Tag: singles

Throughout the course of the past 18 months or so, I’ve written quite a bit about JOVM mainstays Geowulf, comprised of Noosa, Australia-born friends and collaborators, Star Kendrick and Toma Benjamin. And although the duo have known each other since they were teenagers, their musical collaboration began in earnest when Kendrick, who grew up in a musical home, started to pursue music seriously a few years ago, and enlisted the help of her old friend to flesh out her earliest demos.

After a string of successful, critically applauded singles including “Saltwater,” which received over 1 million Spotify streams and reached Hype Machine‘s top ten before landing at #4 on Spotify’s US Viral Charts; the Mazzy Star meets  Fleetwood Mac-like   “Don’t Talk About You;” and the  Phil Spector meets Still Corners “Drink Too Much,” the JOVM mainstays announced that their highly-anticipated Duncan Mills-produced, full-length debut, Great Big Blue is slated for a February 16, 2018 release through 37 Adventures Records. And along with the announcement of their debut, the duo then released, the shuffling and jangling, 60s girl group pop-inspired single “Hideaway,” which continues the dream pop duo’s growing reputation for material that possesses a careful and deliberate attention to craft but with subtly modern flourishes — all while focusing on the complications, frustrations and aches of romantic relationships.

The album’s latest single “Sunday” is a slow-burning, gorgeous and cinematic bit of guitar pop, with a soaring hook that should immediately bring comparisons like Mazzy Star, The Smiths and others — while continuing a string of songs that pair dark and moody lyrics with upbeat sounds.  As the duo says in press notes, “‘Sunday’ is a favorite of ours in the album. It’s a little cruiser of a song meant to make you feel all the good things. Lyrically, it’s about feeling like Sunday is a pretty lonely day sometimes.”

 

 

 

With the release of their first two EP’s 2016’s Sorry I Messed Up and Please Call Me Back, the Gothenburg, Sweden-based indie rock quartet Holy Now, comprised of Julia Olander, Ylva Holmdahl, Samuel von Bahr Jemth and Hampus Eiderström Swahn quickly developed a reputation as one of their homeland’s up-and-coming indie rock/guitar pop acts — and with tours across Sweden and in London, the Gothenburg, Sweden-based quartet received praise from the likes of DIY, The 405Festivalrykten and Nöjesguiden, and others.

Building upon their growing national and international profile, “Feel It All,” will further cement Holy Now’s reputation for crafting jangling guitar pop with soaring hooks paired with plaintive and tender vocals and while clearly drawing from 80s and 90s guitar pop, like The Sundays and others, the Swedish quartet puts a subtly modern spin on it, along the lines of the likes of La Sera and others — complete with a deep yearning to feel and know everything.

 

 

New Audio: Up-and-Coming Portland, OR-based Act Blackwater Holylight Specializes in a 120 Minutes-era Alt Rock Sound

Comprised of founding member, Allison “Sunny” Faris (vocals, bass), Laura Hopkins (guitar, vocals), Cat Hoch (drums) and Sarah McKenna (synth), the Portland, OR-based rock act Blackwater Holylight began as an experiment of what Faris’ own version of what should feel heavy both sonically and emotionally. “I also wanted a band in which vulnerability of any form could be celebrated.” But interestingly, as Faris explains in press notes, her current band can trace its origins to when Faris’ longtime band split up. “In my last band, I was the only female in a group of 6, so I wanted to see how my songwriting and vulnerability could glow taking the drivers seat and working with women.” 

As you’ll hear on “Sunrise,” off the band’s self-titled debut effort, the band’s sound meshes elements of Breeders-era alt rock and garage, swirling and towering shoegaze, psych rock and moody post punk with soaring hooks — and although the song manages to be reminiscent  of classic, 120 Minutes-era MTV alt rock, the song structurally walks a tightrope between moody, slow-burning dirge, anthemic power pop within a fluid song structure that eschews the familiar verse-chorus-verse-bridge-chorus of the past. 

