I’ve written quite a bit about the critically applauded, Washington, DC-born, Brooklyn-based singer/songwriter, guitarist and JOVM mainstay Nick Hakim over the past handful of years. Hakim’s 2017 full-length debut, Green Twins was written after he had completed Where Will We Go Part 1 EP and Where We Will Go Part 2 EP and relocated from Boston, where he was then based to Brooklyn.
After getting himself settled in, he quickly went to work, spending his spare time writing and recording song sketches sing his phone’s voice memo app and a four-track cassette recorder. He fleshed out the sketches as much as possible and then took his demo’d material to various studios in New York, Philadelphia and London, where he built up the material with a number of engineers, including frequent collaborator Andrew Sarlo (bass, engineering and production), who were tasked with keeping the original spirit and essence of the material intact as much as humanly possible.
Thematically, the album’s material focused one specific experiences, feelings and thoughts he had during the time he was writing and composting it, and as a result the album is a series of different self-portraits that generally captures its creator in broad strokes — but if you pay close attention, you pick up on subtle gradations of mood, tone and feeling. Sonically, Green Twins was drew from a broad and eclectic array of influences including Robert Wyatt, Marvin Gaye, Shuggie Otis and My Bloody Valentine and others. “We wanted to imagine what it would have sounded like if RZA had produced a Portishead album. We experimented with engineering techniques from Phil Spector and Al Green’s Back Up Train, drum programming from RZA and Outkast, and we were listening to a lot of The Impressions, John Lennon, Wu-Tang, Madlib and Screamin’ Jay Hawkins,” Hakim said in press at the time.
Since the release of Green Twins, Hakim has also developed a reputation as a highly sought-after, go-to collaborator working with Lianna La Havas, Anderson .Paak, Onyx Collective, Sporting Life, IGBO, Nappy Nina, Ambrose Akinmusire, Slingbaum, FKA Twins and Oumou Sangare. Now, as you may recall, Hakim’s highly-anticipated sophomore album WILL THIS MAKE ME GOOD is slated for a May 15, 2020 release through ATO Records.
Interestingly, WILL THIS MAKE ME GOOD reportedly represents a tonal shift from its predecessor with the album’s material reflecting the ideas that he had grappled with while writing and recording it.
“I feel the people simmering, on our way to the boiling point. There’s a lot of madness going on around us and this world can feel so cold. It can get hard to remember what makes it worth it. The people around me and the music I love helps.” Hakim writes in a statement on the album.
“For a while, I couldn’t write. I worked on new music but couldn’t find the right words. But that time was just a build-up to the three months of expression that led to this album. I hope this music will raise awareness about where we are right now. About how we are living on this planet. About how we treat our neighbors. About community. About depression. About what can heal us and what can’t. About overmedication, overstimulation and manipulation. About respecting and loving the people around us, because one day they won’t be here — or you won’t.
But it’s also true that I’m still trying to figure this record out. People have told me that it’s confusing or that it’s messy-that’s fine. There’s so much pressure on artists to commit to being one thing, or to restrict an album to exploring just one subject or sound. But my life isn’t like that, and so my music can’t be like that either. I’m not thinking about this music as a product to be bought and sold, or how I’ll buy your interest. This is my world; a lot of friends touched this record, and that makes me feel lucky and proud. These songs are glimpses into my community. I’m exploring, but I’m not alone. It’s a journey in progress; it’s an experiment, every day.”
Earlier this year, I wrote about the slow-burning and atmospheric “QADIR,” a fever dream of ache and longing that brings up psych pop, psych soul and 70s soul simultaneously. “QADIR” was the first song that Hakim wrote for the album with the track being an ode to a late friend, and a urgent and plaintive reminder to check in on your loved ones before it’s too late. “BOUNCING,” WILL THIS MAKE ME GOOD’s third and latest single is a delicate and atmospheric track centered around shimmering and reverb-drenched guitar, blown out and distorted drums, gently swirling feedback paired with Hakim’s aching falsetto expressing a vulnerable yearning for companionship and warmth on a bitterly cold day — and knowing that it won’t come any time soon. “BOUNCING” is a sound bath where I wrote about one of the coldest days in New York I remember, while lying in my bed, restless by a radiator. It’s about feeling uneasy,” Hakim says in press notes.
Directed by Nelson Nance, the recently released video for “BOUNCING” continues Hakim’s ongoing visual collaboration with the director while serving as a sequel to “QADIR.” The video follows Hakim and a small collection of attendees to a surreal event that becomes a spectacle that’s recorded by the attendees. But it asks much larger questions of the viewer: “”The ‘BOUNCING’ video asks the viewer to question our drive to find spectacles and how the pursuit of such can lead to becoming a spectacle,” Nelson explains in press notes. “There is nothing inherently wrong with viewing or being a spectacle but I think it’s healthy to question if our energy is being put in the right place when interfacing with what draws our attention.”
James Chatburn is a rapidly rising Sydney-born, Berlin-based singer/songwriter and producer. With the release of his first two EPs -which he followed with a string of critically applauded and commercially successful collaborations, including Aussie hip-hop act’s Hilltop Hoods‘ certified Gold single “Higher,” the Aussie-born, German-based singer/songwriter and producer quickly established himself as one of the contemporary soul’s hottest new talents, developing a sound that seamlessly meshes elements of soul, blues, contemporary electro pop and neo soul. Adding to growing profile, Chatburn has toured with Jordan Rakei and The Internet.
