Tag: St. Vincent

New Video: Holy Hive Releases a Dreamy and Nostalgia-Inducing Animated Visual for New Single

Holy Hive is a Brooklyn-based soul act featuring:

Paul Spring, a St. Cloud, MN-born, Brooklyn-based singer/songwriter and guitarist, who spent his formative years studying ancient languages, poetry and classical guitar before making a name for himself as a folk artist, eventually self-releasing 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 soul and pop 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 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 — 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 Steinwess’ Diamond Mind Studios, the album was produced by 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).

Earlier this year, I wrote about the album’s first single “Broom.” Tracing its origins back to the band’s first tour with Lee Fields, the track is a shimmering and mournful bit of blue-eyed soul meets 60s folk. “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.” Interestingly, “Float Back To You,” the slow-burning and shimmering third album single and album title track is a achingly plaintive ballad that further cements the band’s sound — in particular, I’m reminded Simon & Garfunkel, Scott Walker and blue-eyed sound.

Featuring line animation by Sophia Heymans, the recently released video for “Float Back To You,” the video manages to capture those things we can’t quite have — carefree summer afternoons and nights, while following a woman, who decides to take various garden gnomes, rocking horses and the like into her home to read to them.  It’s a simple yet surreal fantasy centered around the sort of feverish nostalgia we all have right now. 

New Video: Brooklyn’s Holy Hive Releases a Playful Visual for Mournful Single “Broom”

Holy Hive is a Brooklyn-based soul act featuring:

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.

Tiger Darrow is a Dallas-born, Brooklyn-based singer/songwriter, multi-instrumentalist and producer, perhaps best known for her roles in the Spy Kids franchise and Shark Boy and Lava Girl. Since the release of those movies, Darrow has grown up and pursued a career in music — first behind the scenes writing for other artists and then eventually as a solo artist, influenced by St. Vincent, Sufjan Stevens, Bulow, and Lana Del Rey.

Darrow has opened for the likes of Edie Brickell and The New Bohemians, The Eagles, and Erykah Badu and she’s also played as a sideperson for Durand Jones and The Indications, Zack Villere, Camille Trust and Wakey! Wakey! Her latest single “Brother’s Girl” is a atmospheric yet slickly produced, radio friendly bop centered around Darrow’s sultry crooning and skittering trap beats — and while evoking an unfulfilled longing, the song features an ironic plot twist: the song’s narrator describes falling for her brother’s girl. Sounds like an episode of Jerry Springer, indeed!

New Audio: New York-based Pop Artist KAYE Releases a Performance Art Inspired Visual for Anthemic “Too Much”

Charlene Kaye is a New York-based singer/songwriter, multi-instrumentalist, and producer, who spent her childhood in some rather far-flung places across the globe — living in Hawaii, Singapore, Hong Kong and Michigan before she turned 18. Although she spent time in a number of different places throughout the bulk of her childhood, there was one consistent thing: her parents old soul records and 90s grunge radio, both of which have heavily influenced her own work and career.

Initially starting her career as a solo artist, Kaye is best known for a five year stint as the frontwoman of acclaimed indie act San Fermin, contributing to 2015’s Jackrabbit and 2017’s Belong, which were supported with touring internationally, including sets across the global festival circuit. While touring with San Fermin to support Jackrabbit, Kaye started her latest solo recording project KAYE, releasing a handful of singles and KAYE’s debut EP 2016’s Honey. 

Last year, Kaye left San Fermin in order to fully concentrate on her solo career.  Late last month, Kaye began the year with the Kirk Schoenherr-co-produced single “Closer Than This,” a bold and self-assured feminist pop anthem seemingly indebted to Cherelle, Patrice Rushen, Madonna and Control-era Janet Jackson while thematically touching upon lust, desire, longing, idealization and fantasy and self-preservation, as it features a narrator, who will only give on her terms. “Too Much,” Kaye’s latest single continues an ongoing run of feminist anthems featuring narrators, who have asserted themselves on their own terms. However, unlike its immediately predecessor, “Too Much” is a decidedly electro rock affair that brings St. Vincent and Garbage to mind, thanks in part to some blistering guitar rock and an arena rock friendly hook. 

