JOVM’s William Ruben Helms celebrates the 95th anniversary of Burt Bacharach’s birth.
Tag: singer/songwriter \
Drew Kohl is a Nashville-based singer/songwriter. Relocating to Nashville back in 2014, Kohl quickly immersed himself in the city’s country/Americana scene, dressing the part and writing and performing folk-styled material. He has toured with the likes of Kiely Connell and Ray LaMontagne — and he has played at The Chicago Theater, Louisville Palace and lengthy list of other venues. But after spending several years in the scene, Kohl became increasingly disillusioned. He suddenly shifted to electric guitar and sought refuse in late night writing sessions that drew from Pavement, Elliott Smith, Johnny Marr and others.
Kohl found those late night writing sessions liberating — he explored new sounds and darker thematic concerns. The end result is his latest music project Cold Equations and the project’s forthcoming Paul Moak-produced self-titled debut, which was recorded at Smokestack Studio. “The first LP I wrote, “Ghost Town”, was super liberating – I didn’t have to fit into the ‘Country- Americana mold’ so I felt free to explore new sounds and lyrical themes,” the Nashville-based Kohl explains. “The Americana genre started feeling super restrictive and I didn’t really resonate or identify with the aesthetic anymore. So I withdrew from performing for a while and started writing indie rock songs in my bedroom which eventually became the songs on this upcoming album. This is the record I always wanted to make.”
After meeting Ryan Dishen (drums) at a punk show and later John O’Brien (bass), Cold Equation quickly became a full-fledged band that started writing, revising and rehearsing the material that Kohl originally wrote during those late night sessions.
“Identity Crisis,” the self-titled album’s latest single is a decidedly 120 Minutes-era MTV alt rock anthem built around fuzzy power chords and the sort of mosh pit friendly hooks and choruses that would make Dave Grohl proud. As Kohl explains, the song is inspired by the sensation of something very familiar suddenly becoming unfamiliar — and facing someone, who suddenly acts out of character. But the twist is that the song’s narrator is the one, who’s having the crisis.
The self-titled album is slated for a June release.
New Audio: Javier Moreno Teams up with Adrian Garcia on Breezy Bop “Enamorado”
Javier Moreno is an emerging Barcelona-born singer/songwriter and guitarist. Moreno started playing guitar when he turned 11, after listening to Dire Straits and Paco de Lucia. In 2006, he relocated to Bristol, then to London, where he wound up fronting Los Amigos, a Latin music band that spent 13 years touring across the UK, Europe and elsewhere.
Moreno is currently working on his Joe Dworniak-produced third album. But in the meantime, his latest single “Enamorado,” a collaboration with Mexican singer and producer Adrian Garcia is a breezy, feel good bop that’s a slick synthesis of modern production, old-school craft and funky Latin groove.
Throwback: Happy 58th Birthday, Greg Dulli!
JOVM’s William Ruben Helms celebrates Greg Dulli’s 58th birthday.
New Video: Night Beats Shares Soaring and Groovy “Thank You”
Texas-born, Los Angeles-based singer/songwriter, multi-instrumentalist Danny Lee Blackwell is the creative mastermind behind the acclaimed psych rock outfit Night Beats. With Night Beats, Blackwell creates music like one might assemble a puzzle: He builds his work from one moment, an initial spark that for him, must fit a specific criteria — it must give him goosebumps. If he gets goosebumps, then he will purse that idea relentlessly until he has a new song; if not, he moves onto the next moment, constantly looking for the perfect molecule of a song.
Rajan, Blackwell’s fifth Night Beats album is slated for a July 14, 2023 release through Suicide Squeeze/Fuzz Club. The album began much like every other Night Betas album before it: Shortly after the release of 2021’s Outlaw R&B, Blackwell had the familiar itch to create new music. Writing isn’t a process that Blackwell has to sit down and engage with, rather it’s something he’s always doing. The only differentiation between creative periods is what makes it on certain albums and what winds up falling victim to the cutting room. “Whenever my writing gets to a point where songs begin to take shape, it begins to feel like a faucet,” Blackwell explains. “As soon as Outlaw R&B was finished, I began writing and very quickly fell in love with a few ideas that encapsulated the feeling of Rajan. I think writing is a constant cycle in that it never really begins or ends, but there are definitive points where the writing is leading somewhere.”