Chatburn’s highly-anticipated full-length debut, Fable is slated for release later this year, and the album reportedly finds the Sydney-born, Berlin-based artist further establishing the warm, soulful sound that has won him attention internationally in the contemporary soul scene — but while pushing his sound in a subtly psychedelic direction. The album sonically draws from Unknown Mortal Orchestra, D’angelo, Donny Hathaway and Shuggie Otis among others. Interestingly, the album’s latest single “In My House” is centered around a two-step inducing groove featuring sinuous bass lines, shimmering and reverb-drenched guitars and thumping beats paired with Chatburn’s gravelly and effortlessly soulful vocals. While decidedly a warm and vibey neo-soul song, the song is centered around introspective and earnest songwriting.
“This piece asks the question of who we allow into our lives and why we do so, the ones which we allow close can leave so much behind when they dive into our being, so it is wise to be careful,” Chatburn explains in press notes. “The song came together quicker then any other song I have ever written, Ironically I used the chopped up recorded drums from another song which was supposed to be included on the upcoming Album Faible, a song I reformatted and re-wrote 4 times to be left discarded. All of the other instruments and vocals are the original recordings from the first day of writing.”
Montreal-based soul act The Brooks formed over eight years ago — and the act can claim a lineup featuring some of the French Canadian city’s most accomplished local soul musicians: Florida-born, Montreal-based singer/songwriter and frontman Alan Prater has toured with Michael Jackson and the band itself can trace its origins to behind the walls of the Motown Museum: Alexandre Lapointe (bass) has worked alongside Joel Campbell, the musical director for Tina Turner and Janet Jackson. Prater and Lapointe are joined by Maxime Bellavance (drums), Phillips Look (guitar, vocals), Daniel Thouin (keys), Sébastien Grenier (sax), Hichem Khalifa (French horn), and Phillipe Beaudin (percussion).
Developing a sound that draws from James Brown, D’Angelo, Fela Kuti, Herbie Hancock and J. Dilla, the members of The Brooks have developed a reputation for a songwriting approach that eschews rules and trends while spreading joy and funk — and for an energetic live show. And as a result, the band has built up a profile both across the province and nationally over the course of two critically applauded albums and an EP: Named the “best kept secret of Canadian funk” by La Presse, the band has received a number of nominations and awards at GAMIQ, Independent Music Awards, ADISQ, and others.
The French Canadian soul outfit’s third full-length album Anyway Now is slated for a release this full through Duprince Records across North and South America and Underdog Records through Europe and Japan — and the album’s first single is the stomping, strutting and funky party anthem “Turn Up the Sound.” Centered around an arrangement that nods at The Payback-era James Brown, Dance to the Music and Stand!-era Sly and the Family Stone, the upbeat song was written to be played loud and to get you to get up out of your seat, escape your daily concerns for a few minutes and dance. Everything may seem canceled or postponed but music is still there to bring you joy — and to remind you that brighter days will come in time. “I just wanted to write a fun song to get you to escape from whatever you’re doing,” the band’s Alan Prater explains in press notes.
The single is accompanied by a live footage of the band performing the song in the studio, and it manages to reveal the band’s creative chemistry while being an introduction to the band to new listeners.
Silva’s debut EP was an EDM collaboration with DJ Sizigi-13 under the mononym Silva — but since the release of that effort, her material has leaned heavily towards singer/songwriter soul, rock and pop with 70s AM rock references, as you’ll hear on her most recent album, the Reed Black-produced Bluest Sky, Darkest Earth.
Silva’s latest single “I Wash My Hands” is a shimmering and gorgeous country soul/70s AM rock-like song centered around a fairly simple arrangement of guitar, bass, vocals and drums that’s sonically indebted to Stevie Nicks and Fleetwood Mac. Interestingly, the song was originally written as a weary lament over a major relationship that has come to an end – but the song manages takes on a heightened meaning, reflecting on a heightened sense of uncertainty and fear, suggesting that maybe Mother Earth is attempting to wash her hands of us.
The recently released video for “I Wash My Hands” was created during the mandatory social distancing and quarantines of the COVID-19 pandemic – and it features Silva, her friends, family, bandmembers and voice students, separated by quarantine but connecting through the song.
I recently exchanged emails with Jennifer Silva for this edition of JOVM’s ongoing Q&A series – and naturally, we chat about her new single and video, her influences –including her love of Stevie Nicks, and her songwriting process. Of course, with governments across the world closing bars, restaurants, nightclubs and music venues to prevent the spread of COVID-19, the impact on the music industry – particularly on small and mid-sized venues, and the touring, emerging and indie artists who grace their stages, has been devastating. Over the course of the pandemic, I’ll be talking to artists about how the pandemic has impacted them and their careers. And in this interview, Silva reveals that the much-anticipated follow-up to Bluest Sky, Darkest Earth has been rescheduled, with her and her backing band figuring out how to finish it with the use of technology. Then add lost gigs and the uncertainty of when you’ll be able to play or promote your new work, and it’s a particularly urgent and uneasy time. But the dedicated will find a way to keep on going on for as long as they can.
