JOVM celebrates what would have been Sam Cooke’s 90th birthday.
Ojai-born, Long Beach-based vocalist Adryon de León has had a vast and varied career. de León has been a backing artist for an eclectic and impressive array of acclaimed artists including Lady Gaga, George Clinton, Macy Gray and others. She spent seven years as the frontwoman of Orgōne — and she’s currently one of the dead vocalists in Matador! Soul Sounds alongside Eddie Roberts, Alan Evans, Kim Dawson and Nate Edgar. Recently, de Leòn contributed vocals to a a track on Trent Reznor‘s score for the Netflix biopic Mank.
de Leòn’s Max MacVeety and David Tam-produced single “Ally” is funky, Motown soul-inspired strut, centered around the Ojai-born, Long Beach-based vocalist’s soulful, powerhouse vocals. And while seemingly indebted to the likes of James Brown, Steve Wonder and others, the song was inspired by contemporary events: The song finds de Leòn reflecting on the riots incited by George Floyd’s murder happening two blocks from her Long Beach home — and the messages she received from well-meaning friends the following morning.
As, a response, the Ojai-born, Long Beach-based vocalist decided to stop being precious and cute with the subjects of race and injustice. “Ally” wound up being a vehicle to process her emotions and respond to all of them — with the song being a fiery and soulful reminder and call to the arms. The fight for equality and justice is an ongoing one, the song says. this particular iteration of uprising and struggle is a small chapter in a much longer story. And as the song — and its narrator — demands of the listener: if you’re in a position of privilege, it’s your responsibility to stand up for the disenfranchised, the vulnerable and overlooked, and to be an ally for positive change.
Lost Horizons — Cocteau Twins‘ and Bella Union Records label head Simon Raymonde (bass. guitar, keys, production) and Dif Juz’s Richie Thomas (drums, keys, guitar) — each ended a 20+ year hiatus from creating music with the 2017 release of their full-length debut together, Ojaiá, (Spanish for “hopefully” or “God willing”) to critical praise. “These days, we need hope more than ever, for a better world,” Thomas said in press notes at the time. “And this album has given me a lot of hope. To reconnect with music . . . And the hope for another Lost Horizons record!”
Since the release of Ojalá, the state of the world has gotten much worse. And while many of us had begun to feel hope that things may turn for the better with a Biden Administration, the events yesterday in Washington, DC has quickly brought that sense of hope and possibility crashing to the ground. Things are dire: our socioeconomic and political systems are collapsing, exposing both the worrisome gaps in our systems. The fight for a better and fairer world continues, as it always does but interestingly enough, one small portion of Thomas’ hopes have been immediately fulfilled: Raymonde and Thomas will be releasing a new album’s worth of together, In Quiet Moments.
Written and recorded during pandemic-related restrictions and lockdowns, In Quiet Moments‘ material is inspired by the sense of existential doom, fear, uncertainty and anxiety of the larger world surrounding them and everyone else, as well as the same emotions and sensations of their own personal lives: Just as the duo were settling into the studio to craft the largely improvised, instrumental bedrock of the album’s material, Raymonde’s mother died.
As a response, Raymonde threw himself into his work as a way to channel his grief. “The way improvisation works,” he says, “it’s just what’s going on with your body at the time, to let it out.” The duo forged ahead, crafting 16 instrumental tracks that they sent to an eclectic array of guest vocalists including Ural Thomas, Penelope Isles‘ Jack Wolter, The Hempolics Nubiya Brandon, Tim Smith, Gemma Dunleavy, the innocence mission’s Karen Peris, Horse Thief‘s Cameron Neal, Marissa Nadler, Porridge Radio‘s Dana Margolin, John Grant, Ballet School‘s Rosie Blair, Penelope Isles’ Lily Wolter (as her solo recording project KookieLou) and an impressive list of others.
