Tag: singles

Single Review by William Ruben Helms

Elijah Ford is a California-born, Austin, TX-based singer/songwriter and guitarist, and the son of former Black Crowes‘ guitarist Marc Ford, and in fact the younger Ford toured with his father’s band Fuzz Machine when he was 17, before hooking up with Oscar and Grammy-winning artist Ryan Bingham, with whom Elijah Ford recorded and toured with for several years before going solo with the 2011 release of his full-length debut Upon Walking and its follow up, an EP Ashes in 2012.

“The Way We Were” Ford’s latest single off his forthcoming full-length As We Were slated for release on September 16, 2016 borrows heavily from bluesy and boozy old school rock — while possessing a finely crafted feel, thanks in part to a soaring and anthemic hook and a shimmying and shuffling sound reminiscent of The Black Crowes, Elvis Costello and others.

 

Single Review by William Ruben Helms

Led by frontwoman and principle songwriter Luz Elena Mendoza, Portland, OR-based alt folk/folk rock/indie rock act Y La Bamba, the critically applauded act can trace its origins to  early 2008 when Mendoza wanted to perform under something else other than her name, and began writing and making home recordings of her songs on a one-by-one basis largely drawing from the traditional Mexican folk songs she heard as a child growing up in San Francisco and playing with her cousins in the San Joaquin Valley, the work of Loch Lomond and Devendra Banhardt and others. Around the time she had begun writing her own material, Mendoza had begun regularly hosting an open mic at a sake bar in Northeast Portland, where she met the members of the band’s original line up — Ben Meyercord, Mike Kitson (drums), Sean Flinn (guitar) and Eric Shrapel (accordion).

Over the course of the band’s three albums and several lineup changes of collaborators, friends and musicians, the band’s material has gone through a variety of changes — but it’s the the band’s forth full-length effort Ojos Del Sol that may be arguably be the most radical turn in sonic direction, while returning to familiar themes of searching and personal discovery — themes that have come up a number of times in Mendoza’s own life, whether as the daughter of Mexican immigrants connecting with her ancestry and searching for spiritual meaning that goes much further than organized religion. In fact, as Mendoza explains in press notes, the material on the album thematically is a “cerebration of family and community” — but a community of shared humanity.

Interestingly, the album’s first single “Libre” finds Mendoza and company at their most self-assured but in one of the breeziest and pop-leaning songs as they pair an infectious and anthemic hook with an arrangement that includes what sounds like xylophone, a mischievous and sinuous bass line, a steady backbeat, Mendoza’s gorgeous vocals along three part harmonies in English and Spanish, a rolling, African folk music-like guitar line in a song that evokes a sense of almost childlike wonder and joy, while making a connection both to Mendoza’s ancestral homeland and Africa in a way that subtly channels Paul Simon‘s Graceland.

 

 

 

Single Review by William Ruben Helms

Led by frontman Bradford Bucknum, Philadelphia, PA-based indie rock quartet Oldermost’s debut single “Honey With Tea” manages to sound as though it were indebted to Nick Drake, Wish You Were Here-era Pink Floyd and 70s AM radio friendly rock as layers of twangy pedal guitar, shimmering electric guitar chords, propulsive drumming, a lush and shimmering string arrangement are paired with Bucknam’s plaintive and tender crooning and up-and-coming Philadelphia-based singer/songwriter Rosali’s ethereal yet tender backing vocals in one of the prettier songs I’ve heard this year. And although “Honey With Tea” sounds quite a bit like Psychic Ills‘ equally gorgeous “Baby,” and possesses the sort of lived-in feel that can only come from actual life experiences, the Philadelphia-based quartet’s debut single manages to possess a world weariness behind its psychedelic country leanings. In some way, the song evokes life’s bitter recognitions, uneasy compromises and uncertainties — and how frequently we have to grit our teeth and accept what is and move forward.

Single Review by William Ruben Helms

Led by frontman and primary member Alexander Mann and featuring a rotating cast of collaborators, friends and studio and touring musicians, San Francisco, CA-based psych rock project Silent Pictures have started to receive both regional and national attention with the release of their latest full-length effort Let It Begin,  an effort that consists of material that on a superficial level fits under the psych rock umbrella but manages to be mischievously and effortlessly plays with its boundaries as the band reportedly channels the likes of T-Rex, The Brian Jonestown Massacre, The Jesus and Mary Chain, The Stone Roses and 90s Brit Pop — sometimes simultaneously.