Check out the video and the Q&A below.
Photo Credit: Paxton Connors
________________
WRH: Much of the world has been in quarantine and adhering to social distancing guidelines as a result of the COVID-19 pandemic. Hopefully you and your loved ones are safe and healthy. How are you holding up? How are you spending your time? Are you binge watching anything?
Jennifer Silva: The world is upside down right now and it’s been a rollercoaster of emotions for me. Shock, depression, anger, acceptance — feels like the stages of grief sometimes! I really miss my friends and my social life. Playing shows, my band. The good news though, is that my family and I are safe, healthy and well stocked. We left Brooklyn right before it got really bad and headed upstate. So, I’ve been in the woods, pretty secluded, with limited cable news (thankfully) and some great outdoorsy vibes all around me. I’m very lucky and I really can’t complain. I’ve been spending the time connecting with my family, homeschooling my daughters, cooking, knitting, reading and writing songs! We’ve been living a simple life these days and that’s actually a great thing sometimes. I just started watching Ozarkon Netflix, finally, which is perfect for this quarantine! I’m always down for an epic drug/murder/survival story. Oh, and wine.
WRH: Since COVID-19 was declared a pandemic, festivals have been postponed or cancelled outright, artists of all stripes have postponed, rescheduled or cancelled tour dates. Most of the world has been on an indefinite pause. How has COVID-19 impacted you and your career?
JS: This has got to be the hardest part of it all for me. I’ve also had to cancel shows, but, most significantly, literally one week before the pandemic really hit NYC, I was in the studio with my band and producer (Reed Black of Vinegar Hill Sound) tracking my next record. We spent two full days laying down all the music and scratch vocals for 10 tracks, and I was so hyped and excited for the next two months of recording all the overdubs, lead vocals, background vocals and getting that final mix completed. Now, we must wait. Luckily though, we have the rough mixes to listen to and some of my band members are working on and planning overdubs at home. It’s frustrating but I’m still so grateful to have had those days in the studio. What we have already, sounds amazing!
WRH: How did you get into music?
JS: I’ve been singing all my life. My father played guitar around the house throughout my childhood, and so at a young age I was singing classic rock and soul music to my family. “The House of the Rising Sun” (The Animals), “Bring it on Home to Me” (Sam Cooke) and “To Love Somebody” (Bee Gees) were my first covers!
I also went to Catholic school as a girl where the nuns always made me sing the solos at the Christmas and Easter performances. And of course, I was singing in Church every week. That really helped shaped me as a singer because I was taught to belt without shame because it was a “gift”, so I have always been a loud singer, haha. I’m not religious anymore (thankfully), but man, I love me some Church hymns! And there is nothing like the acoustics in a Cathedral.
Then I had a whole Neo Soul moment, falling in love with singers like Erykah Badu, Lauryn Hill, and Jill Scott. They definitely influenced me with their powerful female energy and style and the vocal choices they made. I also love 80’s and 90’s female badasses, like Tori Amos,Bjork, PJ Harvey,Hole, Garbage, Madonna and Annie Lennox. Artists with true points of view and the guts to say it.
Vocalists like Amy Winehouse, Brittany Howard of Alabama Shakes, Stevie Nicks and of course, Aretha Franklin will always be the pinnacle of greatness for me. These artists INSPIRE me.
WRH: I’ve probably referenced Stevie Nicks’ “Stand Back” more times than any other journalist in town. I think of a certain synth sound – and that song comes to mind. Plus, I love that song.
I know that Stevie Nicks is a big influence on you. What’s your favorite all-time Stevie Nicks song?
JS: One thing I really love about Stevie, which I read in her biography a few years ago (by Zoe Howe), and that I can totally relate to, was that she didn’t have any formal musical education. She just had her gorgeous melodies and emotional lyrics and really, just a simple catalog of basic chords. Lindsey [Buckingham] would get frustrated with her because he’d have to finesse her songs so much to make them work. “Dreams,” for instance, only has 2 chords! But her songs were always their biggest hits. She tapped into an emotion and style and energy that people love and her voice is just absolutely unique and powerful. In a way, the reason she was so successful with her songwriting was because she wasn’t trapped in a musical box. She would write whatever she felt, and her uniqueness and melodies were memorable and beautiful. She inspires me so much! It’s nearly impossible to choose one favorite Stevie Nicks song, but I’ll go with “Edge of Seventeen.” A close second is probably “Landslide.”
WRH: Your first release was an EDM-like collaboration with DJ Sizigi-13. Since then your sound has gone through a dramatic change. How did that come about? How would you describe your sound to those unfamiliar with you and your sound?
JS: After my old band broke up in 2014, I was searching for new musical collaborations on Craigslist. I connected with Sizigi over email and we decided to make a song together. One song led to four, over the course of a few months. I knew going in, EDM wasn’t going to be my personal sound forever, but I was down for the challenge of writing to existing beats and learning to record all my vocals at home with GarageBand. I bought a microphone and set up a vocal booth in my closet with towels on the doors to pad the sound. I learned to edit. I love my lyrics and vocals on those songs, and I am very proud of the work I did. So, ultimately, I chose to have the record mastered and to release the 4 song EP independently. It was a stepping-stone for me.