When they sent the instrumental tracks to their then-prospective guest vocalists, Raymonde suggested a guided theme for their lyrics: “Death and rebirth. Of loved ones, of ideals, at an age when many artists that have inspired us are also dead, and the planet isn’t far behind. But I also said, ‘The most important part is to just do your own thing, and have fun.” Roughly half of the album’s lyrics were written during the middle of pandemic-related lockdowns but as it turns out, Raymonde in particular, saw a sliver lining: people were forced to slow down and take careful stock of themselves and their lives. Interestingly, after having heard a lyric written by Ural Thomas, Raymonde singled out on praise “in quiet moments,” and thought it would be a perfect album title. “It just made sense,” he says. “This moment of contemplation in life is really beautiful.”
Although generally centered around loss and heartbreak, the album’s material is imbued with a sense of hope. And as a result, the album subtly leans in the direction of rebirth more so than death. “I think it’s more joyous than Ojalá,” Thomas says. “But both albums have a great energy about them.” That shouldn’t be surprising as both Lost Horizons albums find the duo and their various collaborators on a journey through a dizzying area of moods and voices.
Last year, I wrote about three of the album’s previously released singles:
“Cordelia,” a lush track centered around atmospheric synths, gorgeous steel pedal guitar from David Rothon, elegant strings from Fiona Brice, and John Grant’s brooding vocals. The song is a meditation on the passing of time, the inevitable changing of the seasons — but with the tacit understanding and acceptance that all things in our world are transient.
“One For Regret,” a dark and foreboding song centered around shimmering, reverb-drenched guitars, propulsive drumming and Porridge Radio’s Dana Margolin’s frantic vocals. While sonically, the song finds Raymonde and Thomas paying homage to the beloved sound and approach that won Raymonde accolades “One For Regret” is a meditation on the messiness of regret and loss, that acknowledges that regret and loss are a necessary part of life — and that the only way out is through.
“Every Beat That Passed,” an old-timey waltz centered around shimmering and arpeggiated keys, jangling guitars and Kavi Kwai’s Julia Ringdahl ethereal vocals. Much like its immediate predecessor, In Quiet Moments’ third single sonically seemed indebted to Raymonde’s while being defiantly upbeat.
The album’s fourth and latest single, album title track “In Quiet Momtents” features Ural Thomas. Born in Louisiana in 1939, the seventh of 16 children, a young Thomas learned how to sing in church. His family relocated to Portland, where he would spend the bulk of his life.
In the 50s, Thomas became a professional singer, opening for the likes of Etta James, Otis Redding, James Brown, and Stevie Wonder at the Apollo Theater. But by 1968, Thomas had returned to Portland. In terms of music, Thomas fell off the map, and not much is really known until the early 2010s when Scott Magee, a Portland-based soul DJ, was informed by the owner of Mississippi Records that Thomas — whose early records he regularly spun at this DJ sets — still lived in the area.
As it turned out, Thomas had been hosting weekly jam sessions at his home since the 1970s but seldom performed live. But Thomas and Magee started Ural Thomas and the Pain, an octet that backs Thomas. The act has released two albums so far, 2016’s self-titled debut and 2018’s The Right Time. So now that we went through the necessary background, let’s talk about the track: “In Quiet Moments” is a shimmering and slow-burning bit of old-school inspired soul meets shoegaze centered around twinkling keys, jazzy drumming, gently buzzing guitars and Thomas’ easygoing and gorgeous vocals. It’s a gorgeous and thoughtful track that evokes a complex and confusing array of emotions with a simple yet profound earnestness.
