Tag: singles

 

Bobby Oroza is a Helsinki, Finland-born and-based, Bolivian-Finnish singer/songwriter, producer and percussionist, who was raised by a family of musicians and artists. And as a result, a young Oroza was exposed to a wide range of music.  Family parties and get togethers frequently featured his Bolivian-born grandfather playing Latin and Cuban classics on his guitar or his parents playing album from their eclectic and diverse record collection, a collection that included early jazz and blues, Motown, gospel, doo-wop, soul, as well as Brazilian, African, North American and South American folk, and Nuyroican salsa, all of which influenced the music he began writing and working on.

Before completing high school, Oroza decided that he needed to experience and soak up the rhythmic source that inspired him the most, so he would up traveling to Santiago de Cuba, where he intensively studied percussion and singing. Since returning to Finland, the Bolivian-Finnish singer/songwriter, producer and percussionist has been busy producing, recording and performing music to make a living. He eventually teamed with Timmion Records‘ house band/production duo Jukka Sarapää and Sami Kantelinen, best known as Cold Diamond & Mink, along with guitarist/composer Seppo Salmi, who have helped achieve his artistic vision — smokey, late night, lo-fi soul paired with Oroza’s plaintive tenor crooning over the mix.

The Bolivian-Finnish singer/songwriter’s full-length debut This Love is slated for a May 3, 2019 release through Big Crown Records, the label home of Lee Fields & The Expressions,  The Shacks and El Michels Affair. The album’s latest single is the slow-burning and aching ballad “Deja Vu,” a deceptively anachronistic track that sounds as though it could have been released sometime between 1971 and 1974. Interestingly, the song tells the story of the moment when romantically, you’re in a repetitious rut, and when you realize that you and your relationship are at a fork in the road and sometimes in that moment, there comes a fundamental and painful understanding about yourself and your partner.

 

 

 

 

 

The B side “Deja Vu” finds Oroza leaning again into the B side ballad stylings that made him a name to check for. Heavy duty drums lay down the canvas on which Bobby’s vocals paint the picture of a relationship that has come to a fork in the road. The Cold Diamond & Mink production and backing band are tight as ever and this is sure to be another classic with the slowie fans.

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With the release of 2016’s full-length debut Get Home Safe, the Brooklyn-based indie rock act Teen Body, comprised of Shannon Lee (guitar, vocals), Xela French (bass, vocals), Alex Bush (guitar) and Marcus McDonald (drums) quickly developed a reputation for a sound that has been compared to the likes of Yo La Tengo, Slowdive, Galaxie 500 and others.

Dreamo, the Brooklyn-based quartet’s long-awaited sophomore album is slated for an April 12, 2019 release, and the album derives its name from a term coined by the band’s close friend, Casey Halter, who after a show, wryly said to the band “Your music is like dream pop and emo . . . dreamo music.” Interestingly, the forthcoming album reportedly features what arguably may be the most vulnerable, sincere and hopeful material of their growing catalog. Now, as you may recall, album single “Validation” retains the gorgeous and shimmering 4AD Records-like sound that has won them attention across the blogosphere while managing to be wistful yet comfortable, evoking a lover or dear friend gently squeezing your hand when you’re at your most desperate and uncertain.  The album’s latest track, album title track “Dreamo,” is a slow-burning and achingly beautiful song that further cements their reputation for crafting a classic shoegaze-like sound. Centered around boy-girl harmonizing, the song manages to possess the wistfulness of a relationship that’s ended, with the weighty recognition that what was once current is now part of your past. And yet, the song has the air of hope because once you’ve known love, you’ll see love come back — it’ll always be different, but it’s love all the same.

 

 

Comprised of founding members Andy Peña (vocals) and Devin Garcia (bass), along with David Ramirez (keys) and Adrian Loera (drums), the McAllen, TX-based dream pop act Quiet Kids can trace their origins to the breakup of Peña’s and Garcia’s previous band Dignan. Once the dust settled, Peña and Garcia began writing new material together, before recruiting Ramirez and Loera to flesh out the band’s sound and to complete its lineup. Eventually, the band earned attention-grabbing opening slots for the likes of Angel Olsen, Mitski and Miniature Tigers.