“I wrote this song to make sense of a period of great emotional confusion in my life,” Kaye explains in press notes. “I had made many drastic changes at the same time regarding my career and my relationships and was left feeling totally unanchored, like I just blew up my life for no reason — even though at my core I knew it was necessary for my own growth.”

Directed by Kaye’s sister Liann Kaye, the recently released video for “Too Much” is inspired by Yoko Ono’s 1964 performance art work “Cut Piece,” in which Ono sits on a stage wearing her best suit, inviting audience members to cut and keep a piece of her clothing until she is completely exposed. Instead of having others remove pieces of her outfit, in the video Kaye is the agent of her metaphorical destruction and rebirth. Kaye’s outfit, which is made up of thousands of individual pieces of fabric that took hours to arrange on her body — and in the video we see pieces of her outfit get torn off, danced off and just fly off until we see the rising pop artist in a nude-colored outfit. 

“I love working with my sister because we’re so in sync creatively, and immediately understand what the other is trying to express.” Liann Kaye shares in press notes. “We shot each part of the song at a different speed, to show how the re-invention of one’s self can feel at once excruciatingly slow and like a freight train of change at the same time.”

New Video: Goldfrapp Releases Gorgeous and Cinematic Visuals for the Reworked Version of “Ocean” featuring Depeche Mode’s Dave Gahan

With the release of 2013’s Tales of Us, Goldfrapp, comprised of Alison Goldfrapp and Will Gregory, released one of their most hauntingly cinematic and gorgeous efforts they’ve ever released, as the album’s material found the duo pairing Goldfrapp’s arresting vocals with classical music-inspired arrangements centered around piano and strings, acoustic guitar and occasional electronic flourishes. However, last year’s critically applauded and commercially successful Silver Eye was a striking return to form — and as you may recall Anymore,” the album’s first single featured a slick yet abrasive sound featuring  enormous, thumping 808-like beats, layers of buzzing and undulating synths. Interestingly, “Anymore” much like the rest of the material on the album buzzed with a restless, creative energy and sense of experimentation that was partially the result of the acclaimed duo working with  Grammy-wining producer John Congleton, who has worked with St. Vincent, John Grant and Wild Beasts; as well as collaborations with electronic composer Bobby Krlic, best known as The Haxan Cloak and Leo Abrahams, a guitarist, who has collaborated with Brian Eno.

Album single “Ocean” continued in a similar vein as the song centered around an abrasive and minimalist-leaning production of arpeggiated synths, thunderous beats. As the duo explained to Billboard the song was created during a morning writing and recording session and was originally built from what Goldfrapp called a “a very small improvisation.” “I remember coming into the studio one morning and I think we just had a few drums going and it was really basic,” Goldfrapp recalled. “Will said ‘Do you fancy doing some vocals this morning?’ So I was like, ‘Alright then’ and slightly reluctantly, i went into the vocal both and the words just came out.” And as a result, the song manages to bristle with a furious sense of unpredictability.

July 6, 2016 will mark the release of Silver Eye: Deluxe Edition and while the deluxe edition will include the original album material, there will be a bonus disc of remixes and alternate versions, including a re-recording of “Ocean” that features Depeche Mode‘s Dave Gahan, as well a previously unreleased Will Gregory remix of “Anymore.” Naturally, turning the original song into a duet with Gahan’s and Goldfrapp’s imitable vocals gives the song a harder, darker, moodier, goth edge while still managing to be a straightforward rendition of the song. But perhaps, more important, if you’re a fan of both, it’s the most necessary and effortless collaboration that you needed to hear.

Directed by Alison Goldfrapp, the gorgeous and cinematically shot video for “Ocean” found her returning to Fuerteventura, where the videos for “Anymore” and “Everything Is Never Enough” were shot for her scenes, while she directed Dave Gahan in Madrid during a break in Depeche Mode’s current world tour. As a photographer, the video features some scenery and cinematography that has me jealous. As Alison Goldfrapp says of the video, “I had an amazing time directing Dave in the video for the track and we couldn’t be happier with the end result.”
 