New Audio: Meshell Ndegeocello Releases a Folksy Cover of Force MD’s “Tender Love”

Born Michelle Lynn Johnson to US Army Sergeant Major Jacques Johnson, a saxophonist and Helen Johnson, a health care work, the Berlin, Germany-born, American-based singer/songwriter, rapper and bassist Meshell Ndegeocello was raised in Washington, DC where she attended the Duke Ellington School of the Arts and Oxon Hill High School. When she turned 17, she adopted the name Meshell Ndegeocello, with the surname, as she has explained meaning “free like a bird in Swahili.”

In the late 80s, Ndedgeocello gigged around DC’s go-go circuit, playing with bands like Prophecy, Little Bennie and the Masters, and Rare Essence before unsuccessfully trying out for Living Colour’s bassist spot, after Muzz Skillings left the band. Deciding to go solo, Ndegeocello, has the distinction of being Madonna’s Maverick Records first signings and while achieving a fair amount of commercial success. Her collaborative cover of Van Morrison’s “Wild Night,” with John Mellencamp peaked at #3 on the Billboard Charts in 1994 and “If That’s Your Boyfriend (He Wasn’t Last Night)” peaked at #73 later that year. Adding to a rapidly rising profile, she collaborated with the legendary Herbie Hancock on a track for Red Hot Organization’s AIDS awareness, tribute compilation Stolen Moments: Red Hot + Cool, which was named Time Magazine’s “Album of the Year.”  Her cover of Bill Withers’ “Who Is He (And What Is He to You)” was a #1 Dance Hit in 1996 and was briefly featured in the major motion picture Jerry Maguire, and she landed Dance Top 20 hits with “Earth,” “Leviticus: Faggot,” and “Stay.” Along with that she collaborated with Madonna, playing bass on “I’d Rather Be Your Lover,” and contributing a verse at the last minute, after Tupac Shakur had criminal charges filed against him. Additionally, Ndegeocello has collaborated with Chaka Khan, rapping “Never Miss the Water,” a single that landed #1 on Billboard’s Dance Club Charts and peaked at #36 on the Hot R&B/Hip-Hop Singles Chart. Additionally, Ndegeocello has collaborated with the likes of Basement Jaxx, Indigo Girls, Scritti Politti, The Blind Boys of Alabama, The Rolling Stones, Alanis Morrissette and Zap Mama.
Ndeogecello has also had her music featured in the soundtracks of How Stella Got Her Groove Back, Lost & Delirious, Batman & Robin, Love Jones, Love & Basketball, Talk to Me, Tyler Perry’s Daddy’s Little Girls, The Best Man, Higher Learning, Down in the Delta, The Hurricane, Noah’s Arc: Jumping the Broom and Soul Men.

Interestingly, Ndegeocello has managed the rare feat of achieving commercial success while arguably being one of the most uncompromisingly, iconoclastic and unique artists of the past 25 years — and she’s been credited as being at the forefront of the neo-soul movement, thanks in part to a genre defying and difficult to pigeonhole sound that draws from hip-hop, classic soul, rock, reggae, jazz and singer/songwriter pop. Adding to that iconoclastic nature, Ndegeocello has written and composed a musical influenced by James Baldwin’s The Fire Next Time, titled Can I Get a Witness?: The Gospel of James Baldwin and she released a gorgeous tribute album to Nina Simone, which featured collaborations with JOVM mainstay Cody ChesnuTT and others.