The music I make now is all me though. I pen all of the lyrics and write the melodies on guitar, or sometimes I use my Omnichord (a vintage electronic harp/synthesizer from the 80s, which is AMAZING) and then my band brings it all to life! My sound can be described as indie rock soul. I love the Alabama Shakes so that’s a decent comparison, I hope. The lyrics are evocative and dramatic, and the music is organic rock, but I always sing with soul. I also love to explore the saint and the sinner in all of us and tap into themes from my Catholic upbringing — like with “The Convent” from my last record Bluest Sky, Darkest Earth and “Purgatory Road” which will be on my next record. I am inspired by elements of the occult (tarot cards, following your intuition, voodoo) and I use nature and other metaphors to write about complicated relationships.
WRH: Rockwood Music Hall celebrated their 15th anniversary earlier this year. Sadly, during this century, existing 15 years as a venue in New York time is like 149 years. Rockwood Music Hall invited an All-Star list of artists, who have cut their teeth playing the venue’s three stages to celebrate. The bill that month included JOVM mainstay Anna Rose, acts that I’ve covered like Eleanor Dubinsky, Christopher Paul Stelling, The Rad Trads, Mike Dillon, Melany Watson, as well as Jon Baptiste. How does it feel to be included with those acts?
JS: It feels amazing! I am so lucky to have played a small part in Rockwood’s incredible history. It was an absolute honor to play the stage that night, and to join that list of talented artists. Rockwood Music Hall was the first place I ever played in NYC. I remember getting an early Saturday afternoon acoustic slot with my old guitarist and playing to a mostly empty room. It was still so damn exciting to me, the opportunity to play that famous stage. Fast forward a few years later to my packed record release show on Stage 1 and then my graduation to Stage 2, last year. Rockwood has supported me since Day 1 and to help celebrate their anniversary, on the very stage where it all began for me, made me so proud!
WRH: Your Rockwood Music Hall set included a cover of one of my favorite Lead Belly songs ever “Where Did You Sleep Last Night.” It’s one of those songs that for whatever reason doesn’t seem to be covered a whole lot. So, what drew you to the song? And how much does the blues influence you?
JS: I have been listening to Lead Belly for a very long time. I only knew his version of “Where Did You Sleep Last Night” and never actually heard Nirvana’s version until many years later, which is what I think most people think of when they hear that song these days. I used to love singing that song in the car with my boyfriend. We each took a verse. It always seemed so chilling and powerful and it really tells a story that leaves you wanting more. You are right though, it’s not covered a whole lot and when we first tried in rehearsal, we knew it would kill. Everyone really responds to that one.
I generally gravitate toward big singers. Full voices filled with heartache and soul and you get that in spades with the Blues. The Blues are rooted in emotion and that kind of expression comes naturally for me. Lead Belly and Big Mama Thornton are definitely my favorite blues artists, but I also really dig Howlin’ Wolf, Muddy Waters, Son House, Sister Rosetta Tharpe and Bessie Smith. I love how Bonnie Raitt, Larkin Poe and Gary Clark, Jr. are keeping that tradition alive and having success with Modern Blues too.
WRH: How do you know when you have a finished song?
JS: I know a song is finished when I love the melody and lyrics enough to play it over and over again, day after day and when I can get lost developing the vocal runs. A good sign is when my family really responds to it as well. I also think nailing the bridge usually seals the deal for me. That’s when I write over my penciled lyrics and chords, in my black, Papermate flair pen and make it final!
I’m not a person who usually tinkers on a song for years though. I write most songs in a few hours, or a couple of days or maybe, up to a week. I like to capture the emotion of a sentiment and get most of it right and then move on to the next song. In all honesty, the best songs write themselves in 10 minutes! I actually wrote my new single “I Wash My Hands” quickly like that.
WRH: Your latest single “I Wash My Hands” and its accompanying video officially drops today. It’s a gorgeous country soul/70s AM rock song, a weary lament of someone who’s desperate to move on from a relationship or some other major life tie. You wouldn’t have known this at the time, but the song has an eerie double meaning that reflects our current moment of uncertainty and fear. Curiously, how does it feel to have written something that initially was supposed to be about something specific that suddenly transforms into something altogether different?
JS: Thanks. I think the lyrics are very relatable for anyone in a long-term relationship who understands that compromise and respect are needed for a couple to survive and more importantly, thrive. But in this unprecedented moment in our lives, that can also be said about humans and our planet. Fear of Covid-19 leaves us all washing our hands like never before, so now, this track also invokes Mother Nature’s demand for more respect. She is also washing her hands of our abuse, forcing us all to pause while she shows us just how powerful she is. It’s humbling.
WRH: The video for the song is pretty intimate almost home video-like visual, as it features a collection of loved ones, including family and friends lip synching along to the song – while they’re in quarantine. How did you come about the concept? And how did it feel to have your loved ones participate in the video?
JS: Last week, mybrother Chris and I were talking on FaceTime, about the need for interconnectedness even while social distancing. We thought about how lonely people are, even though we are Zooming and chatting on the phone, more than ever.
We thought it would be really special if I could get some of my friends and family to lip-synch parts of this song and create a montage. Video production resources are limited here in quarantine, but everybody has a phone with a camera and time on their hands!