Let It Begin‘s latest single “Time Has Broken/Let It Begin” will further cement the band’s burgeoning reputation as it features layers of guitars played through reverb and effects pedals, a propulsive, motorik-like groove with thundering drumming, an anthemic hook paired with lyrics that focus on a relativistic view of time. Sonically speaking the song sounds indebted to The Jesus and Mary Chain, The Stone Roses and Hookworms — while subtly hinting at shoegaze.

The recently released music video was filmed at an early 19th century Rosicrucian Temple and with shaky cameras, rapid fire cuts and cult symbolism, the video evokes a paranoid, trippy and frenetic world of conspiracies run by secret societies — while bearing an uncanny resemblance to 120 Minutes-era MTV.

 

 

 

 

 

Single Review by William Ruben Helms

 

 

Initially comprised of founding duo Jennifer Grady, a classical music teacher and Justin Hosford, a film and tv music composer, the Joshua Tree, CA-based duo Chelan (pronounced sh-lan) can trace their origins back to 2007. And since their formation, the duo released three full-length albums that the band’s founding members have described in press notes as a “mostly electronic, subdued, indie aesthetic;” however, last year, the duo recruited Chad Austinson (drums) to further flesh out their sound and as the newly formed trio began writing, performing, revision and recording the material that would wind up comprising their soon-to-released, fourth full-length album Vultures, the band’s sound went through a change of sonic direction as the trio’s sound began to employ the use of analog synths, guitar, drums, cello and piano to create a lush, wall of sound-like sound as you’ll hear on the album’s latest single “Beams.”

In the case of “Beams,” the trio layers of pairs jagged synth stabs, propulsive, motorik-like groove, Grady’s ethereal vocals, which bear a bit of a resemblance to Kate Bush, and shimmering guitar chords in a cinematic, lush and urgently swooning song that lyrically focuses on both the desire to connect with someone and the difficulties to connection once you consider the weight of one’s past and how it impacts their present.

 

 

 

 

 

Single Review by William Ruben Helms

 

Hard rocking Denton, TX/Austin, TX-based trio Bad Sports first caught the attention of the blogosphere upon their formation back in 2007; however, it’s been some time since they’ve released any new material as each of their members have been busy with other successful projects — Orville Neely III (guitar and vocals) is also known as the frontman of renowned rock act OBN IIIs, an act that’s been pretty busy over the past two years, as they’ve released two albums over the past two years, while the rhythm section comprised of aniel Fried (drums) and Gregory Rutherford (bass) have been members of Video, an act that has not only recently received attention across the blogosphere, they signed with Jack White‘s Third Man Records, who released Video’s debut effort. Additionally, the duo of Fried and Rutherford are also half of Radioactivity, an act that released Silent Kill through Dirtnap Records last year.

The trio of Neely, Fried and Rutherford had recently reconvened to record a quick series of three songs; however, after the band had written and recorded 7 songs, the folks at Dirtnap Records and the members of the band realized that the songs fit so well together, that they should be released together — but on a 12 inch EP that the band titled Living With Secrets. Interestingly, the material on the Living With Secrets EP  finds the band at yet another change of sonic direction; whereas 2011’s Kings Of The Weekend consisted of punk and power pop-leaning material and and 2014’s Bras consisted of grimy punk, the material on on Living With Secrets will reportedly take on a much darker, bleaker and desperate tone and yet some of their catchiest material they’ve recorded yet.

Living With Secrets‘ first single “Done to Death” still manages to be full of the power chords and propulsive rhythm section that has won each member of Bad Sports attention both within Bad Sports and their individual projects; however, the song manages to have one of most infectious and anthemic hooks they’ve written and recorded while sonically the material sounds as though it owes a debt to the Ramones and to Cheap Trick but focusing on the absolutely hopeless and bleakest shit possible with a subtly weary air. And yet, it’s still a song you can listen to with your friends, raise a beer up to the sky un-ironically and rock the fuck out.