Slated for a March 29, 2019 release through Good Eye Records, the McAllen-based dream pop act’s self-titled debut EP finds the band’s sound centered around dreamy synths, sinuous bass lines and tight drumming while the material’s lyrically touch upon everyday themes — in particular, the EP’s material focuses on the places and relationships of one’s life. As the band’s Andy Peña explains in press notes, “People, places and things pull you in every direction, and it’s easy to please any and everyone.  If we all just said what was on our minds we’d have much more of an understanding of who we are, and what we’re looking for… It’s only in the stability of my relationships that I realized I can write about whatever I feel. My art is me, and my family, and friends.”

Interestingly, the EP’s latest single is the slow-burning, Quiet Storm meets Caveman-like “My Moon,” a track built upon shimmering and arpeggiated synths, a sinuous bass line and a soaring hook paired with Peña’s achingly plaintive vocals, expressing gratitude with a sort of thoughtful, contemplative sigh — and while sounding indebted to classic 80s pop, the song as Peña explains “is a love song to my wife. No matter what our lives through at us, she’s always there, like the moon, leading me in a calm way. I started writing that song when we were in between homes, trying to figure out where we wanted to settle. I realized we were each other’s home, and we didn’t really have to worry about finding a place for ourselves.”

With the release of singles like “Fourteen,” “Melodrama,” and “Dreamless” the Gothenburg, Sweden-based indie rock quartet Beverly Kills quickly received attention across the blogosphere last year for a shimmering, 4AD Records era take on dream pop, complete with rousing and enormous hooks. Adding to a big year for the Gothenburg-based quartet was named one of the “Best Swedish Indie Debuts of 2018” by HYMN, received a Gaffa Awards nomination for Breakthrough of the Year, and played a Viva Sounds Festival showcase in their hometown. Later this month, the band will play several by:Larm Festival sets for Agent bla, Moaning and Vasterbron.

Building upon a rapidly growing, buzz-worthy profile, the band recently signed to Australian indie label Hell Beach and Swedish label Welfare Sounds, both of whom have released the band’s latest single “Revellers” will further cement the band’s reputation for crafting 4AD Records-inspired guitar pop with enormous hooks — but the song arguably features one of the tightest rhythm section playing I’ve heard from the band yet.

Hell Beach and Walfare Sounds will be releasing a limited edition double single vinyl record “In This Dim Light”/”Melodrama” in late April.

 

 

 

Perhaps best known as the frontwoman of defunct, Denver, CO-based indie rock/synth-wave/chill-wave act Ending People, Fort Collins, CO-based singer/songwriter and multi-instrumentalist Erin Roberts’ current project Porolo can trace its origins back to when Roberts started it as a solo recording project back in 2002. Over the next decade and a half, the solo recording project evolved into a collaborative project featuring a rotating cast of friends and associates, influenced by the dramatic landscapes of her home state and the even more dramatic personalities she has encountered.

Last year, I wrote about “Wasting Time” off the band’s James Barone-produced Awards EP and building upon the attention that the EP received, the band’s first single of 2019 is the anthemic 60s jangling pop “I Quit,” a track inspired by Roberts quitting her full-time career earlier this year. Reminiscent of Johnny Paycheck‘s classic, smash hit “Take This Job and Shove It,” the track captures the shimmering resentment of someone, who has finally reached their breaking point with dead-end, soul-crushing and demoralizing jobs with dehumanizing and offensive bosses, class ceilings, blind eyed-HR departments, asshole coworkers, pointless and endless meetings, casual racism and casual sexism and low pay — and out of the blue decides to quit, surprising themselves and everyone around them. As Roberts says of the song, “Singing this song puts power back in my hands when the going gets rough. I’ve used it as [a] mantra to sing repeatedly to myself when faced with tough situations. Dehumanizing bosses, turgid gatekeepers, class ceilings, blind eyes. Sometimes when there’s nothing nice left to say, you can just say “I quit.'”

The band is currently in the studio with James Barone, working on their latest full-length, which is slated for an October 2019 release.