The video is like being on a Zoom call but this one makes me feel so happy every time I watch it! It’s all my favorite people singing my song. People in Brooklyn, California, Detroit, New Jersey, New England, and even as far as Kenya! Everyone just really came through and had fun with this project, including my voice students, family members and close friends. People I haven’t seen in two months or more! I don’t know when I’ll see them again frankly, but the video makes me feel connected to them and I think it makes them all feel connected to each other. I love it so much.
WRH: What’s next for you?
JS: While I’m quarantined, I’m going to keep making art. Keep writing music. Keep singing.
I’m also going to continue to work on my next album. Right now, the plan is to release it in the Fall, so I’ve got shows to book and all the pieces in between to plan. Follow me on Instagram (@sheissilva) for all updates, single and video releases and of course, details about the album release party and tour dates.
Please stay safe and healthy, everyone. I’m sending vibes to you all. We will get through this. And I think we will be stronger for it. And don’t forget to keep washing your hands!
Over the course of this site’s nearly ten year history, I’ve spilled quite a bit of virtual ink covering the critically applauded, New York-based singer/songwriter, bassist, producer Adeline. Since leaving her post as frontwoman of the equally acclaimed electronic dance music/neo-disco JOVM mainstay outfit Escort, the New York-based singer/songwriter, bassist and producer released her self-titled, full-length debut to critical praise from the likes of Vogue, NPR, Refinery 29, Rolling Stone, The Fader and many others.
Building upon a rapidly growing profile as a solo artist, Adeline has opened for the likes of Anderson .Paak, Lee Fields, Chromeo, Big Freedia and Natalie Prass among others, further cementing her long-held reputation for dazzling audiences with her captivating live show and energetic presence. She’s also made appearances at a number of stops across the national festival circuit, including Afropunk, Funk on the Rocks and Winter Jazz Fest. Further proving to the world in general that she may arguably be one of the hardest working women in contemporary music, Adeline is also a member of CeeLo Green’s touring band.
Now, it’s been a while since I’ve personally written about the JOVM mainstay — but interestingly, she’ll be releasing the highly-anticipated follow up to her critically applauded debut, Intérimes EP. Slated for a June 12 release, the EP will feature the EP’s first single ‘Middle,” which she performed on CBS This Morning earlier this month, a funky psych soul cover of Black Sabbath’s “Planet Caravan” and the EP’s latest single, the sultry, “Twilight.” Centered around shimmering synths, twinkling keys, a sinuous bass line and Adeline’s gorgeous pop superstar-like vocals, stuttering beats “Twilight” the track is indebted to Erykah Badu neo-soul and Quiet Storm soul. “Twilight is about a relationship that’s ending,” says Adeline. “It’s that particularly painful moment when you realize that it’s over. You have nothing left to give and there’s nothing left to say. The twilight is the period from dawn to sunrise or sunset to dusk. It’s the moment of realization that there is a transition coming. It’s saying goodbye to something while saying hello to the next.”
Directed by Adeline herself, and shot in a hazy, Super 8mm-like graininess, during the golden hour of twilight, the video features the JOVM in a number of different locations in New York, while capturing her with a brooding and seductive, movie star-like elegance.
Throughout the course of this site’s almost ten year history, I’ve managed to spill quite a bit of virtual ink covering the legendary Chicago-born singer, actress, and civil rights activist Mavis Staples. Going into a deep dive into her career as a member of the Staple Singers and and a solo artist will be a bit gratuitous — but throughout her career, she has received commercial and critical success, as well as a proverbial boatload of accolades. Stapes has received eight Grammy Awards nominations with the Staple Singers, winning one — a Lifetime Achievement Grammy in 2004. She also received a Grammy nod for a collaboration with longtime friend Bob Dylan. And as a solo artist, she’s been nominated for five Grammys, winning two — Best Americana Album for 2010’s You Are Not Alone and a Best American Roots Performance for 2015’s ”See That My Grave Is Kept Clean.”
She also has been nominated for 11 Blues Music Awards, winning nine, including Album of the Year for 2004’s Have A Little Faith, which featured Song of the Year and album title track “Have A Little Faith.” She’s also won three Soul Blues Female Artist Awards — one in 2004 and back to back wins in 2017 and 2018. Staples was also inducted into Rock & Roll Hall of Fame as a member of The Staple Singers in 1999, was a Kennedy Center Honoree in 2016 and inducted into the Blues Hall of Fame in 2017.
The legendary Chicago-born singer, actress and civil rights activist turned 80 last year and with her achievements, it would be understandable if she had begun to slow down; however, over the past handful of years, Staples has been remarkably busy, releasing three critically applauded albums with Wilco‘s Jeff Tweedy and last year’s Ben Harper written and produced, We Get By.
Fittingly, Staples’ latest single is the hopeful and upbeat Jeff Tweedy-produced, “All In It Together,” which also features Tweedy contributing backing vocals and guitar. Centered around a shuffling, Chicago blues-like arrangement of twinkling keys, strummed guitar, a rousing hook and Staples’ imitable vocals, the track speaks directly to our current sociopolitical moment, while gently reminding the listener that at the end of the day, we’re all in this together. And that if we don’t get together at this most important moment in our collective history, then we’re all doomed.