The renowned bassist, singer/songwriter and rapper’s latest album Ventriloquism is slated for a March 16, 2018 release and the album will feature covers of songs by TLC, Janet Jackson, Tina Tuner, Prince and others, all of which have been influential to Ndeogeocello’s work — but with a unique take. The album’s first single, her cover of Force MD’s smash hit “Tender Love,” finds Ndegeocello turning the slow-burning 80s piano ballad classic into a folksy, Harvest-era Neil Young/Fleetwood Mac track, complete with shuffling drumming, twinkling Fender Rhodes and harmonica. In my mind, what makes Ndegeocello’s cover truly fascinating is that she manages to completely eschew the 80s pop ballad cheesiness of the song, which makes it endearing 30 years after its release but without doing away with the song’s earnestness — while pointing out that the song manages to possess something that listeners far removed from the song’s initial release can grasp and connect to on a very visceral level. That’s what separates the great, timeless songs from the countless songs that will be forgotten 6 months or more after they’ve been released.  And on another level, the song will continue the renowned and iconoclastic Ndegeocello’s commentary on society’s narrow expectations of what black music should sound and be like.

New Audio: Jay Som Releases Previously Unreleased Single from Her Critically Applauded Debut

Melina Duterte is an Oakland, CA-based singer/songwriter, multi-instrumentalist and producer, whose solo recording project Jay Som received national and international attention last year from the likes of NPR Music, Pitchfork, Rolling Stone, Billboard, Stereogum, Paste, Consequence of Sound, Entertainment Weekly, Esquire, Spin, Newsweek, Exclaim!, Under the Radar and a number of others elsewhere.

Building upon a growing profile, Duterte, recently announced the release of two previously unreleased songs that were recorded during the Everybody Works sessions as a 7 inch single titled “Pirouette”/”OK Meet Me Underwater,” that will be officially released both on vinyl and digitally on January 26, 2018 through Polyvinyl Records. Both of these tracks were made during the spring of 2016 – the first demo stages  for Everybody Works. They were fun to write and record but felt out of place on the track list during the finalization of the album. These tracks remain close to my heart and I’m really grateful they’re finally out in the world,” Duterte explains press notes about her soon-to-be released 7 inch single. And as you’ll hear on A side single “Pirouette,” Duterte specializes in a jangling, hook driven, 90s alt rock inspired sound, reminiscent of The Breeders but with an incredibly bold yet breezy self-assuredness.  

Comprised of Stefano Bellerba (vocals, guitar), Leonardo Mori (synth), Matteo Luciani (bass), Saverio Paiella (guitar) and Daniele Cruccolini, the members of the Terni, Italy-based post-punk quintet Japan Suicide met and bonded over their mutual love of Joy Division, The Cure, Nine Inch Nails and Depeche Mode — but they also cite the likes of Bauhaus, Siouxsie and the Banshees, Yeah Yeah Yeahs, Japan, The Damned, Interpol, Suicide, CSI, CCCP and Massimo Volume as being major influences on their sound and songwriting approach. With the release of 2015’s We Die In Such a Place, 2016’s 1978 EP, and the appearance of “This Be The Verse” on Darkitalia’Sparkles in the Dark, Vol. 4 compilation, the Italian post punk quintet have received both national and international attention as one of their homeland’s best, contemporary indie rock/post punk bands.

Building on their growing profile, Japan Suicide’s third full-length effort Santa Sangre is slated for a February 14, 2018 release through Unknown Pleasures Records, and while the album’s first single “Circle” will further cement the band’s reputation for crafting material heavily indebted to early 80s post punk, it reveals a band that has been gently expanding upon their sound with nods to shoegaze and industrial rock as the band pairs fuzzy and angular guitar chords, thundering drumming, merrily twinkling synths and a soaring hook to evoke a creeping yet uncertain dread.

 

Rosie Carney is an up-and-coming, 20 year-old, Hampshire, UK-born, Downings, County Donegal, Ireland-based singer/songwriter, who has started to receive international attention for pairing mature beyond her years songwriting with vivid lyricism paired with minimalist arrangements and her effortlessly gorgeous vocals. Recently, the British-born, Irish-based singer/songwriter released a hauntingly spectral cover of Cigarettes After Sex‘s “K,” which features gently strummed guitar, swirling feedback and Carney’s gorgeous vocals singing an equally gorgeous melody — and although her cover is a bit more straightforward, sonically it bears a resemblance to Mazzy Star and Widowspeak.