 

 

 

 

 

 

Single Review by William Ruben Helms

Initially beginning his recording career as a member of Regina Spektor‘s and Sondre Lerche‘s backing bands, as well as a co-producer and full-time member of critically acclaimed indie act of Montreal, violinist, vocalist, composer, and producer K. Ishibashi through the release of critically applauded two full-length efforts — 151a and Lighght — with his solo recording project Kishi Bashi has developed a reputation for decidedly crafted and swooning orchestral pop with a subtly modern take, as K. Ishibashi would frequently use looping machines and samplers for a lush, layered sound.

Produced by Grizzly Bear‘s Chris Taylor and engineered by Pat Dillet, who has worked with Angelique Kidjo and David Byrne, and drummer Matt Chamberlain, who has been a member of Morrissey‘s and Fiona Apple‘s backing band, as well as being a member of Montreal, Ishibashi’s third full-lenght effort Sonderlust reportedly finds the renowned composer and vocalist expanding upon the sound that first captured the attention of the blogosphere. Interestingly, Ishibashi has publicly mentioned that Sonderlust‘s material didn’t come immediately or through his usual creative process. “As I sat down to write songs last summer, I went to all my usual conduits of creation: violin loops, guitar, piano and I came up with the musical equivalent of fumes,” Ishibashi explains. “I tried to create orchestral pop recordings that I assume were my forte, and in turn, I found myself standing in front of a creative wall of frightening heights.” This period of creative uncertainly, along with significant changes in his personal life, led the composer, violinist, vocalist and producer to experiment with a new musical direction. “I questioned everything about what it means to love and desire…the difference between loving someone and being in love,” Ishibashi explained.

The album’s first single “Say Yeah” has Ishibashi pairing twinkling and shimmering synths, lush string and wind arrangements, propulsive drum programming, an incredibly infectious hook and the renowned violinist, vocalist and producer’s tender and aching falsetto in a swooning yet dance-floor friendly song that interestingly enough sounds as though it were indebted to disco and both 80s and contemporary electro pop — all while still possessing a swooning Romanticism. Lyrically, the song is a plaintive and urgent plea to a lover to stay and try to make it work because the narrator can’t just bear to be without his love.

You can catch Kish Bashi on a lengthy North American tour this fall, and it includes an October 2, 2016 stop at Webster Hall. Check out tour dates and ticket information below.

Tour Dates:
9/27: Athens, GA @ Georgia Theatre (tickets)
9/28: Charlotte, NC @ Visulite (tickets)
9/30: Carrboro, NC @ Cat’s Cradle (tickets)
10/1: Silver Spring, MD @ The Fillmore – Silver Spring (tickets)
10/2: New York, NY @ Webster Hall (tickets)
10/3: Boston, MA @ Royale (tickets)
10/4: Philadelphia, PA @ Union Transfer (tickets)
10/6: Toronto, ON @ MOD Club (tickets)
10/8: Cleveland, OH @ Beachland Ballroom & Tavern (tickets)
10/9: Pontiac, MI @ Crofoot Ballroom (tickets)
10/10: Chicago, IL @ Vic Theatre (tickets)
10/11: St. Louis, MO @ Delmar Hall (tickets)
10/12: Minneapolis, MN @ First Avenue Mainroom (tickets)
10/14: Omaha, NE @ Slowdown (tickets)
10/15: Englewood, CO @ Gothic Theatre (tickets)
10/16: Salt Lake City, UT @ Urban Lounge (tickets)
10/18: Seattle, WA @ The Showbox (tickets)
10/19: Vancouver, BC @ The Fox Cabaret (tickets)
10/20: Portland, OR @ Wonder Ballroom (tickets)
10/21: San Francisco, CA @ The Masonic (tickets)
10/22: Santa Cruz, CA @ The Catalyst Atrium (tickets)
10/23: San Diego, CA @ Irenic (tickets)
10/24: Los Angeles, CA @ The Belasco Theater (tickets)
10/26: Tucson, AZ @ Club Congress (tickets)
10/28: San Antonio, TX @ Paper Tiger (tickets)
10/29: Austin, TX @ Mohawk (tickets)
10/30: Houston, TX @ White Oak Music Hall (tickets)
11/1: New Orleans, LA @ One Eyed Jacks (tickets)
11/2: Atlanta, GA @ Variety Playhouse (tickets)

 

 

Single Review by William Ruben Helms

With the 2014 release of Midnight Passenger and its follow-up Cigarette Machine EP, Memphis, TN-based punk band Ex-Cult emerged into the national scene while becoming a JOVM mainstay artist for a raw, angry, bruising sound. And although a little bit of time has passed since we’ve heard from them, August 12, 2016 will mark the release of the “Summer of Fear”/”1906” 7 inch through Famous Class Records.