 

Kyle Lacy is a Charleston, SC-born, New York-based singer/songwriter and guitarist, who specializes in vintage rock ‘n’ roll and soul — and his Dala Records debut is the Squeeze meets Daptone Records-like “Hangin On,” a track that pairs Lacy’s plaintive and soulful croon with an arrangement that features a gospel-inspired intro, plinking keys, a funky bass line, a rock ‘n’ roll-like backbeat, a mournful horn line, a swaggering guitar line and an anthemic chorus. And while being an incredibly crafted song that sounds as though it could have been released in 1962 or 1982, the core of the song is the narrator’s desperation and heartache, which you can literally feel throughout.

 

 

New Audio: Jai Wolf Releases an Anthemic M83-Like Single

Earlier this month, I wrote about the Bangladesh-born, New York-based electro pop Sajeeb Saha. Best known for his solo recording Jai Wolf, Saha’s work is inspired by a diverse and eclectic array of music, including indie rock, punk rock, hip-hop, classic music and Bollywood. Thematically, much of his work draws from his own experiences growing up as a third culture kid. 

Saha’s full-length debut The Cure To Loneliness is slated for an April 5, 2019 release through Mom + Pop Music, and as Saha professes in press notes, “In my heart, this album is me,” professes. From the sounds to the lyrics, it’s everything that I’ve always wanted to do.” Now, as you may recall, The Cure To Loneliness’ M83-like “Your Way,” was a collaboration with Day Wave that’s centered around jangling guitars, shimmering and arpeggiated synths, soaring hooks, thumping beats and plaintive vocals — and interestingly, the song was a bitter lament from a narrator, who’s lonely and profoundly disconnected from everything and everyone, including himself. The Cure To Loneliness’ latest single is the anthemic instrumental composition “This Song Reminds Me Of You.” Owing a major sonic debt to M83, the track is centered around layers of shimmering and arpeggiated synths, warm blasts of guitars and a motorik groove — and interestingly, as a result, the track possesses a swooning urgency. 

Seth Olinsky is perhaps best known for being the primary songwriter, frontman and guitarist of influential and renowned underground noise folk punk act Akron/Family — and his solo project Cy Dune has developed a reputation for celebrating raw  and primordial rock that has drawn from his work with Akron/Family, Swans’ Micheal Gira and Rhys Chatham, as well as collaborations with Hamid Drake, William Parker, Keiji Haino and Tatsuya Nakatani among others.

Olinsky’s latest effort The Desert initially came about after experimenting with making drum loops on a refurbished Alan Lomax Ampex 601-2, pushing a clash of layered 16th notes and African inspired triplet relationships to create a new, repetitive drum sound.  That early experimentation wound up inspiring some of the meta sampling on Summer Rebels; however, with The Desert, the sampling is a much rawer form, while featured layered and energetic playing from backing band and collaborators drummer Andrew Barker, bassist William Parker, who has worked with Cecil Taylor and Peter Brotzman, and bassist Shazad Ismaily. who has worked with Marc Ribot and Sam Amidon. Initially written in the Sonoran Desert after Olinsky and Lighting Records co-founder Ali Beletic relocated to the desert in 2010, the material was tested as various adobe house shows around Tucson, in open desert arroyos running off of battery power at organized sound/noise poetry happenings that featured poetry professors from the University of Arizona and their friends from Montana and Oregon, who were traveling through town — and then eventually at SXSW with 40 drummers, including Akron/Family’s Dana Janssen, Megafaun‘s Joey Westerland, Son Lux‘s Ian Chang and Jobs’ Max Jaffe.

Olinsky relocated to Joshua Tree in 2014 and he continued to further deconstruct and develop the desert blues songs he originally wrote in 2010, with some material becoming part of pieces cut together with Ampex samples of old blues tunes, eventually becoming post-minimalist compositions which he performed in the Integratron, before being installed in the desert with multiple amplifiers run off generators. The Desert interestingly enough is the first of a series of archival Cy Dune releases that Lighting Records will be releasing this year, before a full-length of new, original material next year — but in the meantime, The Desert‘s first single is the explosive, John Lee Hooker and George Thorogood boogie blues meets psych blues-like “Desert 3.” Centered around a stomping drum progression, an inspired and fiery bit of guitar playing from Olinsky, the song possesses a feral and almost unhinged urgency.

 

 

 

 

With the release of 2014’s full-length debut, Dogging, the Sydney-based punk act Low Life featuring core trio Mitch Tolman, Cristian O’Sullivan and Greg Alfaro quickly received national and international attention.