As Carney explains of her decision to cover “K,” “I wanted to record a song that was released by one of my favorite artists this year. I chose ‘K’ by Cigarettes After Sex because, firstly I’m a huge fan of this band and their music and aesthetic, and secondly because this song definitely resonated with me the most from their new record. It’s such an honest song and I just love the message it carries. I love how relaxing and transcending the melody is. It’s one of those songs that I wish were mine.”

 

 

 

Mark Berg is an Edmonton, Alberta, Canada-based singer/songwriter, electronic music artist and producer, whose solo recording project Tropic Harbour specializes in hazy, dream pop inspired by nostalgic images and dreams of the coast, during the summer — and in many ways, Berg reportedly created the project as a way to mentally escape the harsh Edmonton winters. Along with a backing and that features Kurtis Cockerill
Andrew Brostrom, and Marcus Rayment, Berg began receiving national attention, playing at a number of Canada’s renowned festivals including Pop Montreal, NXNE and Sled Island, as well as opening for the likes of DIIV, Jessy Lanza, Homeshake and Will Butler.

Berg’s latest Tropic Harbour single “Can’t Pretend” will further cement his reputation for crafting, 80s-inspired, nostalgia-inducing and summery synth pop; however, it’s a much more downtempo and atmospheric production featuring a sinuous bass line, gently swirling electronics, shimmering synths and stuttering drum programming, and in some way, the song sonically speaking will remind some listeners of I Love You It’s Cool-era Bear in Heaven, Neon Indian and others — while thematically focusing on its narrator letting go of a past relationship and trying to find himself again in the process.

 

 

 

Despite going through a number of lineup changes throughout the years, the New York-based jazz outfit New York Electric Piano, currently comprised of founding members Pat Daughtery (piano) and Aaron Commes (drums), who’s best known for his work in the Spin Doctors, along with newest member Richard Hammond (bass), initially formed in 2003 as a piano jazz trio, based around the Fender Rhodes electric piano sound featuring founding members Daughtery, Comess and Tim Givens (bass). Interestingly, that collaboration can trace its origins back to when the founding trio met, playing in various bands in the NYC music scene during the 90s.

Their eponymous 2004 debut effort was critically applauded and was a commercial success, as it cracked the Top 20 of the CMJ Jazz Charts. 2005’s Citizen Zen and 2006’s Blues in Full Moon were also released to critical praise. And adding to a growing profile, the band began a long residency at the Cutting Room, which featured their tradition of inviting dancers on stage with them. However, by 2008, the band expanded into a sextet as they added Deanna Kirk (vocals), Till Behler (sax) and Leon Gruenbaum (keys), who’s best known as a member of Vernon Reid’s backing band — and as a sextet, they released the critically applauded King Mystery, which found the members of the then-sextet expanding upon their sound and approach with material that shifted between dance rock, jazz and wild freak outs.

By 2010, the band expanded once again as they added Teddy Kumpel (guitar), known as a member of Joe Jackson’s backing band and Erik Lawrence (sax), known as a member of the legendary Levon Helm‘s backing band. And as a nonet, New York Electric Piano began a long and very successful run at Zinc Bar, which they followed with arguably their most commercially successful effort to date, 2011’s double album Keys to the City, which spent a month in the Top 10 of CMJ’s Jazz Charts and received critical praise from the likes of PopMatters, Sea of TranquilityJazz Times, Drumhead and All About Jazz among others.