“Sometimes you just have a clear vision for a song and then try as you might, it doesn’t quite hit the mark and other times, you’re not quite sure where it’s going and then all of sudden it’s like The Matrix and you’re buzzing!” Lost Horizons’ Simon Raymonde says in press notes. ” I’d been talking to Ural and his team since I heard about him earlier that year, and they were all working on a new Ural Thomas and The Pain album, but just as I finished the bass part on our piece, which Richie had started at a session in London, my inner voice was screaming ‘ASK URAL TO SING!’ Scott and Brent who are his producers and write with Ural and in his band too, responded very positively to my enquiry and said Ural was into it, and it looked like they could do it all at their studio in Portland, AND film him at the same time as they were making a documentary about him! I couldn’t believe my luck. After he was done with the first half of the song I asked if he could make the ending spoken-word in the style of Gil Scott-Heron and he did something ad-libbed which I loved. I then asked Wendi Rose who sings with Spiritualized to add some of her beautiful vocals and I think this took it all to the next level. Paul Gregory and Jonathan Wilson also played some delicious guitar parts which were the fairy dust on top!”
“When I first heard the song, I thought it was such a wonderful thing, both open and calm, with that steady, insistent groove,” Ural Thomas adds. “The chords go from looming to embracing then back again, like a sad, friendly giant. It took a quiet moment to go over it in my mind and then we were off and running with the tune. At times I feel strong and one with the world. At other times I feel tiny and solitary. In a way they’re two parts of the same feeling. That sense of being closed in and defined by walls became more real just a short while after we worked on the song. But we’re all those other things, too—connected, hopeful, with a long arc that will go beyond this time.”
The recently released and cinematically shot black and white visual for “In Quiet Moments” is split between footage of clouds passing the sun, stock footage of a slow pan of a forest, Thomas singing the song in the studio and other natural phenomena. It’s a fittingly gorgeous and thoughtful visual.
Now, as you may recall In Quiet Moments was slated for a two part release through Bella Union. The first part was released last month with the second part due February 26, 2021, along with the physical release of the entire album.
Initially making a name for herself as the frontwoman of acclaimed New York neo-disco/dance music act Escort, the Parisian-born, Brooklyn-based singer/songwriter, bassist, producer and jOVM mainstay Adeline has developed a reputation as a critically applauded solo artist, receiving praise from Vogue, NPR, Refinery 29, Rolling Stone, The Fader and many others — and as one of the most hardworking and prolific artists in New York’s music scene:
The JOVM has opened for the Anderson .Paak, Lee Fields, Chromeo, Big Freedia and Natalie Prass among a lengthening list of artists — and has played an increasing number of headlining shows across the New York Metropolitan area
She has played a number of stops on the national festival circuit, including Afropunk, Funk on the Rocks and Winter Jazzfest.
Additionally, she also has a stint as a member of CeeLo Green’s touring band.
Last year may have been the busiest year of the JOVM mainstay’s career:
She released 21 songs, including 2 EPs.
She collaborated with Kamauu on “Mango.” The video is a viral hit, garnering almost five million views.
She had guest appearances on material by an eclectic array of artists including Pastel, Kraak & Smack, Blue Lab Beats, Jonathan Singletary and rising French emcee Likso.
Adeline continues an incredibly run — and starts off the year with a new single, the sultry and slow-burning “Whisper My Name.” Centered around a strutting and sumptuous bass line, shimmering guitars and Adeline’s smooth vocals, “Whisper My Name” sounds indebted to 80s Quiet Storm soul — but subtly imbued with the hope of a bright new future ahead. And much like her previous released work, the new single is a reminder of that this sister is a certified star — and that she’s a mesmerizing presence both on record and on stage.
She recently performed the song as part of a recorded session for A COLORS SHOW. The full live set is coming soon — and I can’t wait.
JOVM celebrates Annie Lennox’s 66th birthday!
Jamil Rashad is a Raleigh, NC-based funk and soul artist and JOVM mainstay, who writes, records and performs under the name Boulevards. Rashad, who is the son of a renowned local radio DJ, grew up in musical household in which a passionate interest in music was fostered and encouraged: a young Rashad listened to a wide variety o music including soul, jazz, blues, R&B and funk.