“The song speaks to what we’re going through now – everyone is in this together, whether you like it or not,” the legendary vocalist explains in press notes. “It doesn’t matter how much money you have, what race or sex you are, where you live…it can still touch you. It’s hit so many people in our country and around the world in such a horrible way and I just hope this song can bring a little light to the darkness. We will get through this but we’re going to have to do it together. If this song is able to bring any happiness or relief to anyone out there in even the smallest way, I wanted to make sure that I helped to do that.”
The song is available on all streaming services and Bandcamp. All proceeds from the song will be donated to My Block, My Hood, My City, a Chicago-based organization that ensures seniors will have access to the essentials needed to fight COVID-19.
Over the past handful of months, I’ve written quite a bit about The Midnight Hour, a 10 member ensemble founded and led by A Tribe Called Quest’s Ali Shaheed Muhammadand Adrian Younge, a Los Angeles-based composer, multi-instrumentalist, arranger, producer and Linear Labs founder. Now, as you may recall, the project prominently features singer/songwriter and guitarist Jack Waterson, singer/songwriter and multi-instrumentalist Loren Oden — and , singer/songwriter, multi-instrumentalist and 18 year old Los Angeles-born and-based phenom, Angela Muñoz.
The 10 member ensemble released their self-titled debut in 2018 — and the effort firmly established their sound: jazz and orchestral inspired soul and hip-hop heavily influenced by David Axelrod, Quincy Jones, Curtis Mayfield, Barry White and Jazzmatazz-era Gang Starr. Since the release of their debut, Muhammad, Younge and the rest of the Linear Labs crew have been extremely busy: last year saw the release of Jack Waterson’s psych rock, solo debut Adrian Younge Presents Jack Waterson, and a lengthy tour that included a Brooklyn Bowl stop last September — and this year will see three releases from the collective and its members: the ensemble’s highly-anticipated sophomore album and solo efforts from Loren Oden and Angela Muñoz.
The young, Los Angeles-born and-based singer/songwriter, multi-instrumentalist and phenom has a beguiling voice and mature presence that belies her relative youth, who recalls that Guns ‘N’ Roses’ “Welcome to The Jungle” was the catalyst that sparked her desire to play music and become a star. As a girl, she learned to play guitar and piano — and with practice, she began to dominate singing competitions, leaving unexpected audiences in a trance.
Interestingly, a few years ago Muñoz’s brother Brandon introduced her to the Adrian Younge-produced Something About April. Muñoz was intrigued by the quality of the music, and as a result, she found herself thinking about how it would be interesting to create music that encompassed various perspectives — similar to how Younge does so with his analog recordings. Shortly after being introduced to Something About April, the Los Angeles-born and-based phenom serendipitously found herself working with The Midnight Hour, who recorded her song “Bitches Do Voodoo” on their full-length debut. They’ve since took Muñoz on tour, where she’s blown away audiences with her self-assured stage presence, her dexterous musicianship and her soulful vocals.
Earlier this month, I wrote about Muñoz’s neo-soul meets Quiet Storm-like debut single “I Don’t Care,” which featured her remarkably self-assured and effortlessly soulful vocals over an arrangement of twinkling keys and harp, soaring strings, a sinuous bass line, wah wah pedaled guitar and an enormous hook paired with an underlying youthful brashness. “In My Mind” the second single off full-length debut Introspection is a gorgeous and cinematic track centered around a pop standard-like arrangement featuring soaring and fluttering strings, a sinuous bass line, some expressive bursts of guitar, twinkling harp and Muñoz’s expressive vocal. Sonically, the song manages to recall George Gershwinand jazz ballads. From her first two singles, Muñoz is a certifiable star in the making.
“I wrote this song thinking about the journey of love,” Muñoz explains. “Despite my age, I have an awareness of what expressing love looks like. As I was writing this song, I wanted to challenge myself as a songwriter. This led me to imagine myself in the place of George Gershwin. If I could choose anyone to interpret this song it would be Sarah Vaughan. Ultimately, love can manifest itself in many ways.”
Directed by The Midnight Hour’s Adrian Younge and based on a story written by Angela Muñoz captures the swooning idealism and hope of young love in a way that proudly celebrates it.
Muñoz’s full-length debut Introspection is slated for a May 19, 2020 release through Linear Labs.
Over the past couple of years, I’ve written quite a bit about the Washington, DC-born, Brooklyn-based singer/songwriter, guitarist Nick Hakim. And as you may recall, Hakim’s critically applauded full-length debut 2017’s Green Twins can trace its origins back to when he finished his two critically applauded EPs Where Will We Go Part 1 and Where We Will Go Part 2: armed with the masters for those efforts, Hakim relocated from Boston, where he was then based to Brooklyn. As soon as he got himself settled, he quickly went to work, spending his spare time writing and recording sketches using his phone’s voice memo app and a four-track cassette recorder, fleshing the material out whenever possible. He then took his new demo’d material to various studios in NYC, Philadelphia and London, where he built up the material with a number of engineers, including frequent collaborator Andrew Sarlo (bass, engineering and production), who were tasked with keeping the original spirit and essence of the material intact as much as humanly possible.