Recorded over a two year period, the acclaimed Aussie punk band’s sophomore effort Downer Edn (read as Downer Edition) finds the band expanding from a trio to a quintet with the addition of Oily Boys and Orion’s Dizzy Daldal (guitar) and Yuta Matsumura (guitar) — with Matsumura rejoining the band to allow Tolman to be a full-time vocalist. And with the addition of Daldal and Matsumura, the band has gone through a decided change in sonic direction; in fact, as you may recall, the album’s first single, the icy Joy Division-like “Lust Forevermore” featured a lush, post-punk/New Wave inspired sound, complete with an anxious and urgency tension. Interestingly, the album’s second single “The Pitts” is a seamless synthesis of grimy, feedback-filled punk and lush post-punk, as the track is centered by a mosh pit friendly hook, shouted and howled lyrics — and while bearing an uncanny resemblance to 120 Minutes-era alt rock, the song possesses a post-modern anxiousness.

 

 

Growing up in the Kingdom of Bahrain, Kamal Rasool, the founding member of acclaimed multi-continental-based psych rock act Flamingods has traveled widely to collect rate and unique instruments from Tanzania, the Amazon and elsewhere. When Rasool relocated to London to study music, he recruited a few friends from Bahrain and London to start a band, including the members of the band’s current lineup — Karthik Poduval, Sam Rowe and Charles Prest.  Interestingly, their first live show together was an attention-grabbing show at the 2010 ATP Festival, which quickly led to a national profile.

Building upon a growing profile, the members of Flamingods quickly released two EPs, 2010’s Sun and 2011’s Away. 2013’s full-length debut Sun was a reimagining of the material off the EP of the same name that featured “Quesso,” a collaboration with Ponytail‘s Dustin Wong on lead guitar. Around the time of the album’s release, the British government enacted new visa laws which forced Rasool to return to Bahrain after he finished school. Rasool then moved to Dubai, where he worked for an independent magazine and coffee shop. And although at that point, the members of the band were residing on different continents and unable to play together, they continued to work on new material that eventually wound up becoming their critically applauded Hyperborea, an album that established a globe-spanning take on psychedelia that the band has dubbed “Exotic Psychedelia.”

During the release of Hyperborea, Prest relocated to Dubai to work closely with Rasool. And shortly after that, the members of Flamingods began working on their third full-length album, 2016’s Majesty, an album that was largely inspired by the likes of Les Baxter, Tito Puente, Arthur Lyman and others. Although the album received mixed reviews, it was championed by BBC Radio 6‘s Gilles Peterson and Lauren Laverne, who both invited the band to record live sessions. With Rasool and Prest able to return to the UK, the band was finally able to extensively across the UK and the European Union to support the album, including sets at Green Man Festival, End of the Road Festival, and Fusion Festival.

In February 2017, the band signed with Moshi Moshi Records, who released that year’s Kewali EP and the band toured to support the album, including their SXSW debut. The band also released a remix album of Majesty that featured remixes of album material by Ibibio Sound Machine, Meridian Brothers and OasisAndy Bell. And the band released a Dan Carey-produced live version of “Hyperborea.

Flamingods’ fourth, full-length album Levitation is slated for a May 3, 2019 release through Moshi Moshi Records, and the album is largely inspired by the disco, funk and psychedelic sounds out of the Middle East and South Asia in the ’70s but while channeled through mysticism, positivity and sun-drenched imagery. But perhaps much more important, the Levitation recording sessions found the band living and working on the same continent for the first time in about four years — and as a result, the album’s material may arguably be the most unified effort they’ve written and released in years. Now, as yo may recall, the album’s first single “Marigold” was a trippy bit of psych rock centered around a motorik groove, shimmering and arpeggiated synths delivered with a Brit Pop-like swagger. Interestingly, the album’s second single, album opening track “Paradise Drive” continues in a fairly similar vein as its predecessor, complete with a motorik groove, shimmering and arpeggiated synths — but the song may arguably bear the most uncanny resemblance to Evil Heat-era Primal Scream; in fact, “Paradise Drive” reminds me quite a bit of one of my favorite Primal Scream songs, “Autobahn 66” but with a subtle disco element to it,  complete with cowbell.