Tag: singer/songwriter \

Video by William Ruben Helms

New Video: JAIN Shares Earnest and Cinematic “The Fool”

French-born international pop sensation JAIN exploded into the national and international scene with her full-length debut, Zanaka, which sold over one million copies globally. Her sophomore album 2018s Souldier, topped the charts in her native France, thanks to the success of hit single “Makeba” which led to her first Grammy nomination for Best Music Video — and to Rolling Stone naming her an “Artist You Need To Know,” writing that the “French singer mixes pop, Afrobeat and more influences in a winning combination.”


Building upon a growing profile, the French pop start has played over 300 shows in 15 countries across the European Union, North America, South America and Asia, as well as the rounds of the global festival circuit with sets at Coachella and Lollapalooza. She has also performed on The Late Show with Stephen Colbert, Later . . . with Jools Holland, the 2018 Ryder Cup and the 2019 FIFA Women’s World Cup.

Her highly-anticipated third album The Fool is slated for an April 21, 2023 release through Columbia/Sony Music France. The album is reportedly a new chapter for the French pop sensation both musically and personally. Thematically, the album chronicles the stages one goes through when making a fresh start — fear, excitement, innocence, self-doubt/doubt, letting go, epiphany and more. While her previously released work meshed a myriad of genres, styles and instrumentation including Arabic percussion. African rhythms. electro pop, reggae, soul and hip-hop, The Fool draws heavily on influences like Kate Bush and Stevie Nicks.

JAIN also relies heavily on Tarot de Marseilles, one of the oldest and most popular tarot decks created — and an art her mother passed on to her. According to the French pop artist, tarot gives her the strength to jump into the unknown through an instinctive perception of the world’s dangers and possibilities.

The Fool‘s first single, album title track “The Fool” is a decidedly 80s pop-inspired song centered around a lush and almost painterly production featuring finger plucked strummed guitar, glistening synth oscillations, thumping beats paired with soaring strings and rousingly anthemic hooks. JAIN’s self-assured and gorgeous, pop star vocal is at the forefront of the mix, singing lyrics that reference The Fool card in the tarot. And as result, the song takes on a brave and hopeful look at the future, seeing it as the sort of grand adventure the you want to go on with a loved one, while sounding a

Directed by Jules Jolly, the video follows the French pop star on an incredible adventure through the universe and into the future. Visually, the video manages to bring fond memories of The Little Prince.

singer/songwriters by William Ruben Helms

Audio Interview: Nat Vazer

JOVM’s William Ruben Helms chats with acclaimed and rising Aussie artist Nat Vazer at last week’s The New Colossus Festival.

Single Review by William Ruben Helms

New Audio: Easy Star All-Stars Tackle Bowie’s Ziggy Stardust

Founded and led by producer, arranger, multi-instrumentalist Michael Goldwasser, Easy Star All-Stars have established themselves as one of the top reggae acts on the international scene for the better part of two decades. During that same period of time, they’ve managed to tour in over 30 countries on six continents while brining together fans of reggae, classic rock, dub, indie rock and pop into one big family as a result of their collection of critically acclaimed reggae tribute albums that includes 2003’s Dub Side of the Moon, 2006’s Radiodread, 2009’s Easy Star’s Lonely Hearts Dub Band and 2012’s Easy Star’s Thrillah — and 2010’s remix album, Dubber Side of the Moon. They also have two releases of original material, 2008’s Until That Day EP and 2011’s First Light.

Continuing their run of reggae tribute albums across classic rock, dub, indie rock and pop, the acclaimed local reggae outfit will tackle David Bowie‘s beloved classic, 1972’s The Rise and Fall of Ziggy Stardust and The Spiders From Mars. Slated for an April 21, 2023 release through their own Easy Star Records, Ziggy Stardub is a reggae re-imagining of the beloved album, featuring guest spots from Macy Gray, Steel Pulse, Maxi Priest, Fishbone, Living Colour‘s Vernon Reid, The Skints, Mortimer, The Expanders, Samory I, and a lengthy list of others.