Thematically, the album’s material focused on specific experiences, feeling and thoughts he had during the time he was writing and composing it. As a result, the album consists of a series of different self-portraits. And in a similar fashion to Vincent Van Gogh’s famed self-portraits, the material sometimes captures its creator in broad stokes — with subtle gradations of mood, tone and feeling. The overall aesthetic drew from a broad array of influences including Robert Wyatt, Marvin Gaye, Shuggie Otis and My Bloody Valentine and others. “We wanted to imagine what it would have sounded like if RZA had produced a Portishead album. We experimented with engineering techniques from Phil Spector and Al Green’s Back Up Train, drum programming from RZA and Outkast, and we were listening to a lot of The Impressions, John Lennon, Wu-Tang, Madlib and Screamin’ Jay Hawkins,” Hakim said in press at the time.
Since the release of Green Twins, Hakim developed a reputation as a highly sought-after, go-to collaborator working with Lianna La Havas, Anderson .Paak, Onyx Collective, Sporting Life, IGBO, Nappy Nina, Ambrose Akinmusire, Slingbaum, FKA Twins and Oumou Sangare. Building upon a growing profile, Hakim will be releasing his highly-anticipated sophomore album WILL THIS MAKE ME SOUND GOOD. Slated for a May 15, 2020 release through ATO Records, the album while being distinctly Nick Hakim, reportedly represents a tonal shift from Green Twins, with the material reflecting the ideas with which he grappled while writing and recording the album. To prepare listeners for the experience, Hakim shares the following statement about the record:
“I feel the people simmering, on our way to the boiling point. There’s a lot of madness going on around us and this world can feel so cold. It can get hard to remember what makes it worth it. The people around me and the music I love helps.
For a while, I couldn’t write. I worked on new music but couldn’t find the right words. But that time was just a build-up to the three months of expression that led to this album. I hope this music will raise awareness about where we are right now. About how we are living on this planet. About how we treat our neighbors. About community. About depression. About what can heal us and what can’t. About overmedication, overstimulation and manipulation. About respecting and loving the people around us, because one day they won’t be here-or you won’t.
But it’s also true that I’m still trying to figure this record out. People have told me that it’s confusing or that it’s messy-that’s fine. There’s so much pressure on artists to commit to being one thing, or to restrict an album to exploring just one subject or sound. But my life isn’t like that, and so my music can’t be like that either. I’m not thinking about this music as a product to be bought and sold, or how I’ll buy your interest. This is my world; a lot of friends touched this record, and that makes me feel lucky and proud. These songs are glimpses into my community. I’m exploring, but I’m not alone. It’s a journey in progress; it’s an experiment, every day.”
WILL THIS MAKE ME GOOD’s latest single is the slow-burning and atmospheric “QADIR.” Centered around a repetitive and hypnotic arrangement featuring shimmering and reverb-drenched guitar, a sinuous baseline fluttering flute, stuttering beats and Hakim’s expressive and plaintive vocals, “QADIR” is a fever dream full of ache and longing that recalls both 70s soul and neo-soul simultaneously. Interestingly, “QADIR” was the first song the JOVM mainstay wrote for the album — and the track was written as ode to a late friend and a reminder to check in on your loved ones before it’s too late.”If I really sink into a recording, I don’t want it to end,” Hakim says. “[‘QADIR’] is repetitive and hypnotizing, like a trance — that’s intentional. The song is my ode to him. It’s my attempt to relate to how he must have been feeling.”
Directed by Nelson Nance, the cinematic and lyrical visual for “QADIR” finds Hakim in moments of solitude in forest and in solidarity with his community of friends and associates. The Nance-directed visual suggests that it’s the people who love and support us, who give us strength and sustenance during our most difficult times.
Over the past handful of months, I’ve written quite a bit about The Midnight Hour, a 10 member ensemble founded and led by A Tribe Called Quest’s Ali Shaheed Muhammad and Adrian Younge, a Los Angeles-based composer, multi-instrumentalist, arranger, producer and Linear Labs founder. Now, as you may recall, the project prominently features singer/songwriter and guitarist Jack Waterson, singer/songwriter and multi-instrumentalist Loren Oden — and , singer/songwriter, multi-instrumentalist and 18 year old Los Angeles-born and-based phenom, Angela Munoz.
The 10 member ensemble released their self-titled debut in 2018 — and the effort firmly established their sound: jazz and orchestral inspired soul and hip-hop heavily influenced by David Axelrod, Quincy Jones, Curtis Mayfield, Barry White and Jazzmatazz-era Gang Starr. Since the release of their debut, Muhammad, Younge and the rest of the Linear Labs crew have been extremely busy: last year saw the release of Jack Waterson’s psych rock, solo debut Adrian Younge Presents Jack Waterson, and a lengthy tour that included a Brooklyn Bowl stop last September — and this year will see three releases from the collective and its members: the ensemble’s highly-anticipated sophomore album and solo efforts from Loren Oden and Angela Munoz.
The young, Los Angeles-born and-based singer/songwriter, multi-instrumentalist and phenom has a beguiling voice and mature presence that belies her relative youth, who recalls that Guns ‘N’ Roses’ “Welcome to The Jungle” was the catalyst that sparked her desire to play music and become a star. As a girl, she learned to play guitar and piano — and with practice, she began to dominate singing competitions, leaving unexpected audiences in a trance.