Early on, Blackwell felt that the album would be dedicated to his mother. Although thematically, it doesn’t always reflect his tribute, the material is informed by the familial tie. “This isn’t a concept album, because every album has a concept. That term never made sense to me. But if it’s about one thing, it’s about this pursuit of freedom that was instilled in me by my mother,” Blackwell says. “In the arts, I’m very lucky in that I have 100% control over what I want to say, and how I do it,” he explains. Fittingly, the album’s material is wildly diverse and lands somewhere between Spaghetti Western film score and psych pop opus — while being among Blackwell’s most cohesive works to date. Some of the album’s songs nod at Anataolian funk and Western tinged R&B. Others with 70s Brazilian psychedelia, Chicano soul, rock steady — and even Lee “Scratch” Perry-inspired dub. “Rajan is just one of six examples of me doing exactly what I want, and not caring about whether it’s checked out or not. I’m a journeyperson. I want to make things for the sake of making them,” Blackwell says.
And while clearly indebted to its influences, Rajan is wildly innovative and finds Blackwell pursuing his wildest musical whims. “I’m here to explore. I think exploration is the underlying reason in a way, of why we do the things we do,” Blackwell explains. “I feel lucky. What can I say? I feel blessed.”
Last month, I wrote about Rajan‘s first single, album opener “Hot Ghee,” which simultaneously sets the stage for what to expect sonically from the album and establishing a scalding hot take on the interaction of psych rock, jazz, blues, soul, hip-hop and more. Built around bluesy and sultry guitar lines, swinging drumming, layers of intertwined harmonies, subtle bursts of twinkling piano, “Hot Ghee” sounds like a synthesis of Altin Gün, Sgt. Pepper-era Beatles and Free Your Mind . . . And Your Ass Will Follow-era Funkadelic that’s mind-bending while displaying Blackwell’s unerring and deft craftmanship.
“Thank You,” Rajan‘s second single is a soaring and groovy bit of gospel-tinged psychedelia built around Blackwell’s yearning falsetto, twinkling keys, dense layers of bluesy wah wah pedaled guitar, towering feedback, paired with a gospel backing chorus. Sonically nodding at a bit at Sly and the Family Stone “Thank You For Letting Me Be Myself” and Parliament Funkadelic’s “Testify,” “Thank You” expresses a sense of profound gratitude.
Directed by Vanessa Pla, the accompanying video for “Thank You” is a slick and cinematically shot visual that visually tackles the themes of the song — gratitude and transformation, as we see Blackwell physically transform by the video’s conclusion.
Sôra is an emerging Paris-born, Montréal-based singer/songwriter and composer. After completing studies in Modern Languages, music and jazz vocal, the Paris-born, Montréal-based artist sang in a number of different bands before stepping out into the spotlight as a solo artist with her debut EP 2018’s Number One.
Her full-length debut, 2021’s Long Life to Phil was written as a tribute to her father Phillipe — and was released through Colligence Records.
“You Love Me,” is the first bit of original material since the release of Long Life to Phil is a slickly bit of contemporary R&B/soul built around skittering trap beats, woozy and wobbling low end paired with the emerging Canadian-based artist’s sultry delivery. Inspired by the likes of Brent Faiyaz, Snoh Aalegra, and Jorja Smith, the new single is a wildly accessible bop but rooted in seemingly lived-in experience with Sôra expressing longing and frustration. “It reflects the difficulties one encounters in a relationship where love isn’t expressed the same way,” she explains.
New Audio: One Adam One Shares Atmospheric “Where Do I Begin”
Starting their careers as founding members of acclaimed yet defunct alt-country band Nadine, St. Louis-based musicians singer/songwriter Adam Reichman (vocals, guitar) and multi-instrumentalist, composer and producer Todd Schnitzer have collaborated yet again with their latest project, One Adam One, which sees them delivering a fresh take on their unique Midwestern sound: Reichmann’s lyric-driven acoustic music is paired with Schnitzer’s adventurous backing instrumentation and production, featuring fuzz guitars, synths and drum layering.
The duo’s long-awaited, five-song mini-album Where Do I Begin released through Die Trying Records sees the duo painting an intimate and poetic picture of modern life in a rapidly-changing world with the mini-album’s material touching upon bewilderment love, longing and hope with a lived-in earnestness. The mini-album’s latest single, title track “Where Do I Begin” pairs strummed acoustic guitar, a supple bass line and atmospheric synths with Reichman’s sonorous and achingly tender tenor. Rooted in earnest, lived-in lyrics “Where Do I Begin” discusses the bewilderment of loss and a gradual sense of acceptance with a novelistic attention to detail.
New Video: Olivia Jean Shares Creepy and Groovy “Raving Ghost”
Growing up on the outskirts of Detroit, Olivia Jean found her first musical love in 1960’s instrumental surf bands. Taking up guitar at an early age, she became enamored by the city’s thriving garage rock scene, drawing inspiration from its unique rawness. By the time, she was a teenager, the Detroit-area based singer/songwriter and musician began regarding her own surf music compositions. After years of self-recording, she put together a demo that led to the founding of the Black Belles and the band’s signing to Jack White‘s Third Man Records.