Pre-order packages of the album are available here, including royal blue colored vinyl along with CD and exclusive t-shirt offerings.

But in the meantime, Easy Star All-Stars have shared two singles from the album:

“Starman,” featuring Maxi Preist, who’s one of two British-born acts to have a #1 Billboard here in the States with 1990’s smash hit “Close To You.” By the way, for you trivia heads, the other British act was UB40 with their cover of Neil Diamond’s “Red Red Wine” back in 1983.

“Starman,” is a warm and soulful dub take on the original that retains the rousingly anthemic hook everyone and their grandmother knows but places it within a shuffling, reggae riddim paired with warm blasts of Rhodes, some cinematic strings and Maxi Priest’s effortlessly soulful delivery.

“Moonage Daydream,” which features Naomi Cowan and the legendary Alex Lifeson. Cowan is th daughter of impresario Tommy Cowan, a producer, songwriter and former road manager for Bob Marley — and the internationally beloved reggae vocalist Carlene Davis. Touted as one of the top rising female artists in Caribbean music, Cowan won the Breakthrough Reggae Artist Award at 2019’s Jamaica Reggae Industry Awards. Building upon a buzz-worthy profile, her single “Paradise Plum” has topped several reggae charts and has quickly become a staple in the new wave of reggae. Lifeson is best known as the co-founder, backing vocalist and guitarist of beloved Canadian prog rock outfit Rush. As a member of Rush, Lifeson is in the Rock N’ Roll Hall of Fame, and is included on Rolling Stone‘s list of the “100 Greatest Guitarists of All Time.” Adding to an extensive list of accolades, Lifeson was made an Officer of the Order of Canada back in 1996 and in 2012, he received the Governor General’s Performing Arts Award, Canada’s highest artistic honor.

The Easy Star All-Star cover of “Moonage Daydream” is a hazy dub-leaning take that makes loving nods to the original, with a full string seciton and a flute solo from Jenny Hill, that takes the place of Bowie’s recorder solo from the original. Cowan contributes a soulful, rock goddess vocal that I’d argue would make both Bowie and Tina Turner very proud. The song closes out with a trippy and inspired David Gilmour-like guitar solo from the legendary Lifeson.

“This has been my favorite tune on the Bowie album since I first started listening as a teenager,” Easy Star All-Star’s Michael Goldwasser says in press notes. “In light of that, it’s interesting that it’s the song that I changed most radically by simplifying the chord progression and pedaling on one bass line for the entire track, which gives it somewhat of a hypnotic effect and roots it in reggae tradition.”

Video by William Ruben Helms

New Video: Rising Aussie Artist MANE Shares Lush and Anthemic “Breathing Again”

Paige Court is a rising Adelaide-based singer/songwriter and pop artist, best known as MANE. She exploded onto the Aussie scene with 2019’s breakout hit “Chasing Butterflies,” which amassed over 2 million streams and landed at #7 on the Spotify viral charts.

Her debut EP. 2020’s Coping Mechanisms and follow-up single “Hi Lo” were released through Dew Process/Universal Music Australia and were written during some of the most formative experiences of her life to date.

In a relatively short period of time, MANE has played the national touring circuit, playing some of her homeland’s biggest festivals including Spin Off, Groovin The Moo, Bigsound, and Big Pineapple. She has shared stages with the likes of Matt Corby, Ball Park Music, Yung Blud and The Kooks. Building upon a growing profile, the rising Aussie artist went on a 34 date Stateside tour between last August and last November, across 14 states.

The rising Aussie artist’s latest single, the Mario Späte and Benjamin Tamblyn-Morrow (a in shadowing collaborator role)-produced “Breathing Again” continues a remarkable run of cinematic, heart-worn-on-sleeve pop anthems centered around her smoky, booming pop belter delivery paired with twinkling keys, a mix of thumping beats and live drumming and a rousingly anthemic hook. The song, which was written with Charlie McClean, the co-founder of She Writes feels informed by lived-in experience: it evokes a sometimes fleeting sense of hope and peace during the most difficult times of your life. This song should serve as a reminder that things can — and do — get better; that nothing is forever.