Interestingly, a few years ago Munoz’s brother Brandon introduced her to the Adrian Younge-produced Something About April. Munoz was intrigued by the quality of the music, and as a result, she found herself thinking about how it would be interesting to create music that encompassed various perspectives — similar to how Younge does so with his analog recordings. Shortly after being introduced to Something About April, the Los Angeles-born and-based phenom serendipitously found herself working with The Midnight Hour, who recorded her song “Bitches Do Voodoo” on their full-length debut. They’ve since took Munoz on tour, where she’s blown away audiences with her self-assured stage presence, her dexterous musicianship and her soulful vocals.
Earlier this month, I wrote about Munoz’s neo-soul meets Quiet Storm-like debut single “I Don’t Care,” which featured her remarkably self-assured and effortlessly soulful vocals over an arrangement of twinkling keys and harp, soaring strings, a sinuous bass line, wah wah pedaled guitar and an enormous hook paired with an underlying youthful brashness. “In My Mind” the second single off full-length debut Introspection is a gorgeous and cinematic track centered around a pop standard-like arrangement featuring soaring and fluttering strings, a sinuous bass line, some expressive bursts of guitar, twinkling harp and Munoz’s expressive vocal. Sonically, the song manages to recall George Gershwin and jazz ballads. From her first two singles, Munoz is a certifiable star in the making.
“I wrote this song thinking about the journey of love,” Munoz explains. “Despite my age, I have an awareness of what expressing love looks like. As I was writing this song, I wanted to challenge myself as a songwriter. This led me to imagine myself in the place of George Gershwin. If I could choose anyone to interpret this song it would be Sarah Vaughan. Ultimately, love can manifest itself in many ways.”
Munoz’s full-length debut Introspection is slated for a May 19, 2020 release through Linear Labs.
Paul Spring, a St. Cloud, MN-born, Brooklyn-based singer/songwriter and guitarist. Spring spent his formative years studying ancient languages, poetry and classical guitar before making a name for himself as a folk artist, who self-released seven albums, including a well-received children’s album Home of Song.
Homer Steinweiss, a Brooklyn-born and-based drummer, who has played, toured and recorded with a who’s who of contemporary music including Amy Winehouse, Bruno Mars, The Jonas Brothers, St. Vincent, Charles Bradley and Sharon Jones and the Dap-Kings– before settling into a highly-south after session player.
Joe Harrison, a Brooklyn-based multi-instrumentalist who has played with Frank Dukes and Charles Bradley.
The band can trace its origins to when Spring and Steinwess met on a Minnesota farm through their respective girlfriends, who actually are cousins. Steinweiss and Spring soon began a long-distance friendship, which, over time developed into a folk music recording project. Harrison, was working at a studio assistant at The Diamond Mine Studios at the time and he started to sit in on the duo’s sessions, eventually joining the band as a full-time member in 2015 when the band began recording as Holy Hive.
In 2016 Spring relocated to New York and the members of Holy Hive were invited to tour with JOVM mainstay Lee Fields. That tour dramatically changed their approach and sound: after the tour they began exploring the relationships between the traditions and lyricism of folk and the aesthetics and rhythms of soul music — by seamlessly meshing them into something anachronistic yet uniquely theirs. And with a new sound, they began honing their sound with a year-long monthly resident at Red Hook, Brooklyn-based dive bar Sunny’s with a rotating cast of collaborators. Then they spent the next couple of years working on folk and soul inspired material that thematically focused on love and loss.
The end result is the band’s long-awaited full-length debut Float Back to You. Slated for a May 29, 2020 release through Big Crown Records, the album is the follow-up to their critically applauded debut EP Harping and a string of well-received singles. Recorded at Diamond Mind Studios, the album was produced by the band’s Steinwess and consists of 10 originals, a cover of Honeybus’ “Be Thou By My Side” and a re-working of the old Irish folk standard “Red is the Rose.” The album also features an impressive array of guest stars including Mary Lattimore (harp), El Michels Affair’s Leon Michels (sax, keys), The Shacks’ Shannon Wise (backing vocals), The Roots’ Dave Guy (trumpet), Nick Movshon (bass) and Spring’s wife Sophia Heymans (piano).
Float Back to You’s latest single is the shimmering and mournful blue-eyed soul meets 60s folk-like “Broom.” Centered around shimmering guitar chords, a steady backbeat, a gorgeous yet soulful arrangement and Spring’s aching falsetto, the song can trace its origins back to their first tour with Lee Fields. “At the time, we were a folk trio with nylon guitars playing Nick Drake inspired arrangements,” the band’s Homer Steinweiss recalls in press notes. “These songs did not go over too well with the So-Cal soul audience. Inspired by Lee’s music, we saw a need to write a more soulful song to appeal to them. After covering Donnie and Joe Emerson’s ‘Baby’ in San Diego, Joe made some chords, Homer laid a beat and paul activated the falsetto to make this tune.”
Directed by Sesse Lind, the recently released video for “Broom” is shot on a Long Island City, Queens industrial rooftop — and we follow the band’s Homer Steinweiss as he kind of jazzercises to the song.
