Want Affection” had the members of the band pairing a driving motorik groove with shimmering cascades of synths and an infectious hook with Angergård’s chilly yet plaintive vocals to craft a song that sounds as though it pulsates with an urgent need, while sonically the song sounds as though it channels 80s dance floor-friendly synth pop — in particular, I think of Depeche Mode‘s “People Are People”  and “Just Can’t Get Enough” among others –but with a slick, modern polish. Interestingly, the album’s second and latest single “Cheryl, Cheryl, Bye” is a slow-burning , atmospheric and contemplative song in which the band pairs layers of bass synth and shimmering keys with plaintive and aching vocals; of course, that shouldn’t be surprising as the song is one part bitter farewell and one acceptance of a truth that the narrator doesn’t want to completely accept. After all, life pushes us forward no matter how much we want to deny it. In some way, sonically the song sounds as though it draws equally from Roxy Music — think of “Avalon” and “More Than This” in particular — as it does from Pet Shop Boys.

Video by William Ruben Helms

New Video: The 80s Inspired Visuals for Iconique’s “Sitting Pretty”

Building upon the buzz they’ve received for their first two singles and the video for “Step Into the Mood,” the Los Angeles, CA-based electro pop trio Iconique recently released the fittingly 80s influenced video for “Sitting Pretty,” a video that visually reminds me quite a bit of the visuals for Roxy Music’s “More Than This,” The Human LeagueR’s “Don’t You Want Me” and others — but with a focus on the video’s glamour being seemingly fleeting and unattainable for most.

Single Review by William Ruben Helms

 

Comprised of Leo Paparella (vocals, synths) and brothers Eric Promani (drums, synths) and Greg Promani (guitar), Los Angeles-based electro pop trio Iconique have quickly exploded across the blogosphere and elsewhere as their previous single “Step Into The Mood” was praised by Gawker and Surviving the Golden Age, was featured on Hype Machine and received radio airplay on KUCI and KCHUNG. And honestly, that shouldn’t be surprising as the band’s sound has been described by some of my colleague as a “synthesis of influences like Prince, David Bowie and Chic.” Interestingly, the trio’s latest single “Sitting Pretty” sonically seems as though it draws from Roxy Music, The Human League, Howard Jones and others as Paparella’s sultry speak-song and crooning is paired with a sinuous bass line, shimmering synths and propulsive drumming; in other words, it sounds as though it could have been released sometime between 1980 and 1983.

As the band’s Leo Paparella explained in press notes “‘Sitting Pretty’ is both a celebration and critique of vanity. There’s very much an innate cruelty to glamor. It operates out of exclusivity, which keeps its scope woefully narrow and out of touch. And I bet that’s why people want it so badly.” And as a result, the song possess a subtle yet palpable sense of menace and anxiousness under the clean, hyper-modern and danceable sheen.

 

Single Review by William Ruben Helms

New Audio: Brian Eno’s Gorgeously Ambient Cover of The Velvet Underground

Wap More than enough ink has been spilled throughout Brian Eno’s nearly 50 year musical career, so delving deeply through his backstory will largely be unnecessary and beyond the scope of this particular post. But […]

Uncategorized by William Ruben Helms

If you’ve been frequenting JOVM over the course of the past year or so, you’d likely recall coming across a couple of posts on Maybe the Moon, a Bay Area-based indie electro pop duo, comprised […]

Uncategorized by William Ruben Helms

Up-and-coming London-based vocalist and producer Rationale has quickly captured the attention of the blogosphere, as his debut track “Fast Lane” which was released last month received 450,000 plays and quickly climbed to the top of the […]

Uncategorized by William Ruben Helms

If you’ve been frequenting JOVM over the past year or so, you may have come across a post or two about a Rhythm Scholar, a producer and DJ, who first came to my attention with […]

Uncategorized by William Ruben Helms

Maybe the Moon is a Bay Area-based indie electro pop duo who have one of the more adorable meet cute stories i’ve heard in recent memory. Karmen Kimball (vocals, keyboards) and Alex Lasner (guitar, keyboards) […]

Uncategorized by William Ruben Helms

If you’ve been following JOVM since its inception, you may have come across several posts on herMajesty throughout the past five years; in fact, the band’s Images of the Vanishing Night EP landed on this […]

Uncategorized by William Ruben Helms

If you follow this blog often, you’ll know that a few weeks ago I heard from a producer and DJ by the name of Rhythm Scholar, who released a slick  disco/funk inspired remix of ABC’s “When […]