“I distinctly remember writing this song with Charlie at Kobalt Studios in LA and feeling overwhelmed by a waterfall of happy/sad emotions… Charlie really gently helped coax them out of me in a way where I didn’t need to be specific or elaborate into any detail which was really nice,” Court recalls. “The song to me is about a moment of clarity or relief in the midst of healing from something – the sometimes fleeting feeling that it is in fact going to be ok, for me those moments provide a lot of hope… it’s refreshing, relieving and sometimes exciting to feel, especially if it’s felt heavy and dark for so long. I think finding a space where you can genuinely smile, breathe and just exist after a grief is a testament to your own resilience, because even though you may still be going through it your finding room around it to seek hope & happiness and I think that’s brave as hell!”

Edited by Court, the accompanying video emphasizes the healing process at the core of the song as it follows a couple of women, suffering through despair and heartache, and while expressing their feelings experience a moment of clarity and peace that saves them.

Video by William Ruben Helms

Throwback: Happy 77th Birthday, David Gilmour!

JOVM’s Willam Ruben Helms celebrates David Gilmour’s 77th birthday.

Single Review by William Ruben Helms

New Audio: Beth Arnold Gilbert Shares a Grunge-Inspired Anthem

Beth Arnold Gilbert is a Philadelphia-born and-based singer/songwriter and guitarist, who specializes in material that features a 90s alt-rock vibe with a pop sensibility paired with Gilbert’s expressive vocals.

“I Was Not Airtight,” Gilbert’s latest single is the follow up to her debut EP, 2021’s Gimme Back My Castle. Centered around layers of distorted and reverb-drenched guitar, enormous mosh pit friendly hooks paired with the Philadelphia-born artist’s raspy delivery, “I Was Not Airtight,” much like today’s previous post recalls 120 Minutes-era MTV alt-rock — in particular PJ Harvey, Veruca Salt, Hole, and Catherine Wheel among others.

Single Review by William Ruben Helms

New Audio: Cleo Handler Shares Snarky Anthem “problem”

Cleo Handler is a Los Angeles-born singer/songwriter, filmmaker and longtime lyricist in the Advanced BMI Songwriting Workshop, who spent a decade here in Brooklyn, and returned back to Southern California in the “aftermath of an extremely disorienting, sudden breakup with her long-term (musician) partner.

Recorded at Wild Horizon Sound, the recently released, Claire Morrison-produced gold features session musicians Sarsten Noicee and Mike DeLuccia. gold as Handler explains “is about what’s gained when everything feels lost.

Handler’s recently released full-length album gold as she explains “is about what’s gained when everything feels lost. The raw production, honest storytelling, and deeply personal lyrics explore loss of love, community, reality, and even your idea of yourself… and oh, right – it’s a breakup album.

“This album – and accompanying videos – were born out of necessity, in the aftermath of an extremely disorienting, sudden breakup with my long-term (musician) partner,” Handler says.”Writing was the only thing that kept me afloat, and the overpowering urge to channel my own music the only task that made sense. It became a compulsion and I held on for dear life, singing and strumming, even when my voice cracked and my fingers bled.”

“These songs are about empowerment, self- actualization, and finding a reason to go on – and the courage to hope, sing, even laugh – in the darkest times,” Handler adds. “Musically, gold draws inspiration from beloved artists like Liz Phair and Wet Leg, nodding to the strength and snark of Olivia Rodrigo and Hole.“

gold‘s latest single “problem” is a lo-fi bit of indie rock rooted in heart-worn-on-sleeve lyricism, anthemic hooks and scuzzy power chords. Sonically. “gold” immediately brings memories of 120 Minutes-era MTV to mind — in particular Liz Phair, Hole, Veruca Salt and others with the snarky, righteously bitter sarcasm of the heartbroken.

“‘problem’ is about projection, reevaluating what you’ve been told, and reclaiming your power,” Handler says.