When the Raleigh-based JOVM mainstay was a teenager, he became a self-confessed “scene kid,” getting involved in the city’s local punk, hardcore and metal scenes, which interestingly enough wound up influencing his own production work much later on. After attending art school and playing in a series of local bands, the Raleigh-based JOVM mainstay wound up returning to teh the sounds that first won his heart and imagination — funk and soul. And with Boulevards, Rashad began writing material that he once described as “party funk jams for the heart and soul to make you move,” eventually developing a national profile for a sound that some have compared to Dam-Funk, Escort, Mark Ronson, with the release of 2016’s Groove! and last year’s YADIG!
Rashad’s forthcoming effort, the Blake Rhein-produced Brother! EP is slated for a December 18, 2020 release through New West Records imprint Normaltown Records. The four song EP derives its title from the familiar greeting spoken among Black men. For Rashad, the word brother is a sort of spoken handshake, a verbal high five for the listener. “Growing up, I would see my father interacting with other African American men, using that word as a greeting. ‘What’s up, brother? Brother, let me talk to you.’ That’s what they said a lot in the ‘60s and ‘70s, but you don’t hear it as much now. It’s such a great word.” The EP’s material is the culmination of several years of writing, playing, touring and recording with the effort thematically touching upon race and America’s moral reckoning, heartbreak and self-inflicted suffering. And as a result, the four song EP is the most explicitly political batch of material of his growing catalog.
Perhaps because our current sociopolitical moment mirrors that of the late 60s and early 70s, the EP’s material, as you’ll hear on its second single, EP title track “Brother!” is indebted to the music he heard growing up: early Parliament Funkadelic, Sly and The Family Stone, Rick James, Curtis Mayfield, Shuggie Otis and a lengthy list of others.
“My dad put me on to that music, and I’ve always been attracted to those artists. That’s who I was inspired by, but I wanted to make it my own, make it Boulevards,” Rashad says. Centered around a soulful and slow-burning strut and some fuzzy, psychedelic and blues-tinged guitar work, “Brother!” is a cry of desperation about a society and world that seem determined to frustrate, humiliate and destroy you. And the only escape is through booze, drugs and sex.
“The song is about working and hustling every day and not being satisfied with the end result, whether it’s working for yourself or 9-5 corporations. Spending the hours, time, not getting a raise, losing a job, putting a smile on your face at a job you dislike, feeling stuck in life, making money and spending money to support bad habits,” Rashad says in press notes. “The only thing that makes you feel any kind of release is the bottom of the bottle.”
Dayton, OH-born and-based singer/songwriter and drummer Steve Arrington got his start as a member of the legendary Dayton-based funk and soul act Slave in the 70s, eventually becoming known for contributing lead vocals on smash hits like “Watching You,” and “Just a Touch of Love.” Continuing upon the success he attained with Slave, Arrington went solo recording a handful of albums before leaving the secular music world in 1991 to focus on spiritual and ministerial work.
Since 1991, an impressive and eclectic array of artists including Jay-Z, A Tribe Called Quest, Pharrell, 2Pac, Snoop Dogg, LL Cool J, Mariah Carey, N.W.A. and a lengthy list of others sampling his work in Slave and as a solo artist. Interestingly, after nearly two decades away from professional secular music, Arrington returned in 2009 with the release of that year’s Pure Thang, which he followed up with 2013’s collaborative album with Dam-Funk, Higher, released through Stones Throw Records. And in the decade or so since the release of Pure Thang, the Dayton-born and-based legend has collaborated with old-schoolers and youngbloods alike, working with Snoop, , Kool Moe Dee, George Clinton, and Thundercat.
Released earlier this year, Down To The Lowest Terms: The Soul Lessons is Arrington’s first solo album in 11 years, and the album’s material sees the funk and soul legend finding peace with himself and God while casting an easygoing yet still razor-sharp critical eye on the world around him. The album also captures an old schooler, who’s still restlessly creative and as vital as ever. As a 40-something that kind of thing is inspirational to me.