A couple of months ago, I wrote about “1906, ” a tense and furious cover of The West Coast Pop Art Experimental Band’s “1906”and as the band’s frontman Chris Shaw explained to the folks at Stereogum: “The West Coast Pop Art Experimental Band have an amazing catalog of California psych/folk rock, but’1906′ has this downer, post-apocalyptic vibe that none of other songs come close to duplicating. The lyrics match some of the negative vibes we channel and the guitar stabs on ‘1906’ are a lot like some of the riffs we crank out on our own. It seemed like a natural fit.”

Famous Class Records along with the band have released the A side single “Summer of Fear,” is a anxious and tense song consisting of abrasive and angular guitar stabs, off-kilter syncopation and Chris Shaw’s punchy shouts in a song that much like “1906,” will further cement the Memphis-based punk act’s growing reputation for angrily caustic, bilious punk rock that’s raw, primal and bruising while evoking the tense, fucked up times we live in.

 

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Single Review by William Ruben Helms

Certainly, over the past few weeks, I’ve written quite a bit about Nashville, TN-based sibling duo JEFF The Brotherhood. Comprised of Jake and Jamin Orral, the sibling duo have developed a reputation for a sound and overall aesthetic that’s been influenced by jazz, black metal, hard rock, prog rock, stoner rock, the films of Werner Herzog, the choreography of Kate Bush and the rivers of their home state. Over the past decade the duo have played well over 1,000 shows across North America, New Zealand and elsewhere, touring to support 11 full-length albums, as well as creating a number of related zines, puppets and videos among other things. The Orral Brothers’ forthcoming effort Zone is an experimental rock-leaning album that was recorded and co-produced by the band and Collin Dupuis, and is the third album of a trilogy based roughly around spirituality that began with 2009’s Heavy Days and 2011’s critically applauded We Are The Champions.

Of course, over the past few weeks I’ve also mentioned how the renowned and now-defunct DIY venue Death By Audio had a special place in my heart, thanks in part to the fact that unlike most venues I’ve seen and covered shows in my hometown, there was a palpable sense of anything being possible and anything going. Personally, some of the most memorable shows and live music moments I’ve ever seen happened at the South Williamsburg DIY space. Now, as the venue was set to close at the end of 2014, its owners and bookers curate what turned out to be an epic final month featuring a number of currently renowned acts, who had either gotten their start there and returned to pay their proper dues or had some kind of intimate connection to the venue, including A Place to Bury Strangers, Thee Oh Sees, Protomartyr, Ty Segall, Future Islands, Lightning Bolt, Metz, the aforementioned JEFF The Brotherhood and others. Of course, what I bet that most people attending those shows didn’t know was that the venue recorded their last month of existence, with the end result being the the compilation Start Your Own Fucking Show Space, which features highlights of the past month in chronological order, slated for release this week through Famous Class Records — and the compilation is meant not as bittersweet nostalgia but as a forceful call to go out and do something fucking awesome, like start a show space and have your friends and others play there.

The third and latest single is a blistering live version of JEFF The Brotherhood’s “Heavy Damage” is a perfect example of the sound that caught the blogosphere’s attention — frenzied power chords, propulsive and thunderous drumming and howled vocals, which give the song a raw, primal feel; however, live the song feels completely unhinged and furious — as though it should inspire the audience to mosh and then riot.

Single Review by William Ruben Helms

Earlier this month, you may have come across a post about “Westside,” the latest single from the somewhat mysterious Los Angeles, CA-based electro pop duo Sibling, a single that built on the buzz that they’ve received with the release of their debut single “Easy,” as the duo paired a sparse production consisting of shimmering cascades of synths, an anthemic hook and pop belter vocals in a radio friendly song that swooned with a bittersweet longing. The duo’s latest single “Revolve” may arguably be the most dramatic and cinematic song they’ve released so far as they pair a production featuring twinkling piano keys, undulating synths and swirling electronics with sultry pop belter vocals in a song that is as much of a tell off as it is a song in which its narrator asserts her strength and resolve.