Video by William Ruben Helms

New Video: Alfa Mist Teams Up with Kaya Thomas-Dyke on Soulful and CInematic “Aged Eyes”

Throughout the London-based producer, composer, musician and Sekito Records head Alfa Mist’s career, he has steadfastly refused to be boxed into a specific genre or style: his work has spanned everything from hip-hop beatmaking to producing for rappers like Loyle Carner, composing neo-classical works for the London Contemporary Orchestra and reworking tracks for Ólafur Arnalds and legendary jazz label Blue Note. He also hosts the Are We Live podcast with Barney Artist and Jordan Rakei. 

Since the release of his full-length debut, 2015’s the London-based multi-hyphenate has also quickly established himself as one of the UK’s most focused and distinct contemporary musical voices while also working with Jordan Rakei, Tom Misch, Richard Spaven, Lester Duval and Emmavie.

Building upon the success of 2017’s Antiphon, which has amassed over 10 million streams of YouTube, 2019’s Structuralism and 2021’s ANTI- Records debut, Bring Backs, the forthcoming Variables finds Alfa Mist moving forward with a renewed intensity and purpose. “The whole album is more uptempo and influenced by the freedom of returning to gigs,” Alfa Mist explains. “It feels like I’m coming back to my early days of making grime beats and creating tracks that make me want to bop my head fast.” 

Variables‘ latest single “Aged Eyes” featuring longtime collaborator Kaya Thomas-Dyke is a gorgeous bit of trip hop-inspired neo-soul built around a finger-plucked guitar melody by Jamie Leeming, a swelling string-driven, cinematic chorus from Peggy Nolan (cello), twinkling keys from Alfa Mist paired with Thomas Dyke’s expressive, gossamer vocal. The arrangement and Thomas Dyke’s vocal express a yearning sense of hope.

The accompanying video by SPOD features some gorgeously animated watercolor paintings reminiscent of Van Gogh and the Dutch masters.

Video by William Ruben Helms

New Video: Lauren Lakis Shares Yearning “Take My Hand”

Lauren Lakis is a Baltimore-born, Austin-based singer/songwriter and musician, who specializes in a brooding and churning take on shoegaze centered around authentic, honest lyricism. Lakis and her backing band have extensively toured across the West Coast, sharing bills with Ringo Award-nominated rocker Tracy Bonham. She has also played in front of sold-out crowds at Doug Fir Lounge and at Santa Cruz’s The Catalyst.

During the pandemic, Lakis performed several live-streamed shows, partnering with Bandsintown, Jam in the Van, B-Side TV, Rock to End Rape Culture, KXLU, ACLU and JuJu Live.

Recorded at Seahorse Sound, the Baltimore-born, Austin-based artist’s Billy Burke-produced Daughter Language was released by Green Witch Recordings in 2021 to critical acclaim from Flaunt, Wonderland, Earmilk, Ladygunn, Buzzbands LA, Grimy Goods, Atwood Magazine and more.

Daughter Language‘s highly-anticipated follow-up, the Carey McGraw-produced A Fiesta and a Hell was recorded in Austin and is slated for a Fall release through Green Witch Recordings. The album’s first single “Take My Hand” is a brooding and stormy bit of shoegaze built around an alternating quiet and loud sections featuring glistening guitar textures for the verses and swirling, stormy power chord-driven choruses paired with Lakis’ achingly yearning vocal. The single, as Lakis explains is about “forgetting what you thought you knew, letting go, bravely opening your mind to something radically different. She adds “What if you were wrong? Are you able to admit it? Can you shift with the ever-changing landscape of reality, or are you stuck in your ways? I found myself stepping into the unknown in many ways the past few years, forced to entertain the notion that maybe I didn’t know everything, and in that I found freedom.” 

Shot in Rapid City, South Dakota and Badlands National Park, the accompanying video follows the rising singer/songwriter hanging out with a large tortoise, going through a dinosaur park, dancing on a dinosaur statue and more. It’s a surreal yet highly symbolic romp through the wilderness — both natural and constructed.

Lakis will be playing at next week’s The New Colossus Festival. I’lm looking forward to catching her.