After the release of the Black Belles’ 2011 self-titled full-length debut, Olivia Jean stepped out into the spotlight as a solo artist with her full-length debut, 2014’s Bathtub Love Killings. She then followed with her self-produced sophomore album, 2019’s Night Owl.
Slated for a Friday release through Third Man Records, Olivia Jean’s highly-anticipated third album Raving Ghost is populated by mysterious characters in various states of danger — cursed lovers, doomed souls, women deliriously hunted by unseen forces. Featuring backing from a collection of top players, including My Morning Jacket’s Bo Koster (keys), Jellyfish‘s Roger Joseph Manning, Jr. (keys). T-Bone Burnett‘s and Nikki Lane‘s Carla Azar (drums) and The Raconteurs‘ and The Afghan Whigs‘ Patrick Keeler (drums), the 11-song album sees Olivia Jean amplifying the drama with her wildly melodic take on garage rock, with each riff handled with the power and precision she’s shown as a member of the Black Belles and as an in-demand session and touring musician. As a whole, the album is reportedly an evolution of the retro-surf sound featured on her previously released solo work while arguably being among the most mesmerizing material she’s released to date.
The album’s latest single is the slinky and darkly seductive album title title track “Raving Ghost.” Built around a looping, Link Wray-meets-Jack White gutter line paired with twinkling keys, a rousing anthemic, power chord-driven chorus paired with Olivia Jean’s mesmerizing vocal, “Raving Ghost” is a groovy but unsettling tale of a woman being hunted by a creepy and determined, unseen force.
Directed by Erica Salazar and Olivia Jean, the accompanying video for “Raving Ghost” fittingly features the acclaimed singer/songwriter and musician being followed by monstrous and shadowy figures, who at times surround her.
Throwback: Happy 67th Birthday, Sharon Jones!
JOVM’s WIlliam Ruben Helms celebrates the 67th anniversary of the birth of Sharon Jones.
Lyric Video: JOVM Mainstay Mariaa Siga Shares Breezy Ni Mama”
Over the past couple of years, I’ve spilled quite a bit of virtual ink covering Senegalese-born and-based singer/songwriter, musician and JOVM mainstay Mariaa Siga. As you might remember, Siga started off 2023 with “Le murmure des anges,” a track that saw her collaborating with Artikal Band, who contribute a shuffling and buoyant reggae riddim paired with a slow-burning and soulful guitar solo and the Senegalese-born and-based artist’s expressive delivery. “Le murmure des angels” is a song that does two things — give thanks to the enteral while reminding listeners that they should listen to the little voice inside of us, which arms us with much-needed confidence; that voice that frequently says “You know, you got this. You know you’re dope.”
Siga’s latest single “Ni Mama,” which in her native Diola means “I’m Leaving” sees the JOVM mainstay continuing her ongoing collaboration with Artikal Band, who contribute a shuffling and breezily upbeat reggae riddim paired with wah wah pedalled guitar, shimmering keys serving as a supple bed for the Senegalese artist’s effortlessly soulful and earnest vocal. “Ni Mama” features lyrics in both her native Diola and in French that discuss a familiar sensation for many of us — the need to escape things when daily pressure and stress becomes overwhelming.
Throwback: Happy Belated 90th Birthday, Willie Nelson!
JOVM’s William Ruben Helms belatedly celebrates Willie Nelson’s 90th birthday.
Throwback: Happy 75th Birthday, Kate Pierson!
JOVM’s William Ruben Helms celebrates Kate Pierson’s 75th birthday.
Stephen “Thundercat” Bruner is a Grammy Award-winning singer/songwriter, bassist, JOVM mainstay and highly respected and much in-demand artist, who has worked with Kendrick Lamar, Pharrell, N.E.R.D., Erykah Badu, Herbie Hancock, Childish Gambino, Mac Miller, Anderson .Paak, Janelle Monáe, BADBADNOTGOOD. Moses Sumney, Micheal McDonald, Kenny Loggins, Wiz Khalifa, Robert Glasper, Kamasi Washington, Travis Scott, Little Simz, Louis Cole, Shabazz Palaces, and his longtime collaborator Flying Lotus.