Produced by DJ Harrison, “Make a Difference,” Down To The Lowest Terms: The Soul Sessions‘ third and latest single continues a run of strutting and sinuous pimp struts featuring a a shimmering arrangement of twinkling and reverb-drenched Rhodes, a sinuous bass line, sunny horn lines and a stuttering boom-bap like beat. But unlike its immediate predecessor, the Quiet Storm-like “Soulful I Need That In My Life,” “Make a Difference” is centered around a proud and defiantly hopeful message: we haven’t achieved Martin’s dream of the promise land yet but we’re making much progress towards it. And while things are difficult, we can’t give up the hope that Black folks will be free — and that America will live up to its ideals. There’s just too much to lose for all of us.
“Make a Difference” address “the current state of things in this country,” Arrington says. “As far as the racial tensions . . . so much of it is being promoted by politicians with agendas. And you have moments like Black Lives Matter, and different races coming together to say: ‘We’re not going back. We’re not stepping back into the forties and fifties.’ This song speaks to that. The great John Lewis — the message that he left for all of us, to understand and move forward, not making a difference for a few months, but a lifetime of living.”
Shot in a gorgeous and cinematic black and white, the recently released video for “Make a Difference” sees Arrington as a musical community elder, gently instructing the listener and viewer on Black history, putting the struggles and triumphs in a proper historical context, with Black Lives Matter being a continuation of a generations-long struggle for equality. And while we see the photography and footage of the talented and brave Black folk, who have influenced the world and have pushed for justice, the video also finds Arrington blessing the younger generation.
Eoin Murphy is a Philadelphia-based singer/songwriter, multi-instrumentalist and creative mastermind behind the emerging solo recording project brushstroke, which draws from neo-soul, psych pop and alternative R&B.
Murphy’s latest brushstroke single “Freeze” is a sultry, slow-burning, Quiet Storm-inspired track centered around a dusty, lo-fi-like production, shimmering guitars, twinkling keys, a sinuous bass line, the Philadelphia-based singer/songwriter and multi-instrumentalist’s plaintive yet soulful falsetto, blown-out beats and an infectious, radio friendly hook. Sonically, the song manages to bring JOVM mainstays Nick Hakim and Tame Impala to mind, complete with a similar deliberate attention to craft and mood.
With the release of his first two EPs and a string of critically applauded, commercially successful collaborations =- including Aussie hip-hop act Hilltop Hoods‘ certified Gold single “Higher,” Brookyln’s rum.gold, the Sydney-born, Berlin-based singer/songwriter, producer and JOVM mainstay James Chatburn has quickly established himself as an in-demand songwriter and producer and as one of indie soul’s rising talents, developing and honing a sound that features elements of soul, blues, electro pop and neo-soul.
Chatburn’s split his highly-anticipated David Tobias co-produced full-length debut Faible into two parts — with the first part of the album released last week. Faible finds the rising Sydney-born, Berlin-based artist further cementing the warm, soulful sound that has won him international attention — but while pushing his sound towards a subtly psychedelic direction, influenced by Unknown Mortal Orchestra, D’Angelo, Donny Hathaway, and Shuggie Otis among others.
Failble’s material finds Chatburn exploring his own vulnerability. “For long as I can remember, before people spoke so openly about it, I had these issues with anxiety,” the Sydney-born, Berlin-based singer/songwriter, producer and JOVM explains in press notes. “I kind of wanted to explore these ‘weaknesses’ that we all susceptible to. I mean, the way I am wired led me to be quite insular and creative especially when I was in my teens. I I now see how much of a strength it can be, it opened up my empathy and creativity and I think we all have these things we gotta talk through, if we talk about it we can band together and be stronger for it.”
Chatburn continues “David Tobias and I produced this album in his house. He is like this mad collector of vintage gear and his this incredible scope of music throughout the decades. I had this vision of soul meeting hip hop and modern psychedelic music I have been listening to. I could not have made it sound old but new without this genius dude backing me.”
Earlier this year I wrote about two of Faible’s singles:
“In My House,” a warm and vibey, two-step inducing bit of soul, centered around introspective, earnest songwriting, reverb-drenched guitars and thumping beats.