New Audio: Goldfrapp Team Up with Depeche Mode’s Dave Gahan on a Reworked Version of “Ocean”

With the release of 2013’s Tales of Us, Goldfrapp, comprised of Alison Goldfrapp and Will Gregory, released one of their most hauntingly cinematic and gorgeous efforts they’ve ever released, as the album’s material found the duo pairing Goldfrapp’s arresting vocals with classical music-inspired arrangements centered around piano and strings, acoustic guitar and occasional electronic flourishes. However, last year’s critically applauded and commercially successful Silver Eye was a striking return to form — and as you may recall Anymore,” the album’s first single featured a slick yet abrasive sound featuring  enormous, thumping 808-like beats, layers of buzzing and undulating synths. Interestingly, “Anymore” much like the rest of the material on the album buzzed with a restless, creative energy and sense of experimentation that was partially the result of the acclaimed duo working with  Grammy-wining producer John Congleton, who has worked with St. Vincent, John Grant and Wild Beasts; as well as collaborations with electronic composer Bobby Krlic, best known as The Haxan Cloak and Leo Abrahams, a guitarist, who has collaborated with Brian Eno.

Album single “Ocean” continued in a similar vein as the song centered around an abrasive and minimalist-leaning production of arpeggiated synths, thunderous beats. As the duo explained to Billboard the song was created during a morning writing and recording session and was originally built from what Goldfrapp called a “a very small improvisation.” “I remember coming into the studio one morning and I think we just had a few drums going and it was really basic,” Goldfrapp recalled. “Will said ‘Do you fancy doing some vocals this morning?’ So I was like, ‘Alright then’ and slightly reluctantly, i went into the vocal both and the words just came out.” And as a result, the song manages to bristle with a furious sense of unpredictability. 

July 6, 2016 will mark the release of Silver Eye: Deluxe Edition and while the deluxe edition will include the original album material, there will be a bonus disc of remixes and alternate versions, including a re-recording of “Ocean” that features Depeche Mode’s Dave Gahan, as well a previously unreleased Will Gregory remix of “Anymore.” Naturally, turning the original song into a duet with Gahan’s and Goldfrapp’s imitable vocals gives the song a harder, darker, moodier, goth edge while still managing to be a straightforward rendition of the song. But perhaps, more important, if you’re a fan of both, it’s the most necessary and effortless collaboration that you needed to hear. 

Grant Goldsworthy is a Central Pennsylvania-based multi-instrumentalist and singer/songwriter, who over the past 15 years has played with a number of bands across Pennsylvania, Washington DC, Boston and New York — and with his latest project, Snow Villain, which he started in 2015, Goldsworthy began collaborating with a rotating cast of musicians from Philadelphia, Harrisburg, PA and NYC. Although some have said that Snow Villain’s sound nods at Death Cab for Cutie, Smashing Pumpkins, St. Vincent, Nine Inch Nails, Weezer, Ween and Beck, the project’s latest single “Torches.” off the forthcoming EP 1 strikes me as nodding heavily at early Rage Against the Machine, as the song is centered around enormous power chords, rousingly anthemic hooks, and politically-charged lyrics delivered with a swaggering, hip-hop like flow.

 

 

 

 

 

Throughout the bulk of this site’s history, I’ve written quite a bit about the Brooklyn-based JOVM post-punk mainstays NØMADS. And as you’d recall, the act which is primarily comprised of Nathan Lithow  (vocals, synths, bass) and Garth Macaleavey (drums) spent the better part of last year writing and recording the material that would eventually comprise PHØBIAC, a concept album in which each song focuses on a different phobia, approached in an abstract, almost clinical fashion. Naturally, the material captures and evokes the innermost thoughts and anxieties of someone in the grips of a deeply crippling fear; but at its core, is a cautionary message for our heightened and uncertain times — that whenever we succumb to the irrationality of our fears, chaos and self-destruction will be the result.