Kevin Parker is a highly-acclaimed, Grammy Award-winning singer/songwriter, multi-instrumentalist and producer, best known as the creative mastermind behind the Aussie-based JOVM mainstay outfit Tame Impala. He has released four Gold-certified full-length albums, 2010’s InnerSpeaker, 2012’s Lonerism, 2015’s Currents and 2020’s The Slow Rush, making him one of the most commercially successful and perhaps influential artists of the past decade. Additionally, as a songwriter and producer, Parker has collaborated with The Weeknd, SZA, Lady Gaga, Travis Scott, Gorillaz, Mark Ronson, Kali Uchis, 070 Shake, Miguel, A$AP Rocky and a growing list of others.
The two JOVM mainstays have finally teamed up for “No More Lies,” the first new bit of material from Thundercat since 2020’s It Is What It Is. The new single is a slick synthesis of the pair’s remarkably complementary styles: Parker’s dense layers of twinkling and cascading synths are paired with Bruner’s wobbling wah-wah pedaled bass lines and skittering beats and the duo’s unerring knack for catchy hooks serving as a silky bed for the duo to trade verses lamenting a doomed relationship that they’ve royally fucked up — and for which Bruner takes responsibility The song culminates with a monologue from the bassist questioning the old adage of honesty being the best policy in relationships. You may tell the truth because you care about someone, but on occasion you might have to lie someone because you care.
“I’ve wanted to work with Kevin since the very first Tame Impala album,” Bruner says. “I feel that I knew that us working together would be special. I’ve been excited about this song for a long time and hope to create more with Kevin in the future.”
The new single arrives ahead of a huge string of tour dates for the JOVM mainstay, who will play dates with Red Hot Chili Peppers and The Strokes before heading to Australia, Asia and Europe later this summer.
After stints playing drums for acclaimed singer/songwriter Shilpa Ray and a list of other bands, Robert Preston Collum (guitar, vocals) stepped out into the spotlight with his solo project Pink Mexico. Preston self-released his 2013 full-length debut Pnik Mxeico, which caught the attention of Austin-based label Fleeting Youth Records, who then re-released the album the following December.
Collum relocated to Brooklyn in the fall of 2014 to begin recording what would be his sophomore album. Following countless Brooklyn shows during the course of 2015, the project extended into a full-fledged band with the addition of Grady Walker (drums, vocals) and Ian Everall (bass). Collum’s Pink Mexico sophomore album, 2016’s Fool was released through Burger Records and French label Big Tomato Records. He and his bandmates supported the album with an opening spot for Honus Honus (a.k.a Mam Man) during that artist’s November 2016 tour.
Pink Mexico’s third album 2019’s DUMP was released through Burger Records and Little Dickamn Records. Unlike the previously released albums, where Collum played all the instrumental parts, DUMP is the first album that features Everall and Walker on their respective instruments.
The band’s fourth album, 2020’s Idiot Piss Illiterate was released through San Francisco-based label Broken Clover Records.
Earlier this year, Pink Mexico announced their signing to Quiet Panic Records, who will be releasing their fifth album, Mirrorhead. Slated for a May 19, 2023 release, Mirrorhead was written and recorded during the period of its predecessor’s release. But while Idiot Piss Illiterate‘s material rode on a frantic garage rock undercurrent, the forthcoming album reportedly swaps out ragged pace for bruising waves of heavy sound, interspersed with moments of stripped back exposure. Thematically, the album’s material is rooted in a recollection of memories and experiences woven through the reconstruction of the self and a bold sense of experimentation.
If you’ve bene frequenting this site, you might recall that earlier this month I wrote about Mirrorhead single “Dungeonhead,” a 120 Minutes MTV-era alt rock-inspired aural assault centered around layers of reverb-drenched, fuzzy and distorted power chords and thunderous power chords paired with Collum’s plaintive and ethereal lead vocal. But under the ironically detached delivery and enormous hooks, is a song that evokes a palpable sense of unease.
Pink Mexico’s Robert Preston Collum calls “Dungeonhead,” “a track about never feeling comfortable in one’s own skin while reflecting on the obscurities of life during a time when the regular version of confusing and fucked up is even more fucked up and confusing.”
Mirrorhead‘s latest single “Shame” is a brooding bruiser built around layers of fuzzy and distorted power chords, thunderous drumming paired with Collum’s ethereal and achingly plaintive vocal. While continuing a run of material that sounds indebted to 120 Minutes-era MTV, “Shame” is imbued with a lived-in, bitter sense of shame, insecurity and self-loathing. “It’s a shame we as humans are so insecure and selfish that we’re incapable of having respect for one another,” Collum says. “The only undeniable certainties in this life are; no one decides to be born and we all die.”
The band will be playing an album release show at TV Eye on June 11, 2023 with TVOD, Substitute and a special guest TBA. Tickets and more info is available here.