“Jewellery and Gold,” one of the album’s more tongue-in-cheek tracks, featuring a narrator looking forward to a future, where he’s flush with cash, and as a result, any of the major issues of his life being settled with that newfound cash — because dollar dollar bill y’all.
Recently, Chatburn performed an atmospheric version of the album’s third single “The Hurt,” which found him accompanying his achingly tender vocals with shimmering, gently picked guitar. At its core the song expresses longing and heartache in a way that reminds me quite a bit of fellow JOVM mainstay Nick Hakim.
Founded and led by composer, arranger and producer Seth Applebaum, the New York-based psych rock/psych soul act Ghost Funk Orchestra initially began as a lo-fi recording project in 2014. And since their formation, the project has grown into an 10 member unit that has become a forceful and up-and-coming presence in the city’s psych rock and soul scenes as a result of unique sound that draws from salsa, surf rock, Afrobeat and several others.
Last year, the act released their full-length debut A Song for Paul last year. Conceived as a tribute for Seth Applebaum’s late grandfather Paul Anish, a figure, who who played an immense role in the Ghost Funk Orchestra’s founder and bandleader’s life. And although the song don’t address Paul Anish directly, the album’s creative direction were meant to convey what Anish’s presence felt like for Seth — a tough but kind, old-school, native New Yorker. For Applebaum, accurately capturing what his grandfather’s essence meant to him, forced him to expand the band’s arrangements and overall sound much further than anything he had done up to that point, including writing more comprehensive horn lines and working with a string section.
The New York-based psych soul act’s sophomore album An Ode to Escapism is slated for a Friday release through Karma Chief Records, an imprint of Colemine Records. Sonically, An Ode to Escapism continues and further expands upon the sound they’ve developed on their full-length debut: the arrangements are more intricate and centered around odd time signatures, the drums are heavier and vocal harmonies soar over it all. Thematically, the album touches upon isolation, fear of the unknown and the fabrication of the self-image — and is specifically meant to invite to listener to close their eyes, while listening and delve into their subconscious, if they’re not too afraid to do so.
An Ode to Escapism‘s first single is the cinematic and expansive “Queen Bee.” Featuring a looping, bluesy guitar line, a soaring string arrangement, the song is centered around an unusual song structure that finds the band defy maneuvering three wildly different time signatures to convey someone digging themselves out of a self-flagellating pit and finding their swagger.
“‘Queen Bee’ is a song about finding strength in not caring what people think of you,” the band’s Seth Applebaum explains. “It’s about digging yourself out of a pit of self-consciousness and strutting your stuff however it may come across. Led by Megan Mancini, this tune has been a staple in the live repertoire for a while, but it was also one of the most difficult songs to conquer in the studio. As the first song that was written and recorded for An Ode To Escapism, ‘Queen Bee’ set a high bar for difficulty as its challenge was to find a way to move seamlessly between three very different feeling time signatures (3/4, 10/8, and 4/4). On the surface it feels like a pop song, but in true GFO fashion, there’s a lot to be discovered beneath the surface.”
Directed by the band’s Seth Applebaum, the recently released video for “Queen Bee” was shot on 16mm film and follows the various folks, who worked on Ghost Funk Orchestra’s An Ode to Escape into their homes,. where they’ve been riding out the pandemic, like most of us. There’s also some more over-the-top sequences that features the album’s three vocalists performing on an old-fashion stage, complete with a choreographed movements and handclaps. It’s playfully old-fashioned and a bit of a reminder of the things I miss so much — and hope that we can get back soon.
“The concept for this video was simple: run around with a 16mm camera and visit the folks who worked on the record at their homes where they’ve been riding out the pandemic,” Ghost Funk Orchestra’s Seth Applebaum explains in press notes. “For the more specialized shots we had the pleasure of taking over the back room at The Footlight, a Ridgewood venue that GFO spent a lot of time playing early on. We sought to juxtapose the dryness of everyone’s current living situations with the over-the-top production value of the live music experience we’re all missing so dearly right now.“