And although the band received quite a bit of commercial and critical success as a large ensemble, they reverted to the original format a trio — recruiting the aforementioned Hammond with whom they released Black Hole In One, an album which featured alternating instrumental compositions and vocal tracks. Unexpectedly, for the members of New York Electric Piano, the album received international attention, thanks in part to album single “Party On.” As the story goes, “Party On” was pushed by an Australian DJ, and eventually the New Zealand National Rugby Team, the All Blacks adopted the song as their theme song during their Rugby World Cup Championship run. Along with that, Lollapalooza artist Norton Wisdom did a live action painting to the song, and the video and song became the subject of a climate change conference at Penn State University. Adding to the unexpected attention on the album, album single “Who Wants to Know” features a verse about Crazy Horse. One of his descendants heard the song and sent it to family members, who were protesting the Dakota Access Pipeline — with the song becoming something of a rallying cry.

Recently, the members of the band have been playing monthly gigs at Rockwood Music Hall, and their extended, free-flowing jams were met with such tremendous audience approval that Aaron Comess immediately suggesting that they needed to try to capture the energy and vibe of their Rockwood shows on their next album — State of the Art, which is slated for a January 12, 2018 release through Fervor Records.

State of the Art‘s latest single “Road to Joy” is a loose and free-flowing jam that displays the trio’s uncanny simpatico, in which they all push and pull upon the other, teasing out ideas from one another, and much like the incredible Xylouris White, there’s a sense that the trio, musically speaking are dancing — with each member knowing exactly when to lead, follow. And although the composition begins with some stuttering discordance, the trio quickly finds a sustained, funky groove reminiscent of 70s era jazz fusion but with a contemporary touch.

 

 

 

 

Daniel Brady Lynch is a Savannah, GA-based singer/songwriter and multi-instrumentalist, who began writing and recording his own original music at a very early age — and over the past few years, Lynch has developed a number of musical projects that showcase a wide array of dynamic and forward-looking sounds, including the groove-based, electro rock/electro pop act Sunglow, the grittier projects Cray Bags and Greta O. and the Toxic Shock, and the garage rock act The Lipschitz. And with each project Lynch explores different sounds and songwriting approaches while maintaining a thin thread throughout.

Lynch’s latest musical project Bummerville found Lynch writing and recording in a rather spontaneous fashion, and according to the Savannah, GA-based singer/songwriter multi-instrumentalist writing within the context of several different projects with their own independent personas, quickly developing and evolving ideas and moving forward offers a fresh perspective while moving around barriers of production. Interestingly enough, as you’ll hear on “That Time It Takes,” the first single off his Bummerville debut Bottom Feeder, Lynch’s latest project finds him focusing on gritty, power chord-based rock that owes a debt to 90s grunge and 70s power pop, complete with anthemic hooks.

Lynch will be embarking on a tour to support Bottom Feeder with a backing band featuring his brother Derek (bass), Joshua Sterno (rhythm guitar) and Jonathan Graham (drums) and the tour will feature a February 1, 2018 stop at Max Fish. Check out the tour dates below.

 
Tour Dates
Fri 1/19 – Chicago, IL @ Cole’s
Sat 1/20 – Indianapolis, IN @ TBA
Sun 1/21 – Lexington, KY @ Liberty House
Mon 1/22 – Nashville, TN @ Found Object
Tues 1/23 – Memphis, TN @ Lamplighter
Wed 1/24 – Birmingham, AL @ TBA
Thu 1/25 – Atlanta, GA @ 529
Fri 1/26 – Savannah, Ga @ The Jinx
Sat 1/27 – Orlando, FL @ Uncle Lou’s
Sun 1/28 – Charleston, SC @ Makeout Reef
Mon 1/29 – Chapel Hill, NC @ The Cave
Tues 1/30 – Charlottesville, VA @ Magnolia House
Wed 1/31 – Baltimore, MD @ True Vine
Thu 2/01 – NYC, NY @ Max Fish w/ Foster Care
Fri 2/02 – Syracuse, NY @ Spithaus
Sat 2/03 – Buffalo, NY @ Deep Space 8
Sun 2/04 – Columbus, OH @ Legion of Doom