Throughout the course of 2017, the Brooklyn-based JOVM mainstays have released a new single from the album every month, adding the band to a growing list of artists, who have experimented with how an album is packaged, arranged, marketed, publicized and sold in the blogosphere age. Interestingly enough, during the summer, the duo announced that they’d be splitting the full-length album into two separate EPs — the organic, punk rock-like PHØBIAC Part 1, which features Lithow collaborating with his bandmate Macaleavy and the synth-driven, prog rock-like PHØBIAC Part 2, which features Lithow collaborating with acclaimed drummer Brian Wolf, who has worked with David Byrne, St. Vincent and the legendary Dap Kings.

“Xenophøbia,” the jagged and tense, Entertainment!-era Gang of Four/Pink Flag-era Wire-like new single from NØMADS focuses on an all-too familiar fear that has dominated the news and the attention of the world — xenophobia, the fear and hatred of strangers or foreigners, as well as anything that is considered strange or foreign. Featuring the band’s original duo of Lithow and Macaleavy, the single’s lyrical perspective is that of an aging, tyrannical dictator, pounding his fists behind a podium and riling the fears and hatreds of a fervent, frothing mob while being a meditation on what it means to be an outsider — whether racially, religiously or culturally — in the internet age. But along with that, the song points at the chilling and increasingly fascistic turn our culture and government have taken since Trump has taken office, suggesting that we should be fearful of what could happen next and resist with every fiber of our beings.

 

New Video: The Sensual Visuals for Bryde’s “Desire”

With the release of “Help Yourself” and several other singles the Welsh-born, London-based singer/songwriter and guitarist Sarah Howells, best known as Bryde quickly exploded into both the British and international scene as she received praise from Nylon, The Line of Best Fit and Earmilk and airplay from BBC Radio 6, BBC Radio Wales, Radio X and Huw Stephens’ BBC Radio 1 show for a sound that’s been compared to the likes of Jeff Buckley, Sharon Van Etten, Ben Howard and London Grammar while thematically focusing on complex, ambivalent, and hopelessly entangled relationships.

Now, as you may recall Howell’s “Wouldn’t That Make You Feel Good” was a boozy and woozy dirge in which the Welsh-born, London-based singer/songwriter and guitarist’s aching vocals are paired with bluesy yet shoegazer-leaning power chords reminiscent of  PJ Harvey. Howell promptly followed that up with “Less,” a single that not only continued her ongoing collaboration with singer/songwriter and producer Bill Ryder-Jones but was rooted around a forceful 90s alt rock-leaning song structure, while further cementing her growing reputation for writing unflinchingly honest and vulnerable lyrics.

Howell’s latest single “Desire” was produced by Chris Sorem and mixed by CJ Marks, both of whom have worked with Wolf Alice, PJ Harvey and St. Vincent — and while continuing along a similar vein sonically, as it nods at the blues and 90s alt rock, complete with an anthemic hook, the song manages to possess an urgent yearning, punctuated with the use of a baritone electric guitar.  As Howell explains in press notes, “‘Desire’ is about lust, our need for instant gratification, about desire’s addictive qualities and how they can make us behave.  I was inspired both by the way people have treated me and how I’ve treated others and how I’ve become unrecognisable to myself in the past just to appeal to this side of someone else’s personality.”

Directed by Furball Films’ Rhys Davies and starring Jade Perraton and Kyle Telford, the video features its two actors covered in syrup in a slow dance that vacillates between lustful desire and physical need — but while having a weird push and pull between regret and uncertainty. As the Howell explains in press notes, the video’s concept was inspired “by the symbolism of certain scenes in the movie Under the Skin, where the alien’s victims walk of their own free will into a thick, dark oil and to their demise. When writing the line ‘smother everything,’ I was actually imagining these temptations as a kind of veil that can leave us blind to what’s right and stuck in a cycle,” the Welsh-born, London-based singer/songwriter and guitarist continues. “We’re drawn to sugar coated things that are underneath bad for us. It’s about desires as things or people we want and can’t often resist, despite knowing that they will bring us nothing but regret.”