Video by William Ruben Helms

New Video: Baaba Maal Teams Up with The Very Best on Mesmerizing “Freak Out”

Acclaimed Senegalse singer/songwriter and guitarist Baaba Maal is a member of the semi-nomadic Fulani people. He first left his home in Podor, Senegal to perform music hundreds of miles away as a teenager — and he has been a wanderer ever since. “It’s part of my culture,” Maal says. “The songs travel from village to village, from country to country. It’s something natural to my tribe and this part of Africa.”

Since then, Maal has followed his music, as it traveled around the world, starting from his young travels around West Africa, performing with mentor Mansour Seck, to the Paris conservatory, where he studied music theory and then eventually across the rest of the globe, while collaborating with an eclectic array of acclaimed, contemporary artists including John Leckie, Brian Eno, Damon Albarn’s Africa Express, and Mumford & Sons. Maal has worked on the soundtracks for The Last Temptation of Christ and Black Hawk Down. He has also worked with soundtrack composer Ludwig Goransson to create the soundscapes for both Black Panther films, essentially making him the voice of Wakanda.

Throughout his career, the acclaimed Senegalese artist has spread the word of an idealistic, energetic Africa — to the entire world. “I could bring my Africa to this other, abstract Africa, and both places collided together beautifully,” he says of Black Panther, “I brought this mythical Africa back to Podor, extending my reality, my hometown, and my music. I didn’t know whether I would make another album after The Traveller, but I did know my thinking about music was still changing. And once more something stirred inside me at home in Podor. I found myself once again. It was time for a new album.”

Maal’s forthcoming album Being is slated for a March 31, 2023 release through Marathon Artists. The album reportedly is the latest stage in the development of a highly distinctive, ecstatically melodic sound that meshes traditional African instruments and rhythms with modern, electronic production, The album is a set of confrontational and contemplative stories in which Maal mixes evocative, personal local concerns with grand universal themes to produce a unique form of deep, immersive soul music, taking the listener to new places via his birthplace of Podor, Senegal, where his music always begins — and his travels always end. “However far I travel, whatever direction, I will always return home,” the acclaimed Senegalese artist says. “It is the nomadic nature. To wander, but to return home, eventually. Home is where you start from, where you begin to learn what really matters, and home is where you finish. Podor is the perfect place for me when I need some time to think, to see my music with a fresh eye, to surprise it, snare it, catch it unawares as if coming across it for the first time.”

The album is also deeply informed by experiences Maal had before, during and after the pandemic. The album is about being African, being a songwriter, being a romantic, being realistic, being wary, being online, being at the mercy of the elements, being caught between two worlds, being on your way somewhere — and ultimately about his being from Podor while being connected to a constantly turbulent and shifting world through his art. “Each song of this album has its own personality. A song is like a person. It has a life, name, a character, and it has a position in life,” Maal says in press notes. “I think that’s what makes this album so powerful – it is totally about now and where I am now, the dreams I have of the past and the future.”

The album’s material also reflects Maal’s need to continually move forward with his work. Much like the acclaimed Senegalese artist’s previously released work, there wasn’t a set deadline: Songs were finished when they ere finished, emerging out of a combination of both fast and slow work. There were intense improvisational studio sessions in Brooklyn, Podor, and London, where things moved quickly and songs took place over a few days. After energetic bursts of activity, both artist and producer took time to process their work, and songs would reveal themselves over many months. Some would be recorded by the ocean, in the ocean air, with the sound of crickets, dogs, donkeys, birds, traffic, rain and people being captured nearby. 

Last year, I wrote about album opening track “Yerimayo Celebration,” a joyous and percussive stomp centered around layers of thunderous percussion, African traditional instrumentation and enormous, ebullient hooks. The song which features contributions from Cheikh Ndoye (bass ngoni) and Momadou Sarr (percussion) is celeebration of music — and of music’s power to open the mind and heart in deeply troubled times, and of its power in fighting cynicism and chaos.

Beings latest single, “Freak Out” feat. The Very Best is a mesmerizing and woozy alchemy of traditional African folk instrumentation and modern production through the form of skittering, tweeter and woofer rattling beats and percussion that effortlessly bridges the ancient and the modern — while being boldly and defiantly African. Lyrically, the song explores the complex dynamic of social media and its effects on both African and the wider world.

“It became a song about being careful what you put on the internet,” says Baaba Maal, “It might seem funny or popular when you do it, but it might have consequences and you will have to live with those all your life.

“There are things you should keep to yourself. Mystery is important in life; you don’t need to shine a light on every little thing you do. You don’t have to give away your soul for the sake of a little bit of attention.

“The internet should be used to make humanity feel good about themselves. It is so powerful, it can be dangerous and sometimes it just seems the internet has just caused a constant freak out.”

The accompanying video is a gorgeous and sensitive slice of the complexity of African life that’s life-affirming and necessary as it captures a mix of ancient traditions and modernity. But along with that, there’s a reminder of the fact that people are generally the same.

Video by William Ruben Helms

New Video: Henry Carlyle Shares Brooding and Atmospheric “I Float”

Best known for his work in acclaimed JOVM mainstay act The Orielles, Halifax, UK-born, Manchester-based singer/songwriter and multi-instrumentalist Henry Carlyle stepped out into the spotlight as solo artist with 2021’s “The Ground,” a song that found The Orielles co-founder eschewing the disco floor strobe lights for thoughtful and lived-in lyricism and an intimate, dusty, lo-fi-like production. 

Described by Carlyle as “a song about displacement,” the song’s origins can be traced back to a winter day in which the Halifax-born, Manchester-based singer/songwriter and guitarist began writing down his fractious thoughts of his unanchored passing through time and space. “It was inspired by floating through the universe and through time bouncing off events and other humans, never really knowing where you should be or what you should be doing anyway” Carlyle explained in press notes. 

Carlyle’s second solo single “A Bigger Splash,” continued his collaboration with Julia Bardo (vocals) and Jack Bogacki (drums). The song was a strangely euphoric yet uncomfortably intimate song centered around Carlyle’s aching, world weary delivery, jutting and angular guitar attack and his unerring knack for razor sharp hooks. While sonically nodding Damon Albarn and Pavement among others, the song’s relatively young narrator is struggling with the difficulties and uneasiness of existence — as everyone has been for quite some time.

Written as a by-product of “going through stuff and nothing the time to think properly,” Carlyle explains that “I was thinking how these formative years might affect people as they move on. Which is why the song’s initial musical idea stuck with me and interested me a lot as a theme; it fluctuates between two keys, the end improvisation being the ultimate meditation in that idea. it all feels as I felt, in turmoil.” 

“The lyrics are mostly about self-medicating, trying to instantly feel better for a transient moment and then reeling from that for a longer period of time than the intended relief,” Carlyle adds. “Which is why the chorus only comes once and is only two lines long. Nothing good lasts too long and goodness changes all the time.”

Carlyle’s latest single “I Float” is a brooding and atmospheric track built around twinkling synths, rumbling low end, skittering boom bap-like drumming and brief bursts of scorching guitar feedback paired with Carlyle’s chilly and detached delivery. “I Float” manages to simultaneously seem informed by — and mirror — the adventurous sonic approach developed for The Orielles’ Tableau while evoking the unease of a forced isolation in which the narrator endlessly replays his thoughts and failures.

This winter crept up on us. I started writing a lot of music on this synth I bought back in October,” Carlyle explains. “During dark evenings I built up an ambient track, ‘Prelude’ and when I finished that I realised it was the element ‘I Float had been missing. Through its many iterations, I struggled to get close enough to expressing the song’s idea until then.
 
“It’s about floating on through, not being present, doing what you’ve got to do. In a sense, it’s about living a minimal existence until you feel well enough to thrive again.”
 
Shot by Giuilia Bonometti, the accompanying video is based on a concept by Carlyle and Bonometti: We see Carlyle wearing a white jumpsuit in a park at night, bopping and bouncing around to the song’s skittering beats, appearing as though he were in a mosh